Family Connections: Conversations with the Yings

Bowdoin International Music Festival kicks into high gear in a matter of days. Before we start attending concerts, masterclasses and all the other events that make up the intense six-week program, we wrap up our interview with Artistic Directors David Ying and Phillip Ying. We offer here a glimpse into the factors that have influenced these two brothers who happen to be professional colleagues and collaborators while being part of a family of five siblings and a Festival family of hundreds.

BIMF: “Family” seems to be a central focus for both of you. Can you talk about that and tell us how “family” has formed you and plays a central theme in your professional lives?

Phillip: Though I enjoy being a part of a family of several professional musician siblings (four out of the five), there are not any professional musicians in previous generations on either my father’s or mother’s side. My mother had the opportunity to take a few lessons on piano and violin when she was growing up in St. Louis, but at that time lacked the resources or the encouragement to continue. I believe that those early experiences for her planted seeds of a deep and life-long love of music and were some of the reasons that she determined early on that all her kids would also love music and learn to play the piano. She definitely succeeded in instilling a love of music in each of us. On the other hand, since we are all string players, she did not succeed in raising a family of pianists!

BIMF: Lots of kids who take music lessons do so because their parents pretty much push it down their throats. Of course, a few unique kids possess that magical musical gene that might make them prodigies. What kept you on the musical path, especially since you were in some respects competing with your siblings? As I recall, you didn’t start studying music intensively until your early teens, unlike some kids who start at age three. Did that impact you in any way?

David: Lots of kids need to be bribed to play or practice their music.  When we were little the only way our parents could get us to play was to dangle the prospect of money in front of us. That meant occasionally playing at people’s parties. But primarily we played music with our own friends, who were also taking lessons at the same age we were. We all had a good time practicing together.

Phillip: We were fortunate to grow up in an area in the northern suburbs of Chicago that had strong string programs from junior high through high school. Music was the basis of some of my most memorable experiences and friendships from that time. In our early years when we were still at home, we fearlessly – maybe foolishly – waded into some of the greatest quartet masterpieces of the repertoire. I distinctly remember trying as best we could to learn the Debussy Quartet, or the Dvorak “American” Quartet, or Beethoven’s Op. 59, No. 3, and obsessively listening to our vinyl records of groups like the Juilliard Quartet play these pieces. Our results at that time were often more enthusiasm than polish. But the opportunity to experience these pieces from the inside and to benefit from the patience and guidance of our exceptional teachers and coaches was profound.

David: We lived near what is now called the Music Institute of Chicago where we had our lessons. It was great to grow up in that part of the country. Our schools provided lots of great musical opportunities, we played chamber music with our friends, and we had great teachers. I appreciate those early teachers as much as any of my teachers in the intervening years.

BIMF: What about your own children? All four of them live with two-parent musicians. Will they follow in your musical footsteps?

David: Elinor (Freer) and I are very proud parents of Alina, age nine, and Nathaniel, age six. We don’t push them into music, but of course they are surrounded by it. Elinor is a gifted pianist who teaches and plays professionally, although her primary focus right now is being a wonderful mother. It would be great if the children want to take up music, but we’ll see how that progresses. Nathaniel is a big sports fan, which we are happy to support.

Phillip: Keiko and I are parents of two lovely daughters. Clara is three and Ellia is one; I suspect they are like almost all children in that if given the chance, they cannot get enough of singing and dancing. They are both too young, in our view, to be pushed into playing music. As in David and Elinor’s home, Keiko, who is a cellist, and I do surround ourselves with music and practice or listen to it whenever we get the chance. But we think the children should make their choices about favored activities as they get older. Right now they just need to be kids.

BIMF: Chamber groups seem sort of familial: they are usually small groups of tightly connected musicians who have to coordinate their calendars with each other just as regular family units do; they probably spend more time together than away from each other; and I imagine they squabble and love each other as in any family unit. How did you get interested in being part of the chamber music scene as opposed to taking the path of soloist or orchestral musician?

Phillip: Music festivals were the absolute highlights of my musical life, and these festivals always revolved around chamber music for me. I have vivid memories of each of the pieces I studied and performed and each of my chamber music partners – Mozart, Prokofiev, and Brahms quartets at the Quartet Program; Bartok and Dvorak quartets at Blossom in Cleveland; Beethoven Op. 74 at the Music Academy of the West; Brahms, Webern, Hindemith, Prokofiev, and Mozart at Marlboro; and of course the amazing coaches and pieces that the Ying Quartet experienced during summer training programs at Aspen and Tanglewood. Chamber music is more intense, more dynamic; it’s so much easier to communicate with four on a team rather than being an anonymous player in a large orchestra, which of course is also a thrilling experience. But it’s always been about chamber music for me.

David: I’m in the same camp as well. Elinor and I directed the Skaneateles Festival for ten years until Phil and I took on this post at BIMF. It’s a wonderful, intimate experience and there’s so much more opportunity to develop life-long friendships with our musical colleagues. Now we can enjoy that Skaneateles as members of the audience while looking forward to making many more friends at Bowdoin.

BIMF: Just a quick question about your experience of playing at the White House, a pretty heady experience. How did that happen? And while we’re at it, a small trivia question for David: Do you have to buy a seat for your cello when you travel by plane?

David: We were invited to play at the White House during the Clinton administration, commemorating classical music month. I believe we came to their attention through our work in Iowa, which was supported by the National Endowment for the Arts. And yes, it was a very thrilling experience! As for the trivia question, I do have to buy a “seat” for my cello when I fly. It would never survive in a baggage hold, nor would I trust it to be left to bounce around with suitcases and other freight. It’s not the easiest way to travel, especially these days, but it’s too late to learn the flute!

Margy: Any parting thoughts on the eve of your first summer season as Artistic Directors of the Festival?

Phillip: I think I can speak for both of us that it is a tremendous responsibility and privilege to be in a position where we can give back at BIMF. This is a place where we hope to continue the tradition of mentorship, inspiration, teaching, nurturing, and encouragement, especially through chamber music, for every faculty and student participant. We look forward to the ways in which we will personally continue to grow as people and as musical friends and colleagues to all involved with the Festival.

BIMF: Thank you both for sharing your thoughts with us. We look forward with great anticipation to the coming season.