Junichi Hirokami [Friend of the JPO (Artistic Advisor)] Conductor Interview for the 742nd Tokyo Subscription Concert
Interview with the conductor of the 742nd Tokyo Regular Concert!
Interviewer: Haruka Takasaka
- At your Tokyo subscription concert, you will be performing Symphony No. 7 as the second installment of the Bruckner project that began last summer. What motivated you to take up Bruckner again?
I haven't done much of this until now, but I've come to feel that it's about time I experienced the world of Bruckner for the rest of my life. I've performed the 1st, 4th, and 6th so far, and recently I played the 8th for the first time, and now I'm going to play the 7th.
It was quite difficult for me to do it, as I was afraid. There are many fans who are particularly knowledgeable about Bruckner, and there are also enthusiasts who study things that even the composer himself did not know.
—Is there something romantic about being a conductor when you perform each of Bruckner's symphonies?
No, I don't really feel that way. His symphonies were not that highly acclaimed during his lifetime, but Mahler took them up as a conductor.
It is a long piece for a purely instrumental piece, and I must perform it in a way that will not tire the audience on the long voyage. It is said that in Japan, there are few female audiences at Bruckner concerts, and that there are often lines for the men's restrooms, but this time I would like to perform in a way that will attract women to become Bruckner fans as well. Of course, I also aim to perform in a way that will be accepted by male fans as well.
-What is your opinion on why it is so popular among men in Japan?
From a woman's perspective, it may seem beautiful but long and tedious. On the other hand, men may find romance and philosophy in its length. I would like to take a slightly different approach and make Bruckner more appealing to women as well (laughs).
-Also to be performed is Bruch's "Scottish Fantasy" with Kyoko Yonemoto as soloist.
I've known Kyoko since she was 19 years old. Professor Boris Belkin, a colleague of hers at the Maastricht Conservatory in the Netherlands, where she teaches, told me, "You'll cry when you hear Kyoko's Scottish music," so I once performed with the Kyoto Symphony Orchestra in Nagoya. The performance was truly magnificent. I'm sure she has become even more mature since then, so I'd love for Tokyo audiences to hear her perform.
-Meanwhile, at your Yokohama regular concert, you will be performing Beethoven's "Pastoral" and Piano Concerto No. 4. How do you feel about bringing Beethoven to the public in this day and age?
Although it wasn't intentional, both pieces have a quiet, austere quality that gives them a prayerful feel. "Pastoral" is very difficult for a conductor, so I would prefer to avoid it if possible (laughs), but it's still a piece that I have performed many times. I'm 64 now. I thought I'd let you hear this resigned rendition of "Pastoral" from an older man.
--Are you giving up? You always seem to be full of energy.
I've reached the pinnacle of resignation in many ways. I think my movements have slowed down, but conversely, because I'm not straining myself, the orchestra is also relaxing, and I think the sound is better now.
Relaxation is important after all. But it's a type of relaxation that can only be achieved by pushing forward with force for decades. If you just relax from the beginning, like konjac, it won't work.
—Kotaro Fukuma will be performing as the soloist in Piano Concerto No. 4.
This will be my first time performing with Fukuma-san, and I'm looking forward to it. I think we live in a wonderful era, with so many young, popular, and talented pianists emerging.
This concerto exudes tenderness, love, and a mixture of darkness and light. It is the most poetic of the five piano concertos. It also has something in common with the Moonlight Sonata.
During this period, Beethoven set aside his romantic sensibilities and experimented with writing pieces that emphasized structure and analysis, in an attempt to break away from memories of his father's abuse. He composed music by breaking down a single element into molecular units and then layering them together to see how far he could expand it. This period, known as the "Forest of Masterpieces," was also a time of separation from his father. Once he got past that, he moved toward a more and more structureless approach, building a bridge to the Romantic period. He was a truly incredible man, full of energy.
-Starting this season, you have been appointed a Friend of the JPO. What are the advantages and challenges of performing with an orchestra you have known for a long time?
Actually, I've gotten past that feeling, and I've been given the position of "friend." Since my debut in 1988, I've been invited to perform at their regular concerts every year, even though I don't have a title, for over a quarter of a century, and I'm very grateful for that.
Being in a long-term relationship also means knowing each other's blemishes and moles, and what is good and bad about them.
There's a philosophy I discovered when I was the Kyoto Symphony Orchestra's principal conductor, and that is that a gentle, passionate love works best. If you get too worked up, it will cool down quickly. If you interact with the orchestra like that, you'll end up running them over. I learned that what works best is to continue to pour out a gentle, passionate love.
As I've gotten older, I've gained a little more experience and knowledge, and I think I've finally acquired the ability to coordinate as a conductor. Professor Watanabe Akio once supported us when we were young. Now that I'm at the same age as his teacher back then, I accepted the position of Friend with the feeling that I have to repay him, little by little. In any era, people tend to only think about themselves, and studying is ultimately just for their own survival, but if they do that all the time, it's still empty.
In these uncertain times due to COVID-19 and war, many industries in Japan are facing economic hardship under current policies, but if an independent orchestra like the Japan Philharmonic were to collapse, it would mean the demise of culture, which would not be good for the country. There may not be any politicians who will listen to what I say, but I think we need to work to influence this issue little by little.
I hope to continue living this way and continue creating music with the orchestra.
