Few people who care about classical music question this theology: Among the great musicians of the world, Ma is the most complete, the most fluent, the most profound. To hear him play the Dvorak Cello Concerto – as he will do this week in Phoenix – is to understand human longing and deep joy, to say nothing of the velvet sensuousness of the sound of his cello.
Even those who don’t care about classical music know Ma. From his appearances on Sesame Street or his albums of Appalachian fiddle music, appearances on late-night talk shows – or his showing up on The Simpsons – he’s probably the best-known classical artist in the world.
But even as we worship him for his cello playing, there is a nagging question for many classical fans – he’s the greatest cellist of his generation, yet he puts out a bewildering array of oddball CDs, featuring everything from tango music to Chinese pipa tunes.
How can he “waste” that talent playing so much crossover music?
“To me, it is unacceptable,” former Arizona Republic music writer Dimitri Drobatschewsky said, “because it is a mixing of styles, like putting ice cream on caviar. It mixes styles that are exclusive by taste.”
Read the complete article here.
Although a select few may not like Yo-Yo’s crossover projects, the vast majority of musicians and audience members seem to appreciate and enjoy Yo-Yo’s quest to find good music from all different genres. The article goes on to quote several Arizona State University faculty members, many of whom make excellent observations on how Yo-Yo is actually helping to renew and revitalize the art form with his creative projects.
- Charles Noble on auditioning later in life
- My Take a Friend to Orchestra post
- Classical music record industry death throes
- Justin Locke’s crazy gig stories
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