As a Japanese cellist, Michiaki Ueno wishes to introduce the world to the remarkable body of music composed in his homeland. At first glance, this might seem like a conventional statement - something anyone might say. Yet, when we consider his background, the words take on a different weight.Born in Paraguay (1995) and raised in Spain during his early years, Michiaki Ueno was captivated at the age of four by a video of Yo-Yo Ma. He received his first cello as a Christmas gift when he was five - marking the beginning of his musical journey. For someone like Ueno, Japan was both his homeland and a distant, unfamiliar place. "I never really thought deeply about Japanese culture," he reflects. "When Europeans spoke kindly about Japan, I was embarrassed to realize how little I actually knew."As he matured, Ueno found himself increasingly compelled to confront and contemplate his cultural identity. Unlike those who grow up immersed in Japan and take it's environment for granted, Ueno approached it as something external something to be consciously examined, understood, and deliberately chosen. It is perhaps through the very act of performing works by Japanese composers that he engages in this thoughtful process of selection.
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As a Japanese cellist, Michiaki Ueno wishes to introduce the world to the remarkable body of music composed in his homeland. At first glance, this might seem like a conventional statement - something anyone might say. Yet, when we consider his background, the words take on a different weight.Born in Paraguay (1995) and raised in Spain during his early years, Michiaki Ueno was captivated at the age of four by a video of Yo-Yo Ma. He received his first cello as a Christmas gift when he was five - marking the beginning of his musical journey. For someone like Ueno, Japan was both his homeland and a distant, unfamiliar place. "I never really thought deeply about Japanese culture," he reflects. "When Europeans spoke kindly about Japan, I was embarrassed to realize how little I actually knew."As he matured, Ueno found himself increasingly compelled to confront and contemplate his cultural identity. Unlike those who grow up immersed in Japan and take it's environment for granted, Ueno approached it as something external something to be consciously examined, understood, and deliberately chosen. It is perhaps through the very act of performing works by Japanese composers that he engages in this thoughtful process of selection.
