World citizen plays universal language
By Zhang Qian |
June 3, 2012, Sunday
|
Print Edition
Print Edition
Program Code: 0909346130605020
Trademark ringlets of silver hair, a silver goatee and silk blouse give cellist Mischa Maisky a striking appearance on stage, but it's his musicianship that's made him famous. His playing combines, says one critic, "poetry and exquisite delicacy with great temperament and brilliant technique."
Maisky was in Shanghai last Friday, staging a joint concert with his pianist daughter Lily Maisky. Before the concert, Maisky spoke with Shanghai Daily and other media.
Born in Latvia in 1948, educated in Russia, immigrating to Israel, and enthusiastically received in London, Paris, Berlin, Vienna, New York and Tokyo, Maisky considers himself a citizen of the world, conversing in the universal language of music.
Maisky is the only cellist in the world to have studied with both Mstislav Rostropovich and Gregor Piatigorsky. He has made more than 30 recordings with orchestras such as the Vienna and Berlin philharmonics. He has received numerous awards,
"I feel at home everywhere where people appreciate and enjoy classical music," he said.
Q: How does being a citizen of the world influence your music?
A: I always consider classical music an important universal language, allowing musicians to communicate regardless of backgrounds, cultures, religions and traditions. This way of life, traveling all over the world, influenced my personality as well as my understanding and expression of music. People always say life experience affects your personality and your personality as a human being reflects in your personality as a musician.
Q: How do you balance the composer's original intention with your interpretation?
A: For an interpreter, the music itself by the composer is always the most important source of inspiration. The composer is always more important than the performer. But inevitably, since all arts, including music, are subjective, different musicians have different understandings of a piece.
The same musician can also have different interpretations at different times. Music for me is very much alive.
Q: The upcoming concert features a lot of Spanish music. Why is that?
A: I love good music, no matter where it comes from. I was born in the Soviet Union (Latvia was part of the USSR) and educated there, but that doesn't mean that I should only play Russian music, which I do a lot. Last year my daughter Lily and I recorded a CD of Spanish pieces. We decided to include this in our China concert.
Q: Describe your cooperation with your daughter and your parenting.
A: I am not a strict father; actually, it is sometimes difficult for me to be objective when cooperating with my beloved daughter. Since my children were born, I have always wanted to play music with them. And the dream was recently realized. I also perform with my violinist son.
We seldom argue about music, but we exchange views; it's two-way. I never impose any ideas on my children. They have their own ideas and I am very open minded.
Q: You adapt many pieces for cello. How do you select them?
A: I choose music that I love and which I feel will suit the cello. My idea of arrangement is to keep the inherent characteristics as much as possible, respecting the original. Most composers in the past arranged their own music and other composers' music for different instruments. They were more open-minded than some people nowadays. Quality is always more important than quantity. I am always careful, trying not to do too much but do my best. I am still young, younger than I look. So, I think I have a lot of time to learn about Chinese music, and possibly do something about that, too.
Q: How have Rostropovich and Piatigorsky influenced you?
A: The masters' influence is profound. I studied officially with Rostropovich for four years, and we knew each other much longer. I spent four intense months with Piatigorsky before his death. We spent so much time together. They are not only the greatest cellists ever but great musicians and teachers.
If I have the time and talent, I may write a book about the experience. But I prefer transmitting everything I learned from them into playing music.
Maisky was in Shanghai last Friday, staging a joint concert with his pianist daughter Lily Maisky. Before the concert, Maisky spoke with Shanghai Daily and other media.
Born in Latvia in 1948, educated in Russia, immigrating to Israel, and enthusiastically received in London, Paris, Berlin, Vienna, New York and Tokyo, Maisky considers himself a citizen of the world, conversing in the universal language of music.
Maisky is the only cellist in the world to have studied with both Mstislav Rostropovich and Gregor Piatigorsky. He has made more than 30 recordings with orchestras such as the Vienna and Berlin philharmonics. He has received numerous awards,
"I feel at home everywhere where people appreciate and enjoy classical music," he said.
Q: How does being a citizen of the world influence your music?
A: I always consider classical music an important universal language, allowing musicians to communicate regardless of backgrounds, cultures, religions and traditions. This way of life, traveling all over the world, influenced my personality as well as my understanding and expression of music. People always say life experience affects your personality and your personality as a human being reflects in your personality as a musician.
Q: How do you balance the composer's original intention with your interpretation?
A: For an interpreter, the music itself by the composer is always the most important source of inspiration. The composer is always more important than the performer. But inevitably, since all arts, including music, are subjective, different musicians have different understandings of a piece.
The same musician can also have different interpretations at different times. Music for me is very much alive.
Q: The upcoming concert features a lot of Spanish music. Why is that?
A: I love good music, no matter where it comes from. I was born in the Soviet Union (Latvia was part of the USSR) and educated there, but that doesn't mean that I should only play Russian music, which I do a lot. Last year my daughter Lily and I recorded a CD of Spanish pieces. We decided to include this in our China concert.
Q: Describe your cooperation with your daughter and your parenting.
A: I am not a strict father; actually, it is sometimes difficult for me to be objective when cooperating with my beloved daughter. Since my children were born, I have always wanted to play music with them. And the dream was recently realized. I also perform with my violinist son.
We seldom argue about music, but we exchange views; it's two-way. I never impose any ideas on my children. They have their own ideas and I am very open minded.
Q: You adapt many pieces for cello. How do you select them?
A: I choose music that I love and which I feel will suit the cello. My idea of arrangement is to keep the inherent characteristics as much as possible, respecting the original. Most composers in the past arranged their own music and other composers' music for different instruments. They were more open-minded than some people nowadays. Quality is always more important than quantity. I am always careful, trying not to do too much but do my best. I am still young, younger than I look. So, I think I have a lot of time to learn about Chinese music, and possibly do something about that, too.
Q: How have Rostropovich and Piatigorsky influenced you?
A: The masters' influence is profound. I studied officially with Rostropovich for four years, and we knew each other much longer. I spent four intense months with Piatigorsky before his death. We spent so much time together. They are not only the greatest cellists ever but great musicians and teachers.
If I have the time and talent, I may write a book about the experience. But I prefer transmitting everything I learned from them into playing music.
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