The maestro has been on a five-year mission to bring joy to the world through the music of Bach. On the final stop in Kenya last week, he took that mission outside the concert hall
Ma’s broad artistic sensibilities make weaving together theof 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.”
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 toMa has recorded interpretations of the suites three times, with more than a decade between each. national theatre. His audience now is a classical crowd – the £114 auditorium tickets sold out in 24 hours – with prominent members including the arts minister, Ababu Namwamba, and the US ambassador, Meg Whitman.
Kivuti, more accustomed to the “emotional bombardment” of an orchestra, says elements of the music were “very European”, and it took him time to adjust. “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.”
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