Tuesday, March 14, 2017

Talking to baritone Yair Polishook about his new Israeli Baroque opera project

Yair Polishook (photo:Dana Pomerni)
On March 11th 2017, I spoke to baritone Yair Polishook in Tel Aviv about his new “crowd-funding” campaign for a new Baroque opera ensemble in Israel. A singer familiar to lovers of opera and oratorio, Polishook’s main focus today is opera, both as a soloist in the Israeli Opera and in foreign opera productions. (He recently performed in a double bill of Purcell’s “Dido and Aeneas” and Charpentier’s “Actéon” with “Les Talens lyriques” in France under Christophe Rousset.) Yair teaches a little, but has set his sights at conducting. During his studies at the Trinity College of Music (London), he conducted a production of “Dido and Aeneas”.

PH: I understand you have a new project. How did it all begin?

Yair Polishook: The Israeli Bach Soloists ensemble, directed by Sharon Rosner, was disbanded over four years ago. We performed (mostly) Bach works, according to the theory that there were few singers and no choir performing them. This was highly interesting work for us as soloists and as a group. I have been wondering where we should go from there and what ensemble we could form that would be no less interesting. What interests me in particular is opera, so I approached some of my colleagues from the IBS and other singers from the Israeli Opera, with the aim of establishing a Baroque opera ensemble, in which each artist would have the chance of expressing himself/herself to the maximum.

PH: Would you need a large number of singers?

YP: No.  Baroque operas may sometimes require that, but we have found that working with a small ensemble creates a more organic and interesting group…more interesting both to singers and audience. In my opinion, a smaller group makes for more dramatic impact – each singer plays a character in the plot. And I am a “stage creature”; I love theatre (and music, of course) so my world is the world of opera. There are so many Baroque operas, of which not many are performed in Israel; what also interests us is authentic, historically informed performance.

PH: So, no opera chorus?

YP: Well, it is clear that Telemann meant there to be a choir, but we will work only with soloists to try to create this more engaging experience.

PH: Who have you approached?

YP: Daniela Skorka, Einat Aronstein, Shahar Levi, Alon Harari, Guy Pelc and Oded Reich, a real team of “all stars”.

PH: Who will conduct the ensemble?

YP: That will be my job. I studied conducting in high school and then with Mendi Rodan and Avner Biron at the Jerusalem Academy of Music and Dance. So, I am interested in extending that side of my career. For the ensemble’s first program I will not be singing but conducting. But it may be that we will sometimes work as an ensemble without a conductor.

PH: What will the company be called?

YP: The Orpheus Opera Ensemble. I chose this name, as the first opera we want to produce will be Telemann’s “The Wonderful Constancy of Love, or Orpheus”.

PH: Would you like to say a few words about the work?

YP: Yes. It is a splendid work that was only discovered in the 1970s. Tel Aviv University has performed some parts of it, but the complete opera has not been staged in Israel. Only two recordings of it exist; so, you could say the work is not well known at all! It’s time to perform it. One of its greatest moments is the aria of lament Orpheus sings after Eurydice has died for the second time, as he has not managed to release her from the nether world. Apart from the music, the opera is very interesting: there is an extra character – the Thracian queen Orasia, who is always full of complaints, hence her extravagant tirade arias… The main character, it is she who sets the whole plot in motion. She is in love with Orpheus and sends a snake to bite Eurydice, thus banishing Eurydice to the nether world. And not just Orasia – all the female characters are strong women, so this is definitely no chauvinistic opera! The opera is based on a libretto by Michel du Boullay. The libretto Telemann used was written by Louis Lully (son of Jean-Baptiste). In aristocratic circles of Telemann’s time, people were interested in multilingual culture, the result being that in this opera the recitatives are in German; some of the arias are also in German but there are also arias in Italian and in French…and each in the musical style of its language! The Italian arias sound like Händel’s Italian style, the French arias closer to the style of Lully.  Telemann also knew Rameau and the queen’s very moving final aria could be have been influenced by Rameau’s style. So, in wishing to keep up with the taste of contemporary society and please his audience, Telemann has compiled an opera that is nevertheless quite organic and very compelling.  

PH: Who will do stage direction?

YP: Shirit Lee Weiss, whom I have known since 2010, when we were working together in Menotti’s “The Telephone” and have worked together ever since in productions of the Meitar Opera Studio and the Israeli Opera. She is outstanding in guiding each singer to understand the character being portrayed, and, on the other hand, seeing the opera in its larger meaning.

PH: And instrumentalists?

YP: We have decided to collaborate with “Camera XV”, an ensemble formed at the Buchmann-Mehta School of Music (Tel Aviv), a group only existing for some five years, and running its own programs. Half of the ensemble has departed for studies further afield, so we are enlisting some more fine players – Tali Goldberg, Smadar Schidlovski, Daniel Tanchelson, Inbar Navot, Marina Minkin, Netta Huebscher, Inbar Solomon, Yigal Kaminka, Amir Bakman and Nadav Ovadia.

PH: And a home for the company?

YP: We have decided to be totally independent, in order to show what we can do. I hope that, in time, once we are up and running, we will have a permanent “home” in which we can work. We are presently looking for a place in Tel Aviv.

PH: What for you will be of prime importance?

YP: Communication with the audience. I am there to speak to my audience, an audience very different to that of Telemann’s time. The most communicative element is theatre. Music can be very beautiful, but I want interesting characters and opera narrative that will be fascinating and attractive.

PH: When do you intend to debut the company?

YP: Next season, i.e.2017-2018.

PH: So how can we help the ensemble get onto its feet?

YP: By going into Headstart, a site helping a variety of individual projects to get established. The idea is very simple: as yet, we have no budget or donors, but instead of waiting for them to appear, we want to ask people to buy tickets ahead of time for our first performance, to pay its expenses (lighting, sets, etc.) and to know that we have enough people interested in coming to hear us. You might call it reversing the order of things. A single ticket costs NIS 150, two purchased together will cost NIS 250. It is an opportunity to support us and believe in what we want to achieve. And we have some other interesting options: you might like to try a voice lesson, a conducting lesson (buy a ticket and lesson together), attend an open rehearsal (always interesting) or engage a private performance for some special occasion – 40 minutes of music with two singers, for example.

It’s very simple: you go into the site, there is a film clip about us. You buy your tickets and, most important,  when purchasing tickets your credit card will not be charged…only if we reach the amount we need to start the ensemble. But time is short: we have only to the  end of March to achieve our goal!

PH: Thanks for the information, Yair. I wish you all much success in the venture!

Sunday, February 19, 2017

Talking to violinist and teacher Grigory Kalinovsky at the 2017 Eilat Chamber Music Festival

Photo: Anna Kari

On February 4th 2017 I spoke to violinist Russian-born Grigory Kalinovsky at the Dan Eilat Hotel, where he was performing at the Eilat Chamber Music Festival and also tutoring some young outstanding violinists taking part in master classes. Hailed by the Vancouver Sun as a “superior poet” and by Gramophone for his “heart and indominable will”, Grigory Kalinovsky studied at the Manhattan School of Music, becoming a member of faculty there on graduation and prior to his move to Indiana. A devoted educator, he is professor of violin at Indiana University’s Jacobs School of Music, teaches at international summer festivals and holds master classes across the USA, Europe and Asia. Performing as a soloist and chamber musician, he collaborates with such artists as Pinchas Zuckerman, Shmuel Ashkenasi, Ralph Kirshbaum, Miriam Fried, Dora Schwarzberg and Paul Coletti. He has recorded with pianist Tatiana Goncharova. Their Shostakovich CD for Centaur Records was hailed by Maxim Shostakovich as a “must-have for any Shostakovich connoisseur.”

PH: Grigory Kalinovsky, is it your first time playing at the Eilat Chamber Music Festival?

Grigory Kalinovsky: Yes, it is my first appearance at the Eilat Festival, but certainly not my first visit to Israel. For several years now I have been giving master classes at the Buchmann-Mehta School of Music and the Israel Conservatory of Music as well as at the Jerusalem Music Centre.

PH: What was your earliest musical experience?

GK: My father was an opera singer in Leningrad and, from age four, I had a teacher come to teach me music at home…not any specific instrument – solfege and ear-training and a little piano. When I was five I started violin lessons. I went to a neighbourhood music school, where I had a wonderful teacher – Tatiana Liberova- with whom I studied till I left Russia in 1989, emigrating to New York.

PH: Did you study in New York?

GK: Yes, I did conservatory studies with Pinchas Zuckerman and Patinka Kopec at the Manhattan School of Music, finishing my bachelor’s degree as well as my master’s with them.

PH: I understand you started teaching quite early on.

GK: Yes. I have always loved teaching. I first started teaching privately, then joined the Manhattan School of Music’s pre-college program and then taught in the college program, teaching there till about three and a half years ago, when I left for Indiana.

PH: Let’s talk about your performing. Are you currently soloing more or playing chamber music?

GK: Recitals and chamber music. I haven’t played solo with orchestra in a while. It takes too much time and effort (with three kids and 22 students!)

PH: Here, at the Eilat Festival, you figured prominently in chamber music concerts. Would you like to talk about your chamber music involvement?

GK: I got most of my chamber music training after graduating, basically playing with other teachers at chamber music festivals. In Russia, there was not much training in chamber music. So, I was lacking the skills, but picked them up pretty quickly and I love playing chamber music more than anything else. Now I play chamber music at the school and at festivals I am invited to attend.

PH: Do you have permanent groups with which you play?

GK: I did have a permanent group in New York. We had a clarinet quartet (clarinet, violin, ‘cello, piano). Over the years, we played in different combinations – clarinet trios, violin trios, etc.

PH: Playing here at the festival, how well did you know these other musicians?

GK: I met all for the first time here.

PH: How much rehearsing did you do?

GK: The standard number of rehearsals for a festival: there were two (with Amir Katz) for the Schumann A-minor Sonata op.105 and three for the Tchaikovsky Piano Trio in A-minor op.50 (Amir Katz - piano, Hillel Zori - ‘cello) we had three…well, two rehearsals and one run-through. But the artists do know the pieces. It works if people are experienced chamber music players, know the works and can “read” each other.  Of course, there are pieces you can’t put together like that. But, in the case of the Tchaikovsky Trio, for example, if you know what you are doing it “plays itself”. I have to say that the colleagues were amazing! Amir Katz is a superb pianist and how inspiring it was to play next to Hillel Zori’s ‘cello sound.

PH: Would you like to talk about your current work as a recitalist?

GK: Yes. Nowadays, I mostly give recitals in conjunction with master classes at Indiana University or at summer festivals. Next week I will be in Oklahoma to run a master class and to play a recital with my good friend Tatiana Goncharova – we played together for over twenty years while I was living in New York. On my way back to the USA, am flying through New York, will have a 6-hour layover there to have a rehearsal with Ms. Goncharova in Manhattan, then flying back home. (Have never tried rehearsing after a 12-hour flight!) Then we meet again in Oklahoma. Then I have another recital coming up with her at Indiana University.

PH: And I understand you have a recording with Ms. Goncharova coming out soon.

GK: Yes. It will come out in March on the Naxos label. It includes all the sonatas for violin and piano by Mieczysław Weinberg (1919-1996). Weinberg was a Polish Jew who fled to Russia, where he spent the rest of his life. He was a very close friend of Shostakovich and a protégé of his. Shostakovich considered him one of the most important composers of his generation. Many years ago, my father actually sang in one of his operas! I have a newspaper clipping of Shostakovich’s article on the premiere, in which he mentions my father’s name.

PH: Can you say a few words about the Weinberg sonata project?

GK: For various technical reasons, the CD is only coming out now, but we actually recorded it in 2010 It is very good music. Of course, when you take music written over a composer’s lifetime, there must be some unevenness of quality. We start with opus 12, the last work on the CD being written 10 years before Weinberg passed away. But it is all very interesting music, very diverse. The last piece – Sonata No.6 – was only discovered when I was already starting the project: I received a letter from the publishers to say they had just discovered a manuscript - Sonata No.6 -  in the archives. So, nobody had ever seen the music. In fact, when I started looking at it I saw things that were not actually playable. It was clear Weinberg had not worked on it with any performer. It was typeset for me and we figured out a few small changes to make it playable. I did not go for technically easy solutions, but, as I said before, there were just a few things that were simply not possible on the instrument. It is an absolutely incredible piece, written on the death of his mother – probably the most unique of the pieces, very short…under 10 minutes, very dark, very profound. It begins with a violin solo of a page and a half of running eighth notes (with different harmonies). It took me a while to realize what this was: one of those sensations when you lie awake at night and hear all the clocks in the house.  By the way, a lot of his sonatas have big piano solos – of several minutes – unusual for such sonatas.

PH: Was Weinberg a pianist?

GK: Yes. He studied as a pianist at the Warsaw Conservatory.   To write something that complex for piano he would have to be. Sonata No.4 starts with a three-minute-or-so piano solo. Sonata No.5, dedicated to Shostakovich, has a huge piano cadenza (Shostakovich’s Violin and Piano Sonata does, as well!)

PH: What else have you recorded with Tatiana Goncharova?

GK: The other CD we did a few years before that was the Shostakovich disc you mentioned above in the introduction. It includes Shostakovich’s Sonata for violin and piano and transcriptions of the opus 34 Piano Preludes. Nineteen were transcribed by violinist Tsyganov, who was a close friend of Shostakovich. I commissioned the remaining five from Lera Auerbach, who is one of today’s most prominent composers.

PH: Do you yourself play new music?

GK: Sometimes.  I have played some of Lera’s music, for example. Also, at Indiana University, I played two concerts of music of university composers – a work by Don Freund and another by Claude Baker, both wonderful pieces.

PH: What about Baroque music?

GK: Well, I teach it, obviously. No violinist can do without studying Bach. I haven’t performed Baroque music in a while. Before leaving New York, I did a Vivaldi concert in the Zankel Hall of Carnegie Hall. However, the older I get the more I appreciate the authentic style of playing…when it is done well. I feel like you have to know what you are doing in order to do it properly. I don’t have a Baroque violin, but I did buy three Baroque bows for my studio so my students to try them, see how it feels and get an idea of the Baroque idiom.

PH: What is your opinion of the standard of performance in the Eilat Chamber Music Festival?

GK: It is of a very high level. Wonderful concerts. What I heard was very inspiring. Really great musicians.

PH: You were also tutoring young players in Eilat. What age group were you teaching?

GK: The whole spread: one 10-year-old girl from St. Petersburg, then a 17-year-old Israeli boy (who is actually auditioning to study with me in Indiana), a university-age student of Hagai Shaham (Tel Aviv) and a girl of similar age from Malaga, Spain.

PH: How many lessons did each student on the program receive?

GK: Officially, we were supposed to give each student three lessons, but I gave them four where I could. They came with works prepared. It was a kind of master class, which is all you can do in such a short time span.

PH: What violin do you play?

GK: My current instrument is a late-1690s (Italian) Gioffredo Cappa violin. I have had it for 12 or 13 years. I use a Sartory bow. I have also just commissioned a violin from Collin Gallahue (USA), a wonderful contemporary maker I just met this last summer. I was very impressed with his work.  He is a student of the great violin builder Zygmuntowicz. I have always wanted to have a great contemporary instrument I could loan to my students for when they have an important performance. And at some point, many years down the line, I will retire and want to sell my Cappa, so it would be great to have another inspiring instrument to play. There is a three-year waiting period for a Gallahue instrument and I am looking forward to seeing the result!

PH: Professor Kalinovsky, it has been wonderful hearing your concerts at the Eilat Chamber Music Festival and most interesting talking to you. Thank you for finding the time in your busy schedule here.



Sunday, February 12, 2017

Talking to New York-based Israeli pianist, composer and educator Guy Mintus

Photo: Maxim Reider

On February 2nd 2017, I met with Guy Mintus at the Dan Eilat Hotel, where he was one of the artists performing at the Eilat Chamber Music Festival. Born in Israel, the pianist, composer and educator today resides in New York, where he is active on the jazz-, world music- and contemporary music scenes. Guy Mintus has performed throughout Europe, North America and the Middle East. As a composer, he has won awards and commissions from such organizations as the American Society of Composers Authors and Publishers, Downbeat Magazine, the American Composers Orchestra and the Imani Winds Ensemble and has shared the stage with master musicians from Turkey, Iran, Azerbaijan, Morocco, Spain, India, Cuba and Mali. His recordings include a debut album with the Offlines Project, a duo Guy leads with Israeli-Turkish percussionist/oud player Yinon Muallem (The Offlines Project performed at the Kennedy Center’s Millennium Stage on International Jazz Day, April 30th 2016); also, a live solo album “The Mediterranean Piano”.

PH: You are a classical musician, a jazz pianist, you sing, play the melodica, you compose and you teach. How do you define yourself?

Guy Mintus: Thank you for the question. I first of all define myself as a human being and, only after that, as a musician. As a musician I am a pianist and composer and I also play some melodica and sing. You are right – I am active, but I don’t rush into defining myself as a “jazz musician” or a “classical musician”. What is jazz? What is classical? These are funny terms. I know they are necessary for marketing or categorizing and selling things to be “displayed on the shelf”.

PH: What are the main influences in your music-making?

GM: I draw inspiration from different worlds of music, not only classical, not only jazz; also from different types of world music – it could be from Turkey, Greece, Spain, Morocco, it could be Arabic music, Indian music, Israeli music. These are all sources of inspiration for me. In my own music, when I compose or improvise, these different facets come together to form something that is organic, that has been built over time. Sometimes I compose for symphony orchestras. You could say that this is more “classical music”, but within it you will hear many jazz influences, improvisations on world music - of Turkish music, Middle Eastern stuff…so I don’t know if it is classical. I guess it is in the eyes of the beholder. The defining factor of my music is not necessarily what we call “genre”.  It is the feeling one has when hearing it., being in touch with it. I believe there is a thread running through all the music I make and that is the feeling you get from the music. It’s not about the masses. It’s about reaching and touching people. That is as far as I can define it.

PH: How did you make contact with the different kinds of oriental music?

GM: First of all, I grew up in Israel. It is a Middle Eastern country surrounded by Arab countries. Israel has many Jewish people whose roots are from Arab countries and Arabic people from different backgrounds. So, it has always been around me. Also, I am half Iraqi, a quarter Moroccan and a quarter Polish. This culture is in my blood, you could say. But the fact that you asked about that shows that it is still somewhat exceptional for a classical- or jazz pianist to really be building into those styles.

PH: But isn’t it a bit unusual?

GM: The reason it is unusual is just because of the history of how things have happened institutionally. You go to a music academy of classical music; thankfully, more and more of them now teach jazz but very few teach other non-European styles. There are more paths of music than those we are taught.

PH: So how did you study this music?

GM: I was very lucky to meet an incredible teacher – Harel Shachal. He got me into deep study of oriental music. He taught me the Turkish maqam (melodic system). That was my gateway. From then on I kept studying with him, I kept exploring and playing with musicians, I started travelling to Istanbul, performing and recording there. In New York, I met amazing Indian musicians playing classical Indian music and I have studied and performed with some of them. I am open to these things and would not avoid studying, say, Iranian music or that from Azerbaijan just because they are not taught at my school. And all these kinds of music are connected to each other. I enjoy experiencing and spreading that, also bringing these sounds here, to the Eilat Chamber Music Festival. They are also a part of what chamber music is.

PH: What was your early musical training?

GM: I started learning small keyboards when I was 10, playing all sorts of pop songs – Beatles, etc. But thanks to the Thelonious Monk’s piece “Round Midnight”, I started playing jazz. I only knew the piece from the printed music, but when I finally heard Monk’s version of it, it sparked the idea of trying to improvise myself. That was what got me onto the path of exploring jazz music, getting into the history of it and eventually going to New York, which is where I have been living for the last four and a half years. There I have colleagues with whom I have worked for a while. It is very nice to be a part of this kind of community.

PH: Did you take studies in New York?

GM: Yes. I was at the Manhattan School of Music for three years. Since my graduation, I have been very fortunate to be doing music full-time, earning my living performing concerts, whether in New York, around the USA or Canada, Europe, Israel or Turkey. I have been travelling a lot, of course, and also receiving some commissions from different ensembles that are more identified with the classical/chamber music sector; they have commissioned me to write because they want me to compose in my style, not in the style of Mozart or in the style of contemporary composers, whatever that is. 

PH: You also teach.

GM: Yes. I give workshops all around the world, mostly on improvisation. I also have a workshop I call “Meeting Points”; this is about opening people’s minds to different kinds of music.

PH: When you are performing, what are your thoughts? Do you feel you are in your own world or are you engaging with the audience?

GM: Both, I think. I am open to the audience. I listen to what energy I get from the audience; that is a kind of guide for me. It is give and take. You have to have something you want to express. It doesn’t always need to be something you can define in words. It’s an internal thing. You have to just feel it. I have to listen to what my purpose here is. You are there to give something, to pass it on. I try to do that every time I go on stage. The audience is effective. For example, the first time you heard me it was in Tel Aviv in front of many journalists. Journalists are naturally very impatient, but I picked up their energy. That makes me play in a certain way. And many of them came up to me later to say how much they enjoyed it. Then, in trumpeter Jens Lindemann’s concert here at the festival, people were surprised when I came up on stage; some were moved to tears when I played one little solo on the melodica. So it is different every time, even if you are playing the same repertoire, and that’s the fun of it.

PH: What are your future plans?

GM: To continue this way for the next years. I am very happy with what I am doing. I hope to compose more. There is something else I should talk about - I am in the process of starting my own music label – Mintus Music. That is because of the need artists have today to establish a “home” for our own works, especially with genres today not as clear-cut as they used to be. I am active on different scenes and I need this for my output as a whole to be put out there. It is mainly for recording my works, but it may mean at some later stage that I release someone else’s projects, this also relating to me as it will be my choice. But it is a personal label, my own venture.

PH: What is your latest recording?

GM: It’s called “A Home In-Between” and will come out this April on my new label. The pieces were performed by my trio – the Guy Mintus Trio - the other members being Israeli bassist Tamir Shmerling and Dutch drummer Philippe Lemm, both living in New York. We three have worked together for a while. So, when we went into the studio, the album just “happened”. It was magic.

PH: Do you come from a musical family?

GM: Not of professional musicians. Not my immediate family. Both my parents are very musical but they don’t play instruments. They are lawyers. I do have some distant relatives who play very well.

PH: When it is not music, what interests you?

GM: Life, food, meeting people, travelling the world, seeing places, my family.

PH: Guy Mintus, many thanks for your time. And I so enjoyed your performance.

Playing the melodica (photo: Maxim Reider)

Tuesday, January 10, 2017

Talking to Norwegian tuba player Øystein Baadsvik about his career playing solo music on the tuba

Photo: Geir Mogen, Dimensions

On Tuesday January 3rd 2017 I spoke to Øystein Baadsvik in Trondheim, Norway, where he lives. Øystein Baadsvik’s career is exclusively as a tuba soloist. A player with an amazing virtuoso technique, his international career began in 1991 when he was awarded two prizes at the prestigious Geneva International Music Competition. Baadsvik performs with orchestras worldwide, appearing regularly at international music festivals. He has been enjoying playing in duos and small ensembles, also collaborating with jazz- and rock musicians.

PH:  How did you, the player of one of the bass orchestral instruments, become a tuba soloist?

 Øystein Baadsvik: I started off as an orchestral player, that’s true, and that’s primarily what the tuba was invented to do, but I was later inspired hearing very nice tuba-playing by, for example, Michael Lind in Sweden and Americans Harvey Phillips and Roger Bobo. Hearing them prompted me to pursue the melodic qualities of the instrument. There is a certain misunderstanding - that the tuba is limited by its size and design. You would normally think that you cannot do a lot on the instrument, because it was designed to be a bass instrument. Well, it happens to just be a piece of metal and this piece of metal is actually more constricted by your own mindset than it is by the laws of physics. That is the reason  we do not hear so many players performing solos on the tuba: either they simply do not want to do it, or they don’t practise enough to be able to, or they are simply happy playing the orchestral role. So, as with a lot of other things, it is mostly in your head, I would say.

PH: Is soloing on tuba accepted by conductors or orchestras?

ØB: Not always by those who haven’t yet experienced good solo playing on the tuba. It’s very, very new historically. For example, the first major tuba concerto was written in 1954 by Ralph Vaughan Williams. Then you have compositions by Paul Hindemith, Penderecki, John Williams (famous for his movie music) and by Armenian composer Alexander Arutiunian, who has also written a famous trumpet concerto. Arutiunian writes very Romantic music. To answer your question, the instrument is much associated with tutti playing that many conductors are simply not aware of its qualities as a solo instrument.

PH: Is there enough repertoire to make a solo career viable?

ØB: A lot of people think there must be very little written for tuba solo, but if I were to play a marathon concert, performing everything that has been written for solo tuba from the 1950s up to now, I would probably be playing a concert lasting many weeks without stopping. There is so much music, but, as with violin music, for example, not all the repertoire has passed the test of time, eventually leaving works by the way to be forgotten. I think that, for tuba players, we are now in that process, with a lot of composers writing music for us. Much of it will probably not survive hundreds of years, but there are some really great composers writing for the tuba and some of the music being written now will accumulate to become the classical repertoire people will associate with the instrument.

PH: Mr. Baadsvik, what was your earliest musical experience?

ØB: I think it must have been my mother playing trumpet as an amateur trumpeter in a wind band in Norway. She used to practise at home and that is something I heard very, very early in my life.

PH: So, you are from a musical family.

ØB: Yes, I would say so. Both amateurs, my grandfather used to play the tuba and my father sang and played guitar. So, I would say that I got a lot of music through my family. I am the first to be a professional musician…so far.

PH: How did you begin your early musical training?

ØB: At age 10, I started playing the euphonium (like a tuba, only a little smaller), an instrument used widely in wind bands.  For some reason, it didn’t click with me, not working out as others and I had hoped it would. Maybe I was too young to understand the beauty of music at that time or I was physically unsuited to play it, or there could have been other reasons. So, I stopped that after two years. Three years on, at age 15, I was given the opportunity to play the tuba in a wind orchestra. That was the only available instrument, so it was the tuba or nothing. I accepted the offer and, two years after that, I started playing in the Norwegian National Youth Orchestra, beginning to play more and more solos and winning a few solo competitions. It was now clear that I was very well suited to the tuba… it was a very, very good match.  I think my singing voice suits the tuba very well, as does the way I think in musical terms and I had a very good teacher. He was a very accomplished tuba player in the Norwegian Military Band here in Trondheim – Elvind Rise – and, after that, I was taught by a very fine player from the Trondheim Symphony Orchestra – Reidar Nilsen. What was important with Nilsen was that he had connections all over Europe: he knew how the tuba was played in Germany, how it was played in England etc., and he was able to get these ideas across to me. I think that aspect of performance is getting easier nowadays: with Internet, for example, a young player can follow what other people are doing the other side of the planet. I think this is a good thing.

PH: When did you start performing in public?

ØB: Very early on. I think I did my first solo concert just one year after I had started playing the tuba. It was in the countryside outside Trondheim, where I grew up – a small town of about 2000 inhabitants. Despite its size, the town had four wind bands, two choirs and a number of traditional fiddle orchestras as well! So, almost everyone in the village played an instrument or sang – a very vivid musical environment.

PH: Where did you take higher studies?

ØB: In 1986, I moved to Sweden to study with Michael Lind. There, I was working in a symphony orchestra, starting off my solo career (I met my wife there), then moving back to Norway after almost ten years. Actually, I only studied with Lind for a short period of time, but took a lot of private lessons with other teachers; I went to the USA and studied with Harvey Phillips, Roger Bobo and other very accomplished tuba players there. John Fletcher (UK) was one of my mentors.

PH: Did these teachers encourage your solo career, or did they see you as most tuba players in symphony orchestras?

 ØB: Actually, I picked my teachers carefully, choosing those who had had solo experience from before, teachers who respected that kind of playing. This is not always the attitude of tuba players: some see solo work as a side interest for your spare time, but not anything to pursue as a career. My teachers, however, were very open-minded when it came to that. Michael Lind, for example, had been running a solo career all by himself, likewise Harvey Phillips. John Fletcher was a fantastic solo tuba player, but was reluctant to go for that career as he had a full-time position in the London Symphony Orchestra. He also did question whether the tuba really was a solo instrument, but he was still open-minded enough to teach solo playing to students like myself.

PH: So, would you say that it is not yet a routine career?

ØB: It’s an evolution and that is what it’s all about. I really feel I am a part of some kind of evolution, standing on the shoulders of those before me who developed the instrument to a certain degree; hopefully, I am able to take it a few steps further. I know that I have been inspiring other young tuba players to grab onto what I have discovered and probably they will pass this on further. The evolution is moving incredibly fast, if you compare it, for example, to the development of older instruments.

PH: Do you see a new generation of solo tuba players emerging?

ØB: Right now, unfortunately, I don’t see there being young players who have had that same appetite for the classical works, wanting to 100% dig into that solo repertoire. But, on the bright side, I have seen a lot of fantastic innovations, where people, for example, are bringing the tuba into jazz; not only are they playing jazz, they are playing totally new types of jazz. Here in Norway, we have several very accomplished tuba players who are having great success in jazz, rock- and folk music, not only providing the bass line but also letting the tuba do some melodic work; and the way they play bass is totally different to how you would on an electric bass guitar or double bass. This is just Norway, but, of course, in the USA you have a lot of brass bands consisting of a couple of saxophones, maybe a trumpet or two, a drummer and a sousaphone or tuba. These bands are very popular nowadays; there are several in New York playing at parties, outdoors and in clubs. This is also really a specific way of using the tuba.

PH: I hear you play a lot of chamber music.

ØB: Yes, I do. I very often play with piano. I have a few pianists with whom I work fairly regularly; we do concerts in different corners of the world. I also do some tours where I perform in different universities in the USA, playing with different pianists on each campus; so it’s rehearse in the morning and concert in the evening…the same the next day, and so on. This is very challenging but also very rewarding, because you learn so much from playing with different great musicians.

PH: Would you like to mention works that have been written for you?

ØB: Yes. There have been many. In fact, Christian Lindberg’s tuba concerto was written for me and I think I have premiered close to 60 works for tuba by different composers. A violinist/composer called L. Subramaniam - India’s greatest player of traditional violin music - has just written a double concerto for Indian violin, tuba and symphony orchestra. We have already recorded it and will now record some new pieces as well to complete the CD in Bombay in February.  Being part of the fusion movement back in the 1970s, Subramaniam has also worked with many artists, such as jazz musicians Herbie Hancock, Stanley Clarke and Hubert Laws, merging, for example, Indian music with jazz.  The tour that I am doing with a pianist in Sweden early in February will include another world premiere – a piece written by American composer Andrea Clearfield. And in the USA in July I will premiere a piece by Japanese composer Das Fujikura. I am practising on that now, too.

PH: What genres do you play, apart from classical repertoire?

ØB: Funny you should ask that right now, because two months ago, I was given the opportunity to play a concert here at an event in Trondheim. The concert organizers said: “Here you have some money (I think it was like 8000 US dollars). You can do whatever you like with it, but it should be something you have not done before due to lack of time or money, so it has to be new.” As it happened, I had a lot of rock songs lying in my drawer, like ballads and up-tempo things. They hadn’t been played because I had not had the opportunity to play them before. I also didn’t have a band, for example, and had never had time to pull it all together. So, here I had the opportunity to put together a concert of rock music with lead singer and a fantastic complement of drums, electric bass, keyboard and electric guitar. That was quite an experience. Well, I have been playing jazz over the years, with small combos and doing concert tours with US jazz pianist Chick Corea, for example.  Also, engaging in more fusion-like projects and, of course, the Indian style that I have been checking out lately with Subramaniam. I am very curious when it comes to different musical styles and do think that I have learned very much from trying out many, even when it also comes to putting  classical music together.

PH: What about early music? Do you play it?

ØB: I do. However, the tuba was invented in 1835. It must be the only instrument whose exact birthdate is known: September 12th, 1836. That is when the German musical instrument inventor Wilhelm Wieprecht took out a patent on it. Although there is no early music written for tuba, that doesn’t prevent us tuba players from playing, say, Baroque music. We simply “steal” the music from other instruments – ‘cello, viol or other instruments – and with a clear conscience! And anyway, Baroque composers often did not designate on what instruments a work should be played. In which case, it works beautifully. We can take, for example, Bach flute- and ‘cello sonatas. I have played Vivaldi… more for fun than for anything else, but, hey, I’m in this for fun! I have a friend - Tormod Dalen - living in Paris, who plays Baroque ‘cello. He makes fun of my playing Baroque music on the tuba, but I guess one has to live with that.

PH: What teaching do you do?

ØB: I don’t have a regular teaching job anywhere. There is no time for that, but I do give occasional master classes. This is very interesting. I really learn a lot from teaching and, after 30 years of doing it, being able to help quite a few students with their specific problems. You can split the work up into musical issues and technical issues. The technical issues relate to how to hold the instrument, correct breathing, how to press the fingers correctly, how to shape your mouth and how to place your tongue. Surprisingly enough, all of this technique has not really been fully standardized on our instrument. You would think that, after 150 years, we would have agreed on how to sit, how to breathe etc., but the consensus is slowly getting there. When I go to China to teach there is a totally different approach to what I see when teaching in the USA, for example, so this is something I do hope the Internet can contribute to standardizing. Then, there is the musical aspect of teaching -  purely about how to phrase and even some simple musical rules that get forgotten and need to be brushed up, one of the most important being that every phrase must have a destination. You cannot simply just start to play without knowing where you are going.  Without that, the audience does not get the music’s “punchlines”. There are a lot of simple rules like this I use in teaching.  

PH: Do you edit publications?

ØB: Yes. Over recent years, the publishing industry has changed tremendously since digitalization; distribution has changed so much. For example, I myself have a publishing company that is run by a colleague in the USA; he has 6000 to 7000 publications for winds. The way it is distributed nowadays is via PDF or it gets locally printed on demand. This development, of course, has led to the downfall of a lot of publishers. I do publish quite a lot.

PH: Do you write articles?

ØB: Yes, occasionally. I did more of that earlier on, but I do sometimes write, for example, when a student has a problem common to many players, to which we find a good solution. That’s when I tend to write a few lines in order to help others.  I usually post it on Facebook or on other social media. Also, when sitting on competition juries, I very often get many ideas. One of the last subjects I wrote about is the “selfishness of performing”.

PH: What do you mean by that?

ØB: When you listen to someone playing, you, as the audience, want to receive something. The very nature of playing an instrument is about giving. You have an idea, an emotion or a story you want to tell and, through your instrument, you give this to the audience. It’s an unconditional gift. The audience can take it or leave it. But, in many competitions, it’s actually the opposite. You can hear in the competitors’ playing that they want to receive something. They are on stage in order to achieve something, such as jury recognition, perhaps a grand prize, financial gain, glory and honour etc., and it is all about them getting something. This contradicts the very core idea of making music, so the music-making becomes very selfish. And so my last article was about this dilemma that we often experience in competitions.

PH: Do you do a lot of recording?

ØB: Yes, I think so. As to solo tuba repertoire, there is nobody who has done more recording than I have. At the moment, I have ten solo CDs out. I am planning three more; the Bombay one is half done, there is one with the rock project and then a disc of new repertoire for tuba and piano.

PH: How do you manage to keep up with your large and sometimes new repertoire?

ØB: I think that this is really one of the biggest challenges for a musician…to keep all the balls in the air at the same time. Ideally, you should practise a lot of works simultaneously – one hour practising this piece, another hour practising the next piece. For most people this is hard, because you tend to want to finish one work, focusing deeply on it and then continue on to the next piece. Very often that is not possible. In my present situation, I have to practise on the February repertoire and the works for Israel (January 21st-29th). The week before Israel, I will be playing with the Krakow Philharmonic in Poland, and I need to practise for that, too. Well, some of it is “maintenance”, keeping the old material fresh, but it is strange how fast a work deteriorates if you have not played it for a year. You really have to be able to jump from one thing to another several times per day, and that does not come easily to me.

PH: Will this be your first concert tour of Israel?

ØB: Yes. I will be soloing with the Israel Netanya Kibbutz Orchestra. I’m very curious. We are doing seven concerts.

PH: Would you like to talk about some of the unique works you will be performing?

ØB: One work will be a very nice tuba concerto by the orchestra’s musical director Christian Lindberg (who will be conducting the program); this is one of the classics that I believe will, in time, become part of the core repertoire for the tuba. I have also  written a tuba concerto; however, another composition of mine – “Fnugg Red” – will have its world premiere in Israel.

PH: Would you like to talk about the work?

 ØB: Yes. “Fnugg Red” was composed as a variation on a theme called “Fnugg”, which I wrote many years ago.  (“Fnugg” is Norwegian for “snowflake”). And…I don’t know…maybe because it is very light and very different in weight from the tuba…. The music was also inspired by the Australian didgeridoo, and I use the tuba in the way they play the didgeridoo. Another technique in the piece is something called “lip beat”, a technique I myself invented, creating rhythms that do not sound like specific pitch on the instrument; they sound more like a drum or other percussion instruments…a little fun thing I have added to the piece. There is also some inspiration from American fiddle music. (Aaron Copland wrote a piece called “Rodeo”, in which there are some elements from this American fiddle, bluegrass tradition.) Plus, of course, I have incorporated Christian Lindberg’s virtuosic trombone playing into the whole work. It’s going to be great fun to play. I hear from Christian that the NKO is a fabulous orchestra, so I am really looking forward to that.

PH: When it’s not music, what interests you?

ØB: Radio-controlled airplanes: small model airplanes comprising a motor, propeller and receiver; you have a transmitter in your hand, with which you control the ‘plane. This is what I do for relaxation. And of course, being a Norwegian, you don’t get away from skiing, and there is also fishing in the fjords, another of my hobbies.

PH: Øystein Baadsvik, thank you so much for sharing so many aspects of your very unique musical life and career.


Saturday, December 17, 2016

Talking to violinist Shunske Sato about performance, repertoire and teaching

Photo: Yat Ho Tsang 

On December 8th 2016, I talked to violinist and violist Shunske Sato at his home in The Hague. Born
in Tokyo in 1984, he moved to the USA at age 4, then winning the Young Artists Prize in 1997 and making his New York recital debut in 2000. Recently returned from performing with the Australian Brandenburg Orchestra, Shunske appears widely in Europe and the USA as soloist or concertmaster, also performing chamber music. He currently serves as concertmaster of Concerto Köln and the Netherlands Bach Society. In 2013, he was invited to join the faculty of the Amsterdam Conservatory, where he teaches violin in the context of historical performance practice. His most recent recording (October, 2016) is of Vivaldi’s “Four Seasons” with Concerto Köln for the Berlin Classics label.

PH: Shunske Sato, having lived in different countries, you seem to be a citizen of the world.

Shunske Sato: Something like that. This is the fifth country I have lived in. A lot of moving around and new languages. From quite a young age I have really loved linguistics and language. And now, living in the Netherlands, the country with the highest English language proficiency rate, I dove straight into learning Dutch. Knowing German has helped.

PH: Are you from a musical family?

SS: I guess I could say that. My mother is a pianist. She teaches piano. Her mother, my grandmother, never really played an instrument, but she listens to quite a lot of music, enjoys it and was plunking at the upright piano at home at the young-old age of 80-something! So, there is definitely a musical strain in the family, but no performers, apart from myself.

PH: Would you like to talk about how it all began and your early musical training?

SS: Yes. Because my mother was a musician, there was music regularly in the house – her own playing and records. It was a musical environment. It seems I was drawn to the timbre of the violin and my mother noticed this. She also noticed that there were a lot of children around our Tokyo neighbourhood at that time walking around with their mothers and violin cases and she asked one of the mothers about this, thinking there must be a music school nearby. There was and it was a Suzuki method school. So, my mother took me there and, apparently, for a solid 45 minutes (I still remember this; it must have made an incredibly powerful impression on me. I was two at the time!) I was observing a room full of young children playing Suzuki-style and completely enraptured. The teacher noticed this two-year-old sitting in the corner and found it unusual for such a small child to be so incredibly focused like this and suggested I try the lessons. And then I had some very good teachers, including the first two in Japan. Years later, I came across a book of exercises of one of them and they are very good…very good material. Altogether, I have been lucky with all the teachers I have had and still remember the many, many good things I learned from each one of them. I have been very lucky.

PH: When was your first performance?

SS: Oh gosh…I believe it was at the age of three at a Suzuki concert, and there is even a video to prove it. I had knee-high socks with  little dogs imprinted on the top. Being much encouraged, little class concerts were a very regular part of my musical upbringing.

PH: In the USA, did you go to a music school?

SS: Yes, I did, but it was as a supplement to my regular school in Philadelphia, where I grew up. It was called Temple Prep School. Children went there once or twice a week after regular school. After school the kids came and had orchestra, where we  played our Grieg “Holberg Suites” etc. And what I think is incredibly good, I had chamber music lessons. So, I was playing my Haydn Trios and Beethoven Trios at the age of six or seven. Even in a childlike manner, I think that opens one up to the world of playing together with other people and to working towards listening to others. That was very important. I had some very good teachers, with whom I kept in touch for a very long time. In Philadelphia about three years ago, I visited one of them, now in her 90s and still cheerful.

PH: And after Temple Prep?

SS: At the age of 11, I started going to Juilliard Pre-College on Saturdays and continued there till age 18; it was very informative and significant. There, I  studied with Dorothy DeLay. On completing Juilliard Pre-College, students can proceed to the Juilliard School (college level), but I did not do that.

PH: So where did you take higher studies?

SS: I was living in Philadelphia and applying to different schools. I sent an application to Juilliard; oh, and down the street from me there was the Curtis Institute of Music, so I applied there, too. Was accepted to both, I believe, but, after seven years at Juilliard, opted for Curtis. I did one year at Curtis, but, already before that, I was starting to become interested in the goings-on in Europe, in a lot of the European musicians, having heard their concerts and CDs. (My outstanding Juilliard teacher Ms. DeLay, musically-thinking and analytical, always strong at filling in background information, had a funny little thing about Classical and Baroque music in Europe. She would say: “Sugar plum, when you go and give a recital in Europe, avoid the classics because they play them differently over there and you won’t be met with good feedback if you play them there”. Well, of course, when somebody tells you not to do something, you want to do it, to find out.)

There was one teacher – Gérard Poulet - with whom I had done summer courses two years prior to that, who invited me to come and study in Paris with him. I went to Paris, planning a year there and to return to where I had left off in the States, but that did not happen. I stayed in Europe; after the two years’ study with Poulet I stayed on in Paris for a couple more years.

PH: When did you develop your taste for Baroque music?

SS: It is hard to say. In the USA, I did have the odd Christopher Hogwood recordings lying around in the house. I did take notice and quite liked them, too, but didn’t think of pursuing Baroque music. However, I think the sound and idea that that all of this music could be done differently was planted then and there.

PH: So, when did you start getting involved in Baroque music?

SS: It was during those years in Paris. Paris and Europe, as a whole, offered the environment. There I discovered Baroque music and Baroque performance practice, which had been completely absent, at least, to my immediate environment in the US before then. It added fascination to be able to explore the violin in a completely different and new way. And it was so common in Europe. You could go to a concert of Rameau and Telemann and Bach and Beethoven on period instruments, which is still hard to do in the US. Then I drifted, drifted, drifted and decided to do some proper study, as it were, at a music school to really immerse myself in that and found a lovely teacher, an American teacher – Mary Utiger - in Munich.  The funny thing was that, 30 years before I did, she had also studied with Dorothy DeLay at Juilliard. By that time, I had decided that, as far as my studies were concerned, I really wanted to focus on Baroque violin.

PH: So, no more modern violin?

SS:  I was also playing modern violin at that time and still do. Every now and then, I get asked to do a Brahms concerto or whatever and still love doing all of that repertoire. I haven’t bid farewell to any of it. In fact, I have been able to revisit a lot of it – Brahms, for example – viewing it from a historic perspective, like discovering what kind of pianos or string techniques were used. 19th century Brahms was probably very different: you very quickly find out that it’s quite different to the modern 21st century, as a matter of fact. It has been very interesting to be able to see all of this repertoire from a completely different perspective.

PH: When did you start playing the viola?

SS: I’m surprised you mentioned it I love playing viola but don’t do it so much. I started playing the viola at 14 or 15…it was out of curiosity.  I bought one of those very cheap instruments, probably with water-and-bulletproof varnish, I scraped away and saw my way through it. I still do not play it as often as I would like.

PH: Do you have a Baroque viola?

SS: No, I still have the cheap, very red viola I bought then. I don’t have the incentive to acquire one as am known much more as a violinist.

PH: Do you see yourself mostly as a Baroque musician at present?

SS: Well, I’m not sure about me. Certainly, a for lot of people, yes. I think people would associate me with the Baroque violin, just from the sheer amount of work I have in that direction. For me it is actually quite remarkable to see how little the violin per se has changed in comparison to, say, the harpsichord versus the modern Steinway. Moving from the harpsichord to the modern piano is a much more difficult adaption, even from the fortepiano to an Érard piano. In that way, I think, as a string player, you actually have the advantage of taking more-or-less the same instrument and playing it in so many different ways. As I said before, I love doing Brahms and Schumann and much later repertoire. In fact, in February I am doing a 20th century program – Stravinsky, Khachaturian and Milhaud and on “historical instruments”! We found a nice Steinway from the beginning of the 20th century in an incredible workshop where they have three or four of these early Steinways. One of them, apparently, is a piano on which Vladimir Horowitz gave a concert.  Quite a remarkable collection. Anyway, there will be the Steinway, my violin with gut strings and steel and the clarinettist has also found a clarinet from this time. I think you can just extend this in so many ways. I enjoy a lot of kinds of music and like to have a broad repertoire.

PH: I read you played Paganini on gut strings. Is that authentic?

SS: Yes, yes. I did that in Australia, as a matter of fact.   Authentic? Yes, absolutely. Gut strings were in use on the violin till 1930 or ’40, but even longer for ‘cellists and double bass players. Violinists were the first to use steel strings. So, basically all the repertoire we now associate with Classical music, right up to Debussy and Ravel and Bartok was intended to be played on gut strings.

PH: Would you like to talk about your teaching?

SS: Yes…my teaching. I love it. I’m learning just as much as the students – even more. I knew that I liked it very much, even before I started teaching at the Amsterdam Conservatory. If anything, I think I have always been a very self-reflecting musician. I have never been a person to “just do something” – a difficult passage – and not know why or how. And then there is realizing that all of those students coming through the door bring with them their life. You see them for an hour and a half every week or two weeks and you give them this homework or that – a task to complete for next time – but a lot of them work at a shop five days a week, for example, in order to make ends meet…or to teach, and this little snippet of time is, in a way, so superficial! I realize that you can teach them about the violin and what to do when you encounter a diminished chord, how to ornament, and all of these things, but, in the end, what I try to do is to get that person to give his maximum, and what that means for every person is different. Some people…honestly…are not soloist material or they are more suited to group playing or even I would say, some people are much better geared towards teaching or research. I have one student who is incredibly good at research, brings along pieces I have never seen or heard of and knows so much about things. He is not the strongest player, but he really has a head and heart for music in a completely different way; I am not going to expect him to play a Bach fugue, but I can develop him in so many other ways. I really have to say I have a very good class of motivated students (young adults), and I think I am getting better. One of the things my teacher Dorothy DeLay said was when asked why she was such a good teacher was: “I do a lot of it every day”.

PH: Shunske, what is your current project? What is on your mind musically at the moment?

SS: Oh, gosh. Whatever is next! Actually, it has been interesting. Speaking of later Romantic music, 19th century repertoire – post-Beethoven - on historical instruments, you have a lot of Baroque ensembles, but those who focus on later repertoire…there aren’t so many. Actually, I have found a few “partners in crime” who know a lot about this period. We are trying to get a group off the ground. It will be very interesting to see how that goes.  We have sent out our first round of concert offers to concert halls throughout Holland. Reactions have been very positive, saying they like what we are onto and would like to have us for the next season. This is incredible: it must be a combination of a lot of factors as this is something that is not done much as yet. That is something I would love to expand. Just as the way we revolutionize the way we do Baroque music, we can go much, much further with other genres.

PH: Are you referring here to chamber music?

SS: Yes, yes. Absolutely.

PH: What do you find audiences want to hear at the moment?

SS: What do they want to hear? I think that depends. I can’t be a judge of that. It is such a synergy of different things, the synergy being between performer, listener and composer or whatever piece of music is being played.  And with the same three people in the same roles on Monday and then on Saturday, it is going to be different, even with pieces very well known to us.  I think it is exactly that which I try to really bring to life. The fact of the matter is that music is born and dies at the same moment, if you will. The moment the sound finishes it is gone and will never come back again. That is how I see it and, I think if you must go on that, unless you have a very jaded, skewed and strange audience (which you do have. Some audiences are in for a much more canonical approach, sticking to the “status quo” of the music. You have different audiences and can’t predict that sort of thing.) I think what does usually succeed is being genuine, being yourself – for better or worse. It’s just like when you talk to people, you know if they are being honest and genuine with you. I think if you are there 100 per cent the audience will be there 100 per cent too.

PH: Are you into new music?

SS: I have not been as such. There was a time that I did do more of that. New music is a bit in its own category. There are musicians who specifically dedicate themselves to it.  It’s a bit like what is happening with Baroque music: there is a certain circle that has been established to perform this kind of music. As to new music, I think I am not really exposed to it very much and so it is hard for me to say whether I would like it, as I haven’t yet done much of it. My personal experience of it has been mixed. I have sometimes come across new works that are brilliant, that I really like, and others not. The same thing goes for earlier music. There are some pieces of Beethoven or Mozart that are nice, but I don’t care to play them so much. It happens. So, I think it is mainly a question of exposure and simply of time, because, with what I have already now…it’s incredible; I’m already covering three centuries of music.

PH: Do you do any Japanese music?

SS: No. As a whole, and it is not just me…it is a very specialized area of music, even within Japan, actually. There you will much, much more easily find a classical or non-Japanese music concert than traditional music. Maybe that has a lot to do with the history of the country itself in the 19th century, when America and Europe came knocking on the door with cannons, guns and ships. The Japanese were, on the one hand very frightened and, on the other, fascinated by this new culture and, within a span of 20 to 30 years, they had completely turned their culture upside down and westernized it. And with that came also the ascent of western classical music and, at the same time, the decline of traditional things. Since then, it has become a bit marginalized. I don’t understand Japanese music at all: it follows rules that are completely different to what I know.

PH: Is this visit - end of December ’16 - going to be your first to Israel?

SS: Yes. My very first. I will be playing with two friends who live in The Hague (we quite often play here together) – Benny Aghassi (bassoon) and Hen Goldsobel (double bass) – and Israelis whom I have not yet met: Doret Florentin (recorder), Tali Goldberg (violin) and Yizhar Karshon (harpsichord). The concerts will take place in Jerusalem, Raanana, Haifa and Herzliya.

PH: Shunske, when it’s not music, what interests you?

SS: For sure I could say: cooking and architecture. What I like about both is the combination of science and creativity, and balance, too. Well, cooking simply because I like food – I just love food and am fascinated by how food is prepared and where it is sourced. However, by no means do I know terminology and things like that, for example, what part of the cow is called what, but that doesn’t deter me from enjoying it a lot. You can combine more-or-less the same ingredients in so many ways. In architecture, there is the construction – the science part of it – and then there is what you do with that. My fascination with architecture started early. In particular, I remember in Philadelphia, where I lived in a big apartment complex, they would send a monthly newsletter to all the residents and on the very back page there were advertisements for apartments for rent or for sale, including floor plans. I would take those floor plans and copy them to make variations on them – add a new room or make a three-bedroom apartment from a two-bedroom apartment. Where architecture is different is that in music or food, once it is gone it is gone, of course, remaining in the person’s memory and soul, but it’s not there.  The crucial difference is that in architecture when you build something it serves people every day in a very tangible way; small things impact, for example, the way you feel comfort at home, or discomfort. The wrong placement of a wall can really have a negative effect. The architect has to find solutions to problems that are optimal. Well, living in a country like Holland, you have old buildings all over the place and it is sometimes exciting, sometimes depressing, to go into a 17th century building. Sometimes whoever renovated it did a terrible job, with ugly tiles and laminate all over. Or not: somebody has really taken care and brought out the characteristics of the house, also making it very modern and comfortable. I think that food and architecture would have been very nice alternative professions for me.
PH: Shunske Sato, many thanks for your time. It has been most interesting talking to you and hearing about your career and thoughts on music.