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Nestled in the heart of Boston, the Symphony Hall hosted an evening that transcended mere musical performance on April 9. As part of the Celebrity Series of Boston, legendary cellist Yo-Yo Ma and acclaimed pianist Kathryn Stott graced the stage together for one final collaboration, marking the end of an era of profound musical partnership.

Stott, poised to retire at the year’s end, crafted a program reflective of her storied career alongside Ma.

“Kathy will retire from her extraordinary career as a performer at the end of this year, and she designed this program knowing it would likely be the last we would perform together,” Ma wrote in the program. “I hope you will listen to tonight’s concert with this in mind, hearing in its whole a celebration of the time we have spent together.”

Everyone in the audience could tell that the night would be special. The hall was filled with quiet chatter and laughter before the performance began, a sense of community and shared appreciation apparent.

As the lights dimmed, the murmurs of the anticipatory audience hushed. The duo’s entrance was met with roaring applause and a standing ovation before a single note had been played. Ma, with a charismatic presence, acknowledged familiar faces with a wave before diving into the evening’s repertoire with unmistakable confidence.

The first part of the program included pieces such as “Papillon, Op. 73” by Gabriel Fauré and “Cantique” by Nadia Boulanger, among others. Fauré was a friend and mentor to Boulanger, who taught Stott in her early years. Another of Boulanger’s students was Ma’s professor in college. In this way, it was clear that the program was designed for the people performing it. The opening suite was an ode to students and teachers — to those who came before, and to those who will come after.

The vitality of spring permeated the program.

“It’s Red Sox season. Spring is here!” Ma said with a laugh, lightening the mood before beginning Dmitri Shostakovich’s intense “Cello Sonata in D minor, Op. 40.”

Post-intermission, the two performed Arvo Pärt’s “Spiegel im Spiegel.” “Spiegel im Spiegel,” which Stott explained, means “Mirror in Mirror” in German. Images of space from the James Webb and Hubble Space telescopes were projected onto a screen above them, creating an ethereal atmosphere.

The evening crescendoed with César Franck’s “Sonata in A Major,” arranged by Jules Delsart. Originally composed as a wedding gift for the composer’s young friend, this piece was also carefully selected to fit the theme of the evening.

“It’s yet another example of the cycle of life and what happens in the evolution of a relationship,” Ma said.

Both Ma and Stott’s musical brilliance was clear as they finished the program. The audience went wild as the pair took their bows and exited the stage. The hall continued its applause, begging for more — and their wishes were granted.

The pair took the stage one last time to perform two encores: Ernest Bloch’s “Prayer” and Cesar Camargo Mariano’s “Cristal.” As Ma’s bow flew off of the string for the final time that night, the entire hall seemed to erupt in applause. It was not only a reflection of respect the audience had for the performers, but also a reflection of the respect which existed between Ma and Stott.

As Yo-Yo Ma and Kathryn Stott bowed their final bow together, the evening closed on a note of bittersweet farewell, leaving a mark on the hearts of all present — a testament to the transformative power of music and the lasting legacy of artistic collaboration. They looked at each other and smiled as the applause filled the room. Looking closely, one might notice the silent conversation Ma and Stott had during their last moments together on stage. “Thank you,” their eyes seemed to say.

—Staff writer Najya S. Gause can be reached najya.gause@thecrimson.com.