
Photo: Edwin Ndeke/The Guardian.
Kenyan classical musicians gave an outdoor performance in Nairobi recently. Cellist Yo-Yo Ma also performed that day.
Do you know the cellist Yo-Yo Ma? He seems to be performing in a different country every day, and often he’s performing for charity. I follow him on Instagram, and I’m always amazed.
Caroline Kimeu wrote at the Guardian in June about Yo-Yo Ma’s recent visit to Kenya.
“Nairobi’s bustling Kenyatta market is an unlikely place to hear classical music. Yet playing today in front of stalls where butchers roast meat and hairdressers compete over heads to braid is a very surprising busker: the distinguished cellist Yo-Yo Ma. Playing ‘Over the Rainbow’ alongside Kenyan percussionist Kasiva Mutua, he matches his cello to her beats in a truly eclectic mix.
“Ma’s broad artistic sensibilities make weaving together the diverse musical traditions of drum and cello seem like a natural fit. ‘It was symbolic to introduce [classical] music to the crowd through something they know and understand,’ says Mutua. ‘Africans understand rhythm to their core.’ …
“Nairobi is Ma’s last stop of his Bach Project – a five-year, six-continent global tour. With its rising cultural and artistic scene, organizers say the city was near the top of the cellist’s list.
“The project marked Ma’s ambition to connect cultures and people across the world, performing Johann Sebastian Bach’s cello suites in 36 countries. …
“Bach’s cello suites were not well known by the time of the composer’s death in 1750. They began to resurface nearly a century later, and were brought to prominence in the 1930s when Pablo Casals, one of the world’s most highly regarded cellists, performed and recorded the neglected suites.
“Ma has recorded interpretations of the suites three times, with more than a decade between each.
“They are wrapped up with his life’s memories, he has said, citing his first encounter with Bach’s music when he was four: his father, Dr Hiao-Tsiun Ma, taught him the first suite in small, incremental steps. …
“ ‘For almost six decades, they have given me sustenance, comfort and joy during times of stress, celebration and loss,’ Ma wrote at the start of the Bach Project in 2018. ‘What power does this music possess that even today, after 300 years, it continues to help us navigate through troubled times?’
“Beyond busking, Ma takes to a more conventional stage with a concert at the Kenya national theatre. His audience now is a classical crowd – the [$145] auditorium tickets sold out in 24 hours – with prominent members including the arts minister, Ababu Namwamba, and the US ambassador, Meg Whitman. …
“Ma plays as though he is the only person in the room. Only the loud applause breaks through to him, earning his bow and embrace of the audience, arms flung wide. The solemn, lonely fifth cello suite – his penultimate performance – makes the auditorium fall silent.
“From a viewing room on the upper balcony, Brian Kivuti, a 34-year-old Kenyan jeweler, listens with closed eyes. ‘For me, it was a practice in presence,’ says Kivuti. ‘There are no lyrics telling you how to feel. It’s just the music and you, feeling your way through, so you pay more attention to how the notes make you feel. …
“ ‘When I started to listen with my body, I could feel notes of hope, the quiet of a Sunday morning, the dizziness of preparing for a party. The rise and fall of the notes allow you to tap into more than just everyday feelings.’
“At the theatre’s Wasanii restaurant, workers perched on rooftop balcony seats to watch a screening of the performance. For Margaret Wanjiru, a 22-year-old waitress, Ma’s music is a far cry from what she knows, such as her tribe’s Mugiithi. ‘It may not be the music I grew up with, but it slows you down, however much you’re busy, and allows you to get lost in your thoughts.’
“The Nairobi Orchestra, one of the oldest in Africa, performs ahead of Ma’s set, and its musicians are thrilled to have him in the auditorium. Violinist Bernadette Muthoni says: ‘For me, it was very huge to think that Ma was going to play just a few metres from where we were. He’s what a lot of us aspire to.’ …
“Ma is increasingly interested in using his work for social impact. He played outside the Russian Embassy in Washington DC last year to protest against its war in Ukraine, and dedicated his Songs of Comfort to providing solace for people during the difficult days of the pandemic.”
More at the Guardian, here.














