• On Wednesday, July 15th, Performance Today will broadcast Yo-Yo Ma and the Silk Road Ensemble’s performance of the Persian piece “Ascending Bird” from their concert at Orchestra Hall in Minneapolis on March 17th, 2009.

    American Public Media's Performance Today is broadcast on 245 public radio stations across the country. Broadcast times and stations of Performance Today can be found on You may also visit, an independent website that can point the way to on-line listening. This Wednesday’s show will be available on their website for seven days.

  • Yo-Yo Ma will be celebrating a milestone achievement this coming holiday season, commemorating his 30 year career with Sony Music . As a special thank you we will be releasing the announcement to his fans first.

    To be one of the first to hear the exciting news on July 27th and to find out how you can take part in this exclusive offer, make sure to sign up for Yo-Yo Ma's newsletter above.

  • Researchers and scientists from a variety of fields are using groundbreaking techniques that reveal startling new connections between music and the human mind, the body and the universe. Yo-Yo Ma is appearing in a new PBS special called The Music Instinct Science and Song along with an array of musicians from Rock and Rap to Jazz and Classical to put music under the microscope.

    In this PBS special Yo-Yo Ma and Bobby McFerrin describe the way musical intervals are used or combined to create melody and harmony. McFerrin, together with the “World Singers,” sing a cappella to demonstrate that basic elements of music; pitch, tempo, rhythm and melody create specific reactions in our brains. Yo-Yo Ma plays two notes and then five more notes and then plays different combinations that demonstrate the way musical intervals are combined to create a melody or harmony.

    You can watch a clip of Yo-Yo performing the Bach Cello Suites here.

    Visit to Check your local showtimes.

  • Tune into PBS to watch Yo-Yo Ma and the Silk Road Ensemble perform live from Damrosch Park. Expect a kaleidoscopic content of music from China, Arabia and other exotica, along with music by Western classical music composers including the Azerbaijani, Fikret Amirov, and the Argentinian-American, Osvaldo Golijov. It would come as no surprise to anyone should Yo-Yo Ma himself chose to introduce some of the music.

    Check your local listings for airing times

    The aims and hopes for the Silk Road Project and Ensemble have been outlined by its Artistic Director and founder, the renowned cellist, Yo-Yo Ma. "In 1998 we formed the Silk Road Project to explore connections from ancient times to the present. These links form pieces of a puzzle that combine to reveal a coherent picture of who we are, what our place is in the world, and why we do what we do". The statement goes on to say: "I look forward to the Silk Road Project's second decade, in which by knowing subjects deeply and sharing ideas broadly we will continue to strive to serve a community that seeks a broader, empathetic understanding of the peoples and cultures of our globalized world".

    The Silk Road Project takes its name from the ancient trading routes across Eurasia more than 2,000 years ago. Those trading routes intersected multiple cultures and provided a unique opportunity for peoples to share their arts, sciences and ideas. In essence it is that intermingling of cultures that is represented by today's Silk Road Project. The Silk Road Project Ensemble numbers some 60 players from 24 countries! The extent of the success of the venture may be measured by the fact that since its founding the Silk Road Ensemble has played in more than 100 venues in 25 different countries and has appeared at prestigious venues such as Tanglewood, the Hollywood Bowl, the Lucerne Festival, the BBC Proms and the World Expo 2005 in Nagoya, Japan.

    This promises to be one of the most unusual programs ever presented on Live From Lincoln Center. Be sure to check with your local PBS station as to the exact date and time of the telecast in your area.

    Visit for more information.

  • A Glittery Cast’s Cultural Exchange
    Published: June 10, 2009

    After two relatively subdued programs at Alice Tully Hall last weekend, the Silk Road Project, celebrating its 10th anniversary and Lincoln Center’s 50th, pulled out all the stops on Tuesday evening in a free concert at the Damrosch Park band shell. Lincoln Center estimates that 3,500 listeners braved the threatening weather, which in the end produced only a few late sprinkles, and the event was telecast as part of the PBS series “Live From Lincoln Center.”

    Much of the interest undoubtedly stemmed from the star power of the cellist Yo-Yo Ma, the artistic director of the Silk Road Project, a performing and educational enterprise devoted to musical globalization and named for the ancient trade route between Eastern Asia and Western Europe. But the beauty of the project is that it has from the start attracted international performers whose musical virtuosity and personal charisma rival those of Mr. Ma, who often takes a back seat.

    Such performers abounded on Tuesday. In addition to the already glittery weekend cast - Wu Man, Wu Tong, Kojiro Umezaki, Dong-Won Kim, Sandeep Das, Alim Qasimov and Fargana Qasimova - Kayhan Kalhor, the Iranian master of the kamancheh, a Persian string instrument with a wiry timbre, performed and led his “Blue as the Turquoise Night of Neyshabur” (2000), one of the first and most enduring works composed for the project. And Cristina Pato, a flamboyant Galician bagpiper, energized raucous music from Osvaldo Golijov’s “Air to Air” (2006), which was largely inspired by her first encounter with the project, in a workshop.

    She was challenged in the Golijov by Wu Tong’s lively squawking on the sheng (Chinese mouth organ complete with pipes). Wu Tong also revealed his versatility, first playing a bawu (Chinese bamboo flute) in the opening “Silk Road Suite,” with Mr. Umezaki on shakuhachi (Japanese bamboo flute) and Mr. Kim, a Korean drummer and vocalist. Then Wu Tong sang a fetching Chinese love song by Zhao Lin, accompanied by Mr. Ma.

    Wu Man brought her familiar, astounding virtuosity on pipa (Chinese lute) to a solo number in the suite. Mr. Das, playing tabla (Indian drums), led a battery of percussionists in his “Shristi” (2006), based on a tale of creation involving Shiva and his drum.

    Mr. Qasimov and his daughter, Ms. Qasimova, the stars of the tragic Azerbaijani opera “Layla and Majnun” on Saturday, turned their vocal artistry to livelier matters in two songs. And the ensemble repeated an encore from Saturday, Mohammed Abdel Wahab’s “Night at the Caravanserai.”

    Guest artists included percussionists from the University of Michigan and string players from the Manhattan School of Music, though the added strings barely registered in the crude and unbalanced amplification of “Blue as the Turquoise Night.”

    Mr. Ma added connective chatter and cheerleading of a sort more appropriate to a children’s concert. Better by far was his summary of the project’s big lesson on Saturday: The deeper you dig into any local tradition, the more you find something global.

    As reported from

  • A Mendelssohn concert by the pianist Emanuel Ax, the violinist Itzhak Perlman and the cellist Yo-Yo Ma at Carnegie Hall on Tuesday evening was ostensibly a celebration of the Mendelssohn bicentennial. But it was also a reminder of the unabated star power of these celebrity musicians. Chairs were placed on both sides of the stage to accommodate the capacity audience, with plenty of teenagers and children in attendance.

    The concert opened with an evocative performance of Mendelssohn’s Opus 109 “Song Without Words” for piano and cello, a vehicle for Mr. Ma’s gorgeous tone and elegant phrasing. Mr. Ma and Mr. Ax also performed several arrangements of “Songs Without Words” by the contemporary composer Patrick Castillo. (Mendelssohn wrote 48 such songs for piano solo.) A soulful, burnished rendition of Opus 62, No. 1, was a highlight of the evening.

    Mr. Perlman offered still more arrangements of “Songs Without Words” by Mr. Castillo, these for violin and piano. In contrast to Mr. Ma’s powerful sound, Mr. Perlman’s tone was sometimes lackluster, and he had intonation problems throughout the evening. But he also played with expressive musicianship, sensitively accompanied by Mr. Ax in selections like Heifetz’s version of Mendelssohn’s Opus 19b, No. 1.

    In 1837, after composing many of the “Songs Without Words,” Mendelssohn said he “would rather write bigger things,” a goal he quickly realized with substantial chamber works like the Piano Trio No. 1 in D minor, which the musicians performed in the first half of the program.

    Mr. Ax played the muscular piano part with flair, the dark-hued opening bars representing a dramatic change from the sunny melodies of the preceding songs. The concert concluded with the Piano Trio No. 2 in C minor. Despite muddy passages and imprecise playing, it was a passionate performance that earned enthusiastic applause between movements and a rousing ovation at the end.

    Then Mr. Perlman said from the stage, “It’s the Mendelssohn year, so we’ll play some Brahms for you.” And as an encore the musicians played the second movement of Brahms’s Piano Trio No. 2 in C.

    - Vivien Schweitzer, The New York Times

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