“I treasure all my audiences. Understanding where they travelled to in their imagination while listening to me play…I feel like the audience’s imagination actually completes my music.” – Yun Cai

In 2020, as our next chosen Wonder Woman of Malta says, “the whole world learned it’s okay for life to slow down a little”. Some people used this new scenario to learn a new language, some picked up paintbrushes and embraced creativity, others immersed themselves in exercise – and some baked like maniacs and drank a whole wine cellar (I’ve no idea who did this).  

Yun Cai sat down at her piano in her apartment, put self expression (and two decades of classical training) into practice and “started creating non-stop”. Her journey into piano improvisation – creating new music live rather than reciting rehearsed sheet music – had begun. 

The outcome? In just four years, Yun has made a name for herself with her gift for spontaneous composition. She has mesmerised audiences in and beyond Malta with her sound, and wowed them with visual experiences that are increasingly ambitious in design and scope – including almost getting blown off a building. No joke. 

SHE Malta cofounder Sass and I have been lucky enough to witness Yun’s talent on a few occasions. More recently, I interviewed her as our third Wonder Woman of Malta. You’re in for a treat and some surprises…

1.  You started classical piano training at just four years old and achieved Level 10 proficiency by 15. Was this led by your own request or more by family members/school?
I have loved music for as long as I can remember as both my father and grandfather had great musical talent so I think it’s in my family’s blood. In fact my name in Chinese means melody and rhythm so that says it all! I first started playing keyboard aged 3 and by age 5, I had already passed grade 8 and was learning quickly. The suggestion for me to start playing the piano came from my teacher, and my family has fully encouraged and supported this through the years.

2. What were these piano playing years were like:
i) How frequently did you play?
I played every day and was the lead pianist in my class.

ii) Were there teaching styles you did (and did not) respond to/prefer more than others?
I received very strict and classical training. I guess the rigid part is something no child enjoys that much. Also the daily set practice isn’t so easy for a kid who just loves to play.

iii) Did you have a particular mentor or teacher that was instrumental (excuse the pun) in your continued piano playing, discipline, love for this musical form?
Yes, I’ve had a few piano mentors and teachers at different stages in my 15 years of training as a student’s mentoring requirements change according to their skills development. They are all outstanding performers and professors. I remember one was too strict and never laughed(!) but she was extremely professional and paid great attention to details. I also had a younger teacher who was very laid back, talented and a John Lennon fan. They both influenced me in different ways.

iv) Did you – or were you allowed to – pursue other hobbies/interests outside of piano playing? If so, tell us a bit about this.
I had many other interests and hobbies: basketball, tennis, ballet, folk dance, theatre and poetry classes. I also used to draw a lot and attended competitions. It was a very broad reach of studies and education which I think all played crucial parts once I started creating and playing my own shows later in life.

v) Do you play any other instruments?
Organ and drums…loved them!

3. After moving to Malta, you had the reality of working and earning an income.
i) What exactly led you back to the ivory keys?
It was thanks to Covid actually … The whole world learned that it is okay for life to slow down a little. I finally had the time and space to look introspectively and I started creating non-stop. The whole thing just kept growing. It was the best thing that could have happened.

ii) Did you have your piano sent from China or did you buy it in Malta?
Malta as there are many good piano options here.

4. How has your Chinese heritage influenced your music, and how does it blend with the European and Maltese cultural elements you’ve encountered?
I didn’t think too much about my Chinese heritage when going into neo-classical piano composition but focused more on my personal feelings and connection to this world. But I guess the fact that I’m from China will always exert a certain influence on me in different ways, for example, choosing improvisation as the key component of my art expression. We have thousands of years of history of Chinese musicians who improvised via ancient instruments; it was quite common among musicians going back in time.

5. Performing a recital is already skilful but you are an improvisation performer – a whole other level of talent. 

i) What inspired and continues to inspire your improv compositions and performances?
For me, it’s the most natural, comfortable and authentic way of expressing what I’m feeling right there in that very moment. But also…maybe two decades of memorising sheet music became tiring and I wanted something different. For me, it’s hard to get 100% invested and be fully present with my musical touch if I’m having to use half my brain energy to recall memorised music instead of focusing on my technique and composing music myself.
 
ii) Given that you are performing a brand new piece each time, could you describe your process when preparing for a new collaboration or event?
Great question! I only play in venues that inspire me in one way or another, whether that’s in terms of their physical space, history, architecture, the people I’m collaborating with. But also, each space has its own energy and a venue’s attraction can lie simply in this energy…so sometimes, I’m just drawn to the aura I pick up from a particular space. I’ll spend hours and days inside the venue, spending time with everyone involved before my actual show to soak up all the ideas and energy. Every show I do is different so I’m highly involved in the entire creation process – it’s not the ‘plug and play’ style of doing things.

6. Have you had to make any sacrifices for the sake of pursuing your passion?
I prefer to look at it as making adjustments or commitments rather than sacrifices as this is something that truly resonates with me and enriches my life in numerous ways. Yes it does involve constant travelling, late nights, weekends without any breaks, exhaustion from jetlag, pre-show nerves, uncertainty and worry. Each concert relies on numerous logistical elements working together correctly and on time, and so many things can go wrong during a show. The audience doesn’t see the behind-the-scenes energy and work that goes into practising, recording, creating and crafting ideas, social media promotion, marketing and communications, photography, filming and editing. Not to mention the personal fear you have to overcome on a daily basis…the list goes on! I relate art a lot with sports actually; it’s extremely tough, highly demanding and totally unpredictable.

7. What challenges have you faced in balancing your artistry with other commitments, and how have you overcome them?
I don’t ‘balance’ with other commitments…the artistry always comes first. Everything else has to fit around it or adapt to it.

8. You’ve created some incredible moments including 2024’s Tempietto Serenade at Villa Frère Valletta, 2022’s Carla Grima Silk in Motion fashion show at Palazzo Parisio and of course, your 2021 inaugural performance at Phoenicia Hotel.

i) Can you name some other places/performances/collaborations?
 I’ve performed over 30 shows in China and Asia in the last two years which I did not expect at all so I’m truly grateful for each and every experience and how things turned out.

ii) Do you have a favourite venue, collaboration or highlight of your career so far?
One of the many special ones was a 2024 series that combined exhibition, live concert and audience participation. Over 11 different multidisciplinary artists – including calligraphers, painters, illustrators, sound designers – were invited to participate in one of my live concerts at a 100 year-old gallery (built by Australian architect Arthur Purnell). These artists were set up in the gallery’s corners away from the audience’s view, to create their art synchronised with listening to my live music. After the concert, artists had 10 days to finalise their work and then all the concert-related art pieces were exhibited inside the gallery for over a month on one dedicated floor while my music concept was played on another floor. At the same time, many of my Malta-based shows were presented on different screens in video format. Meanwhile, the third floor aired the documentaries we had filmed with the various artists and architects over the month of preparation. Finally, the last room was a space for the audience members to draw their own pieces after the exhibition to be subsequently hung in the gallery. Over 45 days, we collected more than 300 art pieces, all inspired by the show and exhibition concept. So the end result was: My improvised music → Art creation → Music + Art exhibition → Audience creation + exhibition. I still can’t believe it happened and that I witnessed my music creating such a ripple effect.

iii) What was the most difficult, challenging, intense performance (if you’re willing to share)?
I did an open air, sunrise (4:15 am) performance by the sea on a rooftop once. I was exhausted from doing two shows the previous night and getting barely three hours sleep; I hadn’t even removed my makeup or hairstyle as there was literally no time to do fresh hair and makeup for this next show. What’s more, the weather totally changed just hours before my performance and the temperature dropped to eight degrees. The whole time I was playing, there were non-stop cold winds, so strong that they sounded the same volume as my piano, made my head hurt and left me barely able to open my eyes and see the keys. The audience all had thick blankets while I had half frozen fingers – yet I somehow had to find a way to co-exist with the weather and still create a beautiful melody on the spot for 40 minutes. To top things off, I nearly got blown off the stairs, trying to come down from the roof and all the staff were freaking out. So THAT was definitely an experience! I actually don’t regret it but I don’t think I’ll do it again haha.

9. You have dramatic stories about the transport of your piano to different venues for your performances and the sheer logistical effort involved. Can you tell us some of these stories?
Many times it involves high-ups, trucks, six to eight men carrying it through different cracks and angles… One time, I was doing a performance in a garden and we built a stage specially for it. The movers threw a tantrum two hours before the show and refused to carry the piano from the garden path onto the stage, trying to leave it in the middle of the road. Obviously I managed to convince them as there is no other choice. It’s a non-negotiable situation I have to go through every time to make sure the show goes on and the magic of the concert is preserved. And that’s just one logistic out of many!

10. Do you see your work as contributing to Malta’s cultural or artistic scene? If so, how?
All of the local shows I’ve done are inspired by architecture, ideas, stories, spaces specifically connected to Malta. Since I started this journey, I have received many generous compliments and support that I’m immensely grateful for. I feel like the scene here is very open and encouraging and I keep seeing many familiar and new faces at my Malta shows. I would like to use this opportunity to say how much I treasure all my audiences. They make everything worthwhile, especially when they share their feelings and thoughts with me after a concert. This is actually my favourite part – understanding where they travelled to in their imagination while listening to me play…I feel like the audience’s imagination actually completes my music.

11. Do you have any advice – based on your own experience – for youngsters who are interested in learning to play the piano?
Only play if you truly love music and love to play. Find the way that suits you the best, rather than the best way to play.

12. Are there any unfulfilled dreams or projects you’re hoping to pursue in the next few years?
There are quite a few on the list and I’m really excited for the right moments to present themselves. I have been wanting to collaborate with a harpist and marimba player to create musical pieces together. If you know of any, please reach out to me😊.

13. Any thoughts about being chosen as a Wonder Woman of Malta?
I’m the third person to have been chosen as a Wonder Woman of Malta which is definitely an honour and  I’m very excited to be a part of this. Together with many other wonder women alongside me, I can’t wait to continue my musical journey with this special community you guys created throughout all these years. Thank you with all my heart! 

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An ability to create melody on the spot, a growing repertoire of performances, a boldness for rocking beautifully audacious fashion and a collaborative spirit make Yun Cai a worthy choice as Wonder Woman of Malta.

(Also, bravery in the name of art. Seriously, did you READ Number 8?)