Press conference held for the 49st Kyushu performance
49th Japan Philharmonic Kyushu Concert Press Conference
January 5, 2024 ACROS Fukuoka Conference Room 608
The Japan Philharmonic Orchestra's Kyushu performances began in 1975, and the February 2024 performance will be their 49th.
The Kyushu Performances have been running continuously for nearly half a century and are a proud cultural asset of Japan. Its greatest feature is that it is run by an executive committee with the voluntary participation of local citizens in all regions.
Orchestral music encourages, heals, and gives people the strength to live, and it also gives children the creativity and courage to face challenges. The Japan Philharmonic Orchestra, together with listeners and creators, continues to work hand in hand to promote culture that is truly rooted in the local community.
A press conference was held in Fukuoka prior to the 49th Kyushu performance.
Details of the performance here
Tomotoshi Goto (Executive Director of the Japan Philharmonic Orchestra)
First of all, I would like to express my condolences to the many people who lost their lives in the Noto Peninsula earthquake and pray for a speedy recovery. This will be my first Kyushu press conference in four years. Our last Kyushu concert in February 2020 was before the COVID-19 pandemic, and a week later, we were forced to cancel performances, which was extremely difficult for us. Throughout this time, the Kyushu Executive Committee's determination to keep the flame of the Japan Philharmonic's music alive truly supported us. Our first Kyushu concert was in 1975. At the time, the Japan Philharmonic was struggling after its sponsors canceled its concerts, but the people of Kyushu first supported the orchestra. This was the beginning of the Kyushu concerts. This is where the origins of the Japan Philharmonic, an orchestra that combines artistic and social values, lie. The Kyushu concerts are concerts that we create together, consulting with the Executive Committee members over the course of a year. Even musicians who are now at the forefront of their fields, even though they were still in their infancy at the time, were warmly welcomed and introduced to the world by the people of Kyushu. In that sense, I believe these Kyushu concerts are a valuable performance and a rare tour, even on a global scale.
Founding conductor Akio Watanabe was the conductor for the first Kyushu concert, and when I joined, he told me, "The Japan Philharmonic doesn't have any major sponsors, but we have a treasure that is unmatched by other orchestras. That is each and every citizen, our audience. These are truly our most precious treasures. We must always be grateful to them as we perform." Watanabe said that the people of Kyushu taught him that the Japan Philharmonic should walk together with the citizens, and that this way of life is the right way to live, and that this gave him confidence.
The Japan Philharmonic will celebrate its 70th anniversary in 2026. Warmth and closeness to people are the corporate colors of the Japan Philharmonic, but as an organization engaged in culture and the arts, what can we do for Japanese society through music? We would like to keep this in mind as we move forward together with you all towards 2026. Furthermore, next year in 2025, we will mark the 50th anniversary of our Kyushu performances with a commemorative concert with Principal Conductor Kah Chun Wong, who took up the position last September. With your support, we hope to make this 49th concert a success, building momentum towards our 50th anniversary.
Tatsuya Shimono (conductor)
This marks the 49th Japan Philharmonic Kyushu concert, and I'm sure the organizing committee has made countless efforts and struggles along the way. I'm truly delighted and grateful that we can hold this concert in the same format as before, especially after the COVID-1 pandemic. I'm touring Kyushu with Mion Hattori and the Japan Philharmonic, and I'm excited to see how we'll approach Mendelssohn, the king of violin concertos. I'm also looking forward to the Mozart performance with Koyama, but I was the one who first proposed the main program for this concert. While the Symphonie Fantastique has been performed several times in the past, budgetary constraints often prevent me from bringing large-scale pieces on trips like this, so I asked them to include this piece, hoping that everyone in Kyushu would enjoy it. Dvorak is one of the composers I've dedicated my life's work to, and since our first Kyushu concert featured the New World Symphony, I chose to perform his 8th Symphony this time. I'm originally from Kagoshima, and I've looked forward to seeing the Japan Philharmonic visit every winter. I remember vividly how moved I was when I first heard the 9th concert, hearing Bolero performed live by a professional musician. It was my first time listening to it, and I was so moved that my whole body trembled. As I felt the same way last time, it felt like meeting myself 40 years ago. Just like seeing a baseball player I'd only seen on TV pitching a ball in front of me, seeing the orchestra members I'd only seen on TV and other such things in front of me was moving, wasn't it? Even seeing them in their tailcoats was moving. At the time, I was innocently enjoying the real orchestra, but later I realized how much hard work and dedication the executive committee and the Japan Philharmonic Orchestra have put into making this concert possible, and how much support and encouragement you all have given. I think it's truly wonderful. I hope to pass this on to the next generation, and to give back to the people who supported the Japan Philharmonic Orchestra back then.
Mone Hattori (violinist)
The past few years have been a period of crisis for the entire world, forcing us to question what it is we humans need and aspire to in life, to return to our biological roots, and to consider what is and isn't necessary. Amidst all this, I am truly happy and honored to have been given the opportunity to connect the dots at the 49th edition of this historic tour, which has been weaving music into the Kyushu region of Japan every year without interruption. I first performed with Maestro Shimono when I was 14 years old. Ten years ago, I played a Mendelssohn piece, right in the midst of my training under my current teacher, Professor Bron. As we worked together to capture the essence of the charm of this beautiful violin concerto, Maestro Shimono taught me directly (or directly?) through music, and I responded by giving my all. Maestro Shimono is truly a kind, warm, and generous person. His affectionate presence embraced me, even though I was nervous. I feel that it is a truly strange coincidence that, 10 years later, I am now able to perform the same song with Mastro again after such a long time.
Our most important role is to visit various places and convey what is good and interesting about classical music, but how far can we convey that with the power of a great maestro and an orchestra, and how long can we continue doing so? I would like to play a role as a bridge, even if only a little, in helping to position classical music for Japanese people in a more natural way, rather than in a strict way, like the classical music that is familiar to the daily lives of Europeans. Anyway, I would like to stay healthy and do my best.
I am so excited and delighted to be joining the Japan Philharmonic Orchestra on their 49th Kyushu tour. The piece we will be performing for the first time is Mozart's Concerto No. 20. It's a very large piece, but Mozart put his all into it, and Beethoven was so fond of it that he even wrote a cadenza for it. Speaking of Beethoven, I performed with Professor Kazuo Yamada at the first tour, and then with Professor Kenichiro Kobayashi, so I have fond memories of that, and I'm so pleased to be joining them again this time.
I feel that Shimono-san is someone I can truly connect with on musical and human matters, and he is a conductor who I respect and who embraces me with a warm heart, so I am truly happy to be performing Mozart with him.
This time, we will be performing in three cities: Fukuoka, Miyazaki, and Sasebo. Japan Philharmonic concerts are a little different from ordinary concerts. The organizing committee members are always involved in running the concerts with a tremendous amount of love for their local areas and for the Japan Philharmonic. It feels like each concert is not just taking place in a certain place, but is created by the kind of heat waves that people have between each other.
I feel extremely happy to be able to hold this concert together with all of you again. I have participated four times in the 49 concerts to date, and this will be my fifth, so I am grateful for the long and deep bond I have had with you all, and I am really looking forward to this concert. I look forward to meeting you all again in person.
-Q&A session
Q.1 Why did you choose the large-scale Symphonie Fantastique for the tour?
A. Shimono: When I think of the Fantaisie, I strongly associate it with "Professor Kobayashi Kenichiro and the Japan Philharmonic Orchestra." I tend to play strange pieces at my regular concerts, so I think that by performing the Japan Philharmonic Orchestra's signature pieces together, we can both delve deeper into music. Also, the Fantaisie is one of the pieces I've admired since I was a child, so I wanted to perform it with the Japan Philharmonic Orchestra. In Kagoshima, the Symphonie Fantaisie isn't performed that often, so one of the biggest reasons for me to do so was that I wanted people to hear this famous but not so frequently performed piece live.
Another piece is Dvorak's No. 8, which is also a specialty of the Japan Philharmonic and I often listen to their performances. Professor Kobayashi and others have the essence and tradition of Eastern European music, such as Bělohlávek and Lukacs, so it is also one of the things I enjoy learning from them.
Q.2 Mr. Shimono, what is your impression of the sound of the Japan Philharmonic Orchestra and what are the highlights of Dvorak's Symphony No. 8?
A. Shimono: I think the distinctive feature of the sound of the Japan Philharmonic is its beauty. It is certainly powerful, but I think there is a song within that power. Even the musicians in the less visible parts always play with excitement and euphoria, and I think that song-filled sound is the greatest charm of the Japan Philharmonic, so I would be delighted if you could hear it.
When I read biographies of Dvorak, there's not a single bad word said about him. He's not at all described as an eccentric or weirdo, and he would listen to his own music and cry because it was good. Is there anyone like that around you? No, there isn't.
(Hattori) Aren't you a narcissist?
He's quite narcissistic, but he has a very kind personality for a composer, and I think he's one of those composers whose music is filled with love. That matches the musicality of the Japan Philharmonic very well. The highlight of Dvorak's Symphony No. 8 is that, although it's a symphony, it also features wonderful solos for various instruments. I hope that the audience will be able to imagine in their minds small birds chirping in the great outdoors, or tiny animals darting about. I was born and raised in Kagoshima, and for some reason, listening to Dvorak brings back memories. I think his music is a perfect fit for this Japanese sensibility.
Q.3 If you were to reach out to people who don't normally listen to classical music, what would they find interesting?
A. Shimono: I always tell people who are new to classical music that I hope they think of it as an extraordinary experience. Also, I want them to enjoy the silence. The world is full of sound, but when you enter a concert hall, it's like you're entering a barrier, a space that's out of the ordinary, and I think you can enjoy just the excitement of that. For children, I tell them to come and see a bunch of adults doing the same thing. (laughs) These days, you don't see groups of 80 or 100 people doing the same thing seriously, do you? I think it's kind of comical, and I'm sure you'll find something interesting.
A. Hattori: I think there is certainly a sense in which, by immersing yourself in an unrealistic, silent environment, even the faintest "thing" sounds strikingly beautiful. Music transmits energy through our bodies, resonates with our emotions, and has an effect on our emotions, making us cry or feeling overwhelmed with joy. But it is not through words, it does not hurt anyone, and there is an ultimate freedom. The audience and the performer are on an equal footing, and whether they like or dislike what we have conveyed to them is a matter of their sensibilities and their own personal preferences. Whatever the outcome, I would like you to think of it as an experience that will make you feel something. Please let go of any notion of how you should listen and listen freely!
Q.4 What kind of piece do you think Mendelssohn is? And what are the highlights of the piece?
A. Hattori: My perception of Mendelssohn has obviously changed completely since I was 14, and so has his very existence. Because it's such a famous piece, I'm constantly thinking about what sounds are most appealing in each phrase. What I particularly feel about Mendelssohn now is the passion of the piece itself, yet the sensitivity he possesses. I think he was a very sensitive, Japanese person, with a delicate emotional nuance. From a broader perspective, when I play Mendelssohn, I always approach it with the intention of playing a large-scale chamber piece, and when I keep that in mind, I find the orchestration to be very appealing. I think that's the biggest change.
Q.5 From your perspective as a maestro, how much has Hattori grown?
A. Shimono: Actually, we haven't performed together that many times. The first time was when we performed Mendelssohn's Violin Concerto with the Yomiuri Nippon Symphony Orchestra, and it's a vivid memory. I was surprised to hear that he was 14 years old at the time. His own words and behavior give the impression that he is a man of firm footing. This time, we'll be touring Kyushu together, and I expect there will be many changes with each performance. Even without exchanging words, he has gained a lot of experience over his 10-year career, and I'm sure he will be able to throw at us this kind of Mendelssohn. I'll just stand there and have a conversation through music.
