64: Five Questions For Chee-Yun
with Chee-Yun
1) What is the best professional advice anyone has ever given to you?
What is the best professional advice anybody has ever given me? Well, I will say this. I didn't realize that it was a good professional advice, but when she actually defined me, this is my current manager, Pat Winter, at Opus 3, she had called me, You're the ‘Yes Girl.’ I had not realized that I was always saying yes to the dates, but I think that was-- Thinking back, I think it was the best career advice that she has given me when I basically signed with ICM. Oh, Opus 3, excuse me, formerly known as ICM Artists back in the 90s, and that actually kind of that I took it as a compliment and I sort of like, you know, never said no really, hardly ever
2) What can a young musician do to ensure a repeat engagement?
What do I do to ensure repeat engagements at festivals and concerts? Again, I have to say, I can't not say enough about positive attitude. It is from saying yes to also being very open to their suggestions. Of course you have to prepare yourself the best way you can and you walk in like as if you know the piece, even if you haven't played it, but always go in with an attitude, I am here to learn something, I'm here to be inspired by other artists. I think it's always good to be humble and also take criticism well. If there somebody says that even though you in your head, you are not playing that loudly, but if somebody says, I think you are a little bit loud and you say, Oh my gosh, that is not my intent and let me try that again. And always having that positive attitude and with a little smile.
3) What does it mean for a musician to show up fully prepared?
Well, I you know what? I, I always feel like I'm never fully prepared! But with that said, I try to do my best. As I said, you know, even if it's a piece that I've learned before, I always feel like there's something that could be improved. So I don't think I'm 100% like, the best ability of that specific repertoire. But if it's a concerto, I not only learned my part, but I also learn the orchestra part and also practicing with a metronome. Because just because I think that I have good policies mean that I could follow somebody else's or for them to follow mine. So I always play with a metronome because that's always good - very strict way to brush up on your pulse. But also, you know somebody else's part, because I often realize that in chamber music as well, not just your part, but so that you're acknowledging when somebody else is has a melody to play and you look at them and they actually appreciate that. Even with the orchestras in the rehearsals, not for the concept, but you know, in the rehearsals, I often actually face the orchestra too, when they're, playing, and acknowledge it. And I think that also brings out the sort of the team player in everybody and all of us. And I definitely need them! I can't be playing my solo part without their help and with them enhancing me. So a lot of times it helps to really study their parts as well as yours.
4) When do you say "yes" and when do you say "no" regarding work?
The few times that I've said no were the times that I physically could not do the date. So either I was-- It was too... traveling wise, it was too difficult to be there in such a short time. Or if, if I couldn't play due to an injury. And then the other time will be when I actually don't know the repertoire, but very few times.
5) Outside of performing well, what is the most important thing an artist can do to grow their career?
I think keeping in touch with people in writing. I know these days it's I know these days it's texting-- Well, when I say writing, as in like, I actually still write thank you cards. This is one thing that I learned from my former teacher, Dorothy DeLay, and she had always said, Don't forget to write thank you notes to the people who's hosted you, or even for the people you know, the conductors that you really love working with. Send Christmas greeting cards, keep in touch with them in writing. So I try to do that, and I should probably do that more often now that I am talking about it. But definitely in the beginning of my career, especially during YCA days, I remember I was very busy, like during holiday season because I'll go through the list of all the addresses and yes, do get their addresses because it's so much more personal. And I think these days if you do that, they feel more touched because not often you get a thank you card. I mean, I do when I get a thank you card from, you know, some of the artists that I work with or some of the people I collaborate with and you know, that I, I feel really special, so...