Press conference to announce the appointment of Kah-Chung Wong as Principal Conductor

Approximately one and a half years have passed since the press conference in May last year announcing the appointment of Principal Conductor Kah-Chun Wong. The new Principal Conductor system has finally begun. A press conference was held at the Ark Hills Club in Akasaka on October 13, 2023, the day of the inaugural concert to celebrate his appointment as Principal Conductor.

Speakers/panelist:
Ka-Chun Wong (Principal Conductor)
Toshikuni Hirai (Chairman)
Yukihiro Masumi (Head of Planning and Public Relations Division and Head of Planning and Production Department)
Interpreter: Yukako Inoue

Greetings from Chairman Hirai Toshikuni

I personally believe that the Japan Philharmonic Orchestra has been highly praised for its remarkable development over the past decade or so, building a foundation with conductors such as Kenichiro Kobayashi, Kazuki Yamada, and Junichi Hirokami, centered around the two former principal conductors, Alexander Lazarev and Pietari Inkinen. With Maestro Kah-Chun Wong, who will continue to spread his wings and fly around the world, joining this musical foundation, we can sense a major change in the chemistry that will emerge. I am excited to see what kind of change will occur. Through Masumitsu's words, I would like you to listen carefully today to the thoughts of the Japan Philharmonic Orchestra and, moreover, Maestro Kah-Chun Wong.

Future activities after assuming the position of Principal Conductor　Yukihiro Masumi (Planning and Production Manager)

From classical to contemporary music, Kah-Chung Wong's conducting brings the printed notes to life, clearly portraying the drama and form of the works, and rather than confining the value of "classical" to a museum-like setting, he makes it clear that it is relevant to the modern day. In that sense, the performance of the 5th Symphony, which was our "first Mahler," was a truly shocking start.
With the 70th anniversary of the company's founding in 2026 in mind, he is planning to tour Asia, starting with Mahler, his musical roots, and then adding Bruckner.
Furthermore, Wong and the Japan Philharmonic's unique repertoire, focusing on "Folksong," and their approach to Asian works, will continue to deepen. Wong's inquisitiveness is extraordinary, and it is frustrating yet impressive to hear him speak of works that even we Japanese are unfamiliar with. The maestro also quickly went to view the research materials on composer Akira Ifukube held at the Tokyo College of Music, which were recently made public. This kind of dedication to research, which underpins the splendor of the conductor's podium, is worthy of respect.
In this way, Kah Chun Wong and the Japan Philharmonic will continue to carry on the path that has been established by their great predecessors, while providing an unprecedented musical venue to create new individuality and musicality.

Principal Conductor Kah-Chun WongGreetings from

I am currently enjoying working with the JPO musicians. The first day of rehearsal is the most difficult day, and I always make a checklist in my head of what we need to do. However, as soon as we start rehearsing with the JPO, I immediately realize, "Oh, the first thing is already OK. The second thing is also great, so we're OK as is." I am impressed by their amazing excellence. I have really begun to feel a relationship of trust as good musical partners recently.
I grew up in Singapore, a country that values ​​equality, diversity, and inclusion. Within five minutes, I could find a mosque, a Catholic church, a Hindu temple, and more—a place of diverse religions. When I came to Japan, I was deeply inspired by Japanese culture. I'm especially pleased to have had the opportunity to work with Akira Ifukube, and to now have the opportunity to perform his works overseas. Next year, I'll be performing the Sinfonia Tapkara with the Dresden Philharmonic, where I serve as principal guest conductor. I've been talking to the Dresden Philharmonic about borrowing Ifukube's scores and asking them to call the JPO. Until now, we've only been importing the best of the West into Japan, but now we have the opportunity to share the best of Japanese culture with the global classical music community. Thank you so much for giving me this opportunity.

*Inclusion: A state in which different individual attributes are accepted and mutually respected.

-Q&A session

What if there is a meaning to Ifukube's music in the world?

When I choose a piece, I often choose it based simply on whether I like the music or not. I also consider whether I'm the best conductor for the piece. For example, I love Mozart's Requiem and Verdi's Rigoletto, and they're already in my head. However, I probably wouldn't conduct them. There are many other conductors who are better suited to them than I am. I think the same can be said for Ifukube. Godzilla is, of course, famous, but I was deeply interested in his life, his relationship with the war and the Ainu people, and his ostinato rhythm, which led me to focus on his work. This project on Japanese composers is just the beginning. I plan to continue researching other Japanese composers, such as Toshio Hosokawa and Saburo Moroi, and I hope to seek expert advice.

When you play classical music, are you conscious of the fact that you come from a non-European culture? If there are any differences, what do you think they are?

I believe that different backgrounds mean that all people are different in a broad sense. For example, two German conductors, or two Japanese conductors, have completely different personalities. In Berlin, I was told things like, "You're the first Singaporean to study in Germany," or "You're the first Singaporean to study conducting in Berlin."
I understand that I am a minority, but I always try to learn and absorb as much as I can from where I am. The Mahler Competition gave me great courage. The first winner was Gustavo Dudamel, who is from Venezuela, a non-European country. The second winner was Lahav Shani, who is from Israel. Their Brahms and Mahler are amazing. I believe the power of a masterpiece transcends location, religion, politics, and all of those things.

What is the appeal of music created by Japanese composers?

This answer is similar to what I said earlier, but I believe each composer is unique. I studied composition when I was young, and I love thinking about the structure of each piece, how they're put together, and so on. I'm interested in how Japanese composers create this music, and I'm not just interested in performing it because it's a Japanese piece. I feel compelled to perform this piece. Japan is a country that inspires me greatly. It was one of the first Asian countries to widely adopt Western culture, and it has truly incorporated Western music into its own work. It's not an imitation at all. I think composers like Ifukube and Takemitsu have done this brilliantly. I come from a young country in Asia, specifically Southeast Asia, where classical music has only recently been adopted. I believe that the way Japan has developed Western music will provide valuable insights for me when I return to my home country.

(Some excerpts and translations)