You are on page 1of 8

2017519 PamelaHickman'sMusicInterviewsBlog:TalkingtoviolinistShunskeSatoaboutperformance,repertoireandteaching

0 Ms Siguienteblog paracelso333@gmail.com Escritorio Cerrarsesin

PAMELAHICKMAN'SMUSIC
INTERVIEWSBLOG

S A T U R D AY, D E C E M B E R 1 7 , 2 0 1 6 VISITS

TalkingtoviolinistShunskeSatoabout
performance,repertoireandteaching FO LLO W ER S

Seguidores(11)
th
OnDecember8 2016,I
talkedtoviolinistand
violistShunskeSatoathis
homeinTheHague.Born
inTokyoin1984,he
movedtotheUSAatage
4,thenwinningthe
Seguir
YoungArstsPrizein
1997andmakinghisNew
Yorkrecitaldebutin
BLOG ARCHIVE
2000.Recentlyreturned
fromperformingwiththe 2017(4)
AustralianBrandenburg 2016(7)
Orchestra,Shunske December(1)
appearswidelyinEurope TalkingtoviolinistShunske
andtheUSAassoloistor Satoaboutperformanc...
Photo:YatHoTsang
concertmaster,also
performingchambermusic.HecurrentlyservesasconcertmasterofConcerto October(2)
KlnandtheNetherlandsBachSociety.In2013,hewasinvitedtojointhe May(1)
facultyoftheAmsterdamConservatory,whereheteachesviolininthe
March(2)
contextofhistoricalperformancepracce.Hismostrecentrecording
(October,2016)isofVivaldisFourSeasonswithConcertoKlnforthe January(1)
BerlinClassicslabel. 2015(6)
2014(10)
PH:ShunskeSato,havinglivedindierentcountries,youseemtobeacizen 2013(8)
oftheworld.
2012(7)
2011(12)
ShunskeSato:Somethinglikethat.ThisisthehcountryIhavelivedin.A
2010(12)
lotofmovingaroundandnewlanguages.FromquiteayoungageIhave
reallylovedlinguiscsandlanguage.Andnow,livingintheNetherlands,the 2009(17)
countrywiththehighestEnglishlanguageprociencyrate,Idovestraightinto
learningDutch.KnowingGermanhashelped.
ABOU T ME

PAM E L A H I CKM AN
PH:Areyoufromamusicalfamily?
BorninAustraliainIsraelsince

1968.StudiedatMelbourne

http://pamelahickmansmusicinterviews.blogspot.com.uy/2016/12/talkingtoviolinistshunskesatoabout.html 1/8
2017519 PamelaHickman'sMusicInterviewsBlog:TalkingtoviolinistShunskeSatoaboutperformance,repertoireandteaching

SS:IguessIcouldsaythat.Mymotherisapianist.Sheteachespiano.Her University(BA
mother,mygrandmother,neverreallyplayedaninstrument,butshelistens Languages,Music,Educat
toquitealotofmusic,enjoysitandwasplunkingattheuprightpianoat ion),theJerusalem
homeattheyoungoldageof80something!So,thereisdenitelyamusical Academyof
straininthefamily,butnoperformers,apartfrommyself. Music(Theory,Compositi
on),NewYorkUniversity(Music

education.)
PH:Wouldyouliketotalkabouthowitallbeganandyourearlymusical
training? V I EW MY CO MP LET E P R O FI LE


SS:Yes.Becausemymotherwasamusician,therewasmusicregularlyinthe
househerownplayingandrecords.Itwasamusicalenvironment.Itseems
Iwasdrawntothembreoftheviolinandmymothernocedthis.Shealso
nocedthattherewerealotofchildrenaroundourTokyoneighbourhoodat
thatmewalkingaroundwiththeirmothersandviolincasesandsheasked
oneofthemothersaboutthis,thinkingtheremustbeamusicschoolnearby.
TherewasanditwasaSuzukimethodschool.So,mymothertookmethere
and,apparently,forasolid45minutes(Isllrememberthis;itmusthave
madeanincrediblypowerfulimpressiononme.Iwastwoattheme!)Iwas
observingaroomfullofyoungchildrenplayingSuzukistyleandcompletely
enraptured.Theteachernocedthistwoyearoldsinginthecornerand
founditunusualforsuchasmallchildtobesoincrediblyfocusedlikethisand
suggestedItrythelessons.AndthenIhadsomeverygoodteachers,
includingthersttwoinJapan.Yearslater,Icameacrossabookofexercises
ofoneofthemandtheyareverygoodverygoodmaterial.Altogether,Ihave
beenluckywithalltheteachersIhavehadandsllrememberthemany,
manygoodthingsIlearnedfromeachoneofthem.Ihavebeenverylucky.


PH:Whenwasyourrstperformance?


SS:OhgoshIbelieveitwasattheageofthreeataSuzukiconcert,andthere
isevenavideotoproveit.Ihadkneehighsockswithliledogsimprintedon
thetop.Beingmuchencouraged,lileclassconcertswereaveryregularpart
ofmymusicalupbringing.


PH:IntheUSA,didyougotoamusicschool?


SS:Yes,Idid,butitwasasasupplementtomyregularschoolinPhiladelphia,
whereIgrewup.ItwascalledTemplePrepSchool.Childrenwentthereonce
ortwiceaweekaerregularschool.Aerschoolthekidscameandhad
orchestra,whereweplayedourGriegHolbergSuitesetc.AndwhatIthink
isincrediblygood,Ihadchambermusiclessons.So,IwasplayingmyHaydn
TriosandBeethovenTriosattheageofsixorseven.Eveninachildlike
manner,Ithinkthatopensoneuptotheworldofplayingtogetherwithother
peopleandtoworkingtowardslisteningtoothers.Thatwasveryimportant.I
hadsomeverygoodteachers,withwhomIkeptintouchforaverylongme.
InPhiladelphiaaboutthreeyearsago,Ivisitedoneofthem,nowinher90s
andsllcheerful.

http://pamelahickmansmusicinterviews.blogspot.com.uy/2016/12/talkingtoviolinistshunskesatoabout.html 2/8
2017519 PamelaHickman'sMusicInterviewsBlog:TalkingtoviolinistShunskeSatoaboutperformance,repertoireandteaching

PH:AndaerTemplePrep?


SS:Attheageof11,IstartedgoingtoJuilliardPreCollegeonSaturdaysand
connuedtherellage18;itwasveryinformaveandsignicant.There,I
studiedwithDorothyDeLay.OncomplengJuilliardPreCollege,studentscan
proceedtotheJuilliardSchool(collegelevel),butIdidnotdothat.


PH:Sowheredidyoutakehigherstudies?


SS:IwaslivinginPhiladelphiaandapplyingtodierentschools.Isentan
applicaontoJuilliard;oh,anddownthestreetfrommetherewastheCurs
InstuteofMusic,soIappliedthere,too.Wasacceptedtoboth,Ibelieve,
but,aersevenyearsatJuilliard,optedforCurs.IdidoneyearatCurs,
but,alreadybeforethat,Iwasstarngtobecomeinterestedinthegoingson
inEurope,inalotoftheEuropeanmusicians,havingheardtheirconcertsand
CDs.(MyoutstandingJuilliardteacherMs.DeLay,musicallythinkingand
analycal,alwaysstrongatllinginbackgroundinformaon,hadafunny
lilethingaboutClassicalandBaroquemusicinEurope.Shewouldsay:
Sugarplum,whenyougoandgivearecitalinEurope,avoidtheclassics
becausetheyplaythemdierentlyoverthereandyouwontbemetwith
goodfeedbackifyouplaythemthere.Well,ofcourse,whensomebodytells
younottodosomething,youwanttodoit,tondout.)


TherewasoneteacherGrardPouletwithwhomIhaddonesummer
coursestwoyearspriortothat,whoinvitedmetocomeandstudyinParis
withhim.IwenttoParis,planningayearthereandtoreturntowhereIhad
leointheStates,butthatdidnothappen.IstayedinEurope;aerthe
twoyearsstudywithPouletIstayedoninParisforacouplemoreyears.


PH:WhendidyoudevelopyourtasteforBaroquemusic?


SS:Itishardtosay.IntheUSA,IdidhavetheoddChristopherHogwood
recordingslyingaroundinthehouse.Ididtakenoceandquitelikedthem,
too,butdidntthinkofpursuingBaroquemusic.However,Ithinkthesound
andideathatthatallofthismusiccouldbedonedierentlywasplantedthen
andthere.


PH:So,whendidyoustartgenginvolvedinBaroquemusic?


SS:ItwasduringthoseyearsinParis.ParisandEurope,asawhole,oered
theenvironment.ThereIdiscoveredBaroquemusicandBaroque
performancepracce,whichhadbeencompletelyabsent,atleast,tomy
immediateenvironmentintheUSbeforethen.Itaddedfascinaontobeable
toexploretheviolininacompletelydierentandnewway.Anditwasso
commoninEurope.YoucouldgotoaconcertofRameauandTelemannand
BachandBeethovenonperiodinstruments,whichissllhardtodointhe
US.ThenIdried,dried,driedanddecidedtodosomeproperstudy,asit
were,atamusicschooltoreallyimmersemyselfinthatandfoundalovely
http://pamelahickmansmusicinterviews.blogspot.com.uy/2016/12/talkingtoviolinistshunskesatoabout.html 3/8
2017519 PamelaHickman'sMusicInterviewsBlog:TalkingtoviolinistShunskeSatoaboutperformance,repertoireandteaching

teacher,anAmericanteacherMaryUgerinMunich.Thefunnythingwas
that,30yearsbeforeIdid,shehadalsostudiedwithDorothyDeLayat
Juilliard.Bythatme,Ihaddecidedthat,asfarasmystudieswere
concerned,IreallywantedtofocusonBaroqueviolin.


PH:So,nomoremodernviolin?


SS:Iwasalsoplayingmodernviolinatthatmeandslldo.Everynowand
then,IgetaskedtodoaBrahmsconcertoorwhateverandslllovedoingall
ofthatrepertoire.Ihaventbidfarewelltoanyofit.Infact,Ihavebeenable
torevisitalotofitBrahms,forexampleviewingitfromahistoric
perspecve,likediscoveringwhatkindofpianosorstringtechniqueswere
used.19thcenturyBrahmswasprobablyverydierent:youveryquicklynd
outthatitsquitedierenttothemodern21stcentury,asamaeroffact.It
hasbeenveryinteresngtobeabletoseeallofthisrepertoirefroma
completelydierentperspecve.


PH:Whendidyoustartplayingtheviola?


SS:ImsurprisedyoumenoneditIloveplayingviolabutdontdoitsomuch.
Istartedplayingtheviolaat14or15itwasoutofcuriosity.Iboughtoneof
thoseverycheapinstruments,probablywithwaterandbulletproofvarnish,I
scrapedawayandsawmywaythroughit.IslldonotplayitasoenasI
wouldlike.


PH:DoyouhaveaBaroqueviola?


SS:No,Isllhavethecheap,veryredviolaIboughtthen.Idonthavethe
incenvetoacquireoneasamknownmuchmoreasaviolinist.


PH:DoyouseeyourselfmostlyasaBaroquemusicianatpresent?


SS:Well,Imnotsureaboutme.Certainly,aforlotofpeople,yes.Ithink
peoplewouldassociatemewiththeBaroqueviolin,justfromthesheer
amountofworkIhaveinthatdirecon.Formeitisactuallyquiteremarkable
toseehowliletheviolinpersehaschangedincomparisonto,say,the
harpsichordversusthemodernSteinway.Movingfromtheharpsichordtothe
modernpianoisamuchmoredicultadapon,evenfromthefortepianoto
anrardpiano.Inthatway,Ithink,asastringplayer,youactuallyhavethe
advantageoftakingmoreorlessthesameinstrumentandplayingitinso
manydierentways.AsIsaidbefore,IlovedoingBrahmsandSchumannand
muchlaterrepertoire.Infact,inFebruaryIamdoinga20thcenturyprogram
Stravinsky,KhachaturianandMilhaudandonhistoricalinstruments!We
foundaniceSteinwayfromthebeginningofthe20thcenturyinanincredible
workshopwheretheyhavethreeorfouroftheseearlySteinways.Oneof
them,apparently,isapianoonwhichVladimirHorowitzgaveaconcert.
Quitearemarkablecollecon.Anyway,therewillbetheSteinway,myviolin
http://pamelahickmansmusicinterviews.blogspot.com.uy/2016/12/talkingtoviolinistshunskesatoabout.html 4/8
2017519 PamelaHickman'sMusicInterviewsBlog:TalkingtoviolinistShunskeSatoaboutperformance,repertoireandteaching

withgutstringsandsteelandtheclarinesthasalsofoundaclarinetfrom
thisme.Ithinkyoucanjustextendthisinsomanyways.Ienjoyalotof
kindsofmusicandliketohaveabroadrepertoire.


PH:IreadyouplayedPaganiniongutstrings.Isthatauthenc?


SS:Yes,yes.IdidthatinAustralia,asamaeroffact.Authenc?Yes,
absolutely.Gutstringswereinuseontheviolinll1930or40,buteven
longerforcellistsanddoublebassplayers.Violinistswerethersttouse
steelstrings.So,basicallyalltherepertoirewenowassociatewithClassical
music,rightuptoDebussyandRavelandBartokwasintendedtobeplayed
ongutstrings.


PH:Wouldyouliketotalkaboutyourteaching?


SS:Yesmyteaching.Iloveit.Imlearningjustasmuchasthestudents
evenmore.IknewthatIlikeditverymuch,evenbeforeIstartedteachingat
theAmsterdamConservatory.Ifanything,IthinkIhavealwaysbeenavery
selfreecngmusician.Ihaveneverbeenapersontojustdosomething
adicultpassageandnotknowwhyorhow.Andthenthereisrealizing
thatallofthosestudentscomingthroughthedoorbringwiththemtheirlife.
Youseethemforanhourandahalfeveryweekortwoweeksandyougive
themthishomeworkorthatatasktocompletefornextmebutalotof
themworkatashopvedaysaweek,forexample,inordertomakeends
meetortoteach,andthislilesnippetofmeis,inaway,sosupercial!I
realizethatyoucanteachthemabouttheviolinandwhattodowhenyou
encounteradiminishedchord,howtoornament,andallofthesethings,but,
intheend,whatItrytodoistogetthatpersontogivehismaximum,and
whatthatmeansforeverypersonisdierent.Somepeoplehonestlyare
notsoloistmaterialortheyaremoresuitedtogroupplayingorevenIwould
say,somepeoplearemuchbeergearedtowardsteachingorresearch.I
haveonestudentwhoisincrediblygoodatresearch,bringsalongpiecesI
haveneverseenorheardofandknowssomuchaboutthings.Heisnotthe
strongestplayer,buthereallyhasaheadandheartformusicinacompletely
dierentway;IamnotgoingtoexpecthimtoplayaBachfugue,butIcan
develophiminsomanyotherways.IreallyhavetosayIhaveaverygood
classofmovatedstudents(youngadults),andIthinkIamgengbeer.
OneofthethingsmyteacherDorothyDeLaysaidwaswhenaskedwhyshe
wassuchagoodteacherwas:Idoalotofiteveryday.


PH:Shunske,whatisyourcurrentproject?Whatisonyourmindmusicallyat
themoment?


SS:Oh,gosh.Whateverisnext!Actually,ithasbeeninteresng.Speakingof
laterRomancmusic,19thcenturyrepertoirepostBeethovenonhistorical
instruments,youhavealotofBaroqueensembles,butthosewhofocuson
laterrepertoiretherearentsomany.Actually,Ihavefoundafewpartners
incrimewhoknowalotaboutthisperiod.Wearetryingtogetagroupo

http://pamelahickmansmusicinterviews.blogspot.com.uy/2016/12/talkingtoviolinistshunskesatoabout.html 5/8
2017519 PamelaHickman'sMusicInterviewsBlog:TalkingtoviolinistShunskeSatoaboutperformance,repertoireandteaching

theground.Itwillbeveryinteresngtoseehowthatgoes.Wehavesentout
ourrstroundofconcertoerstoconcerthallsthroughoutHolland.
Reaconshavebeenveryposive,sayingtheylikewhatweareontoand
wouldliketohaveusforthenextseason.Thisisincredible:itmustbea
combinaonofalotoffactorsasthisissomethingthatisnotdonemuchas
yet.ThatissomethingIwouldlovetoexpand.Justasthewaywe
revoluonizethewaywedoBaroquemusic,wecangomuch,muchfurther
withothergenres.


PH:Areyoureferringheretochambermusic?


SS:Yes,yes.Absolutely.


PH:Whatdoyoundaudienceswanttohearatthemoment?


SS:Whatdotheywanttohear?Ithinkthatdepends.Icantbeajudgeof
that.Itissuchasynergyofdierentthings,thesynergybeingbetween
performer,listenerandcomposerorwhateverpieceofmusicisbeingplayed.
AndwiththesamethreepeopleinthesamerolesonMondayandthenon
Saturday,itisgoingtobedierent,evenwithpiecesverywellknowntous.I
thinkitisexactlythatwhichItrytoreallybringtolife.Thefactofthemaer
isthatmusicisbornanddiesatthesamemoment,ifyouwill.Themoment
thesoundnishesitisgoneandwillnevercomebackagain.ThatishowIsee
itand,Ithinkifyoumustgoonthat,unlessyouhaveaveryjaded,skewed
andstrangeaudience(whichyoudohave.Someaudiencesareinforamuch
morecanonicalapproach,sckingtothestatusquoofthemusic.Youhave
dierentaudiencesandcantpredictthatsortofthing.)Ithinkwhatdoes
usuallysucceedisbeinggenuine,beingyourselfforbeerorworse.Itsjust
likewhenyoutalktopeople,youknowiftheyarebeinghonestandgenuine
withyou.Ithinkifyouarethere100percenttheaudiencewillbethere100
percenttoo.


PH:Areyouintonewmusic?


SS:Ihavenotbeenassuch.TherewasamethatIdiddomoreofthat.New
musicisabitinitsowncategory.Therearemusicianswhospecically
dedicatethemselvestoit.ItsabitlikewhatishappeningwithBaroque
music:thereisacertaincirclethathasbeenestablishedtoperformthiskind
ofmusic.Astonewmusic,IthinkIamnotreallyexposedtoitverymuchand
soitishardformetosaywhetherIwouldlikeit,asIhaventyetdonemuch
ofit.Mypersonalexperienceofithasbeenmixed.Ihavesomemescome
acrossnewworksthatarebrilliant,thatIreallylike,andothersnot.Thesame
thinggoesforearliermusic.TherearesomepiecesofBeethovenorMozart
thatarenice,butIdontcaretoplaythemsomuch.Ithappens.So,Ithinkit
ismainlyaquesonofexposureandsimplyofme,because,withwhatI
havealreadynowitsincredible;Imalreadycoveringthreecenturiesof
music.

http://pamelahickmansmusicinterviews.blogspot.com.uy/2016/12/talkingtoviolinistshunskesatoabout.html 6/8
2017519 PamelaHickman'sMusicInterviewsBlog:TalkingtoviolinistShunskeSatoaboutperformance,repertoireandteaching

PH:DoyoudoanyJapanesemusic?


SS:No.Asawhole,anditisnotjustmeitisaveryspecializedareaofmusic,
evenwithinJapan,actually.Thereyouwillmuch,muchmoreeasilynda
classicalornonJapanesemusicconcertthantradionalmusic.Maybethat
hasalottodowiththehistoryofthecountryitselfinthe19thcentury,when
AmericaandEuropecameknockingonthedoorwithcannons,gunsand
ships.TheJapanesewere,ontheonehandveryfrightenedand,ontheother,
fascinatedbythisnewcultureand,withinaspanof20to30years,theyhad
completelyturnedtheircultureupsidedownandwesternizedit.Andwith
thatcamealsotheascentofwesternclassicalmusicand,atthesameme,
thedeclineoftradionalthings.Sincethen,ithasbecomeabitmarginalized.
IdontunderstandJapanesemusicatall:itfollowsrulesthatarecompletely
dierenttowhatIknow.


PH:IsthisvisitendofDecember16goingtobeyourrsttoIsrael?


SS:Yes.Myveryrst.IwillbeplayingwithtwofriendswholiveinTheHague
(wequiteoenplayheretogether)BennyAghassi(bassoon)andHen
Goldsobel(doublebass)andIsraeliswhomIhavenotyetmet:Doret
Florenn(recorder),TaliGoldberg(violin)andYizharKarshon(harpsichord).
TheconcertswilltakeplaceinJerusalem,Raanana,HaifaandHerzliya.


PH:Shunske,whenitsnotmusic,whatinterestsyou?


SS:ForsureIcouldsay:cookingandarchitecture.WhatIlikeaboutbothis
thecombinaonofscienceandcreavity,andbalance,too.Well,cooking
simplybecauseIlikefoodIjustlovefoodandamfascinatedbyhowfoodis
preparedandwhereitissourced.However,bynomeansdoIknow
terminologyandthingslikethat,forexample,whatpartofthecowiscalled
what,butthatdoesntdetermefromenjoyingitalot.Youcancombine
moreorlessthesameingredientsinsomanyways.Inarchitecture,thereis
theconstruconthesciencepartofitandthenthereiswhatyoudowith
that.Myfascinaonwitharchitecturestartedearly.Inparcular,Iremember
inPhiladelphia,whereIlivedinabigapartmentcomplex,theywouldsenda
monthlynewsleertoalltheresidentsandontheverybackpagetherewere
adversementsforapartmentsforrentorforsale,includingoorplans.I
wouldtakethoseoorplansandcopythemtomakevariaonsonthem
addanewroomormakeathreebedroomapartmentfromatwobedroom
apartment.Wherearchitectureisdierentisthatinmusicorfood,onceitis
goneitisgone,ofcourse,remaininginthepersonsmemoryandsoul,butits
notthere.Thecrucialdierenceisthatinarchitecturewhenyoubuild
somethingitservespeopleeverydayinaverytangibleway;smallthings
impact,forexample,thewayyoufeelcomfortathome,ordiscomfort.The
wrongplacementofawallcanreallyhaveanegaveeect.Thearchitecthas
tondsoluonstoproblemsthatareopmal.Well,livinginacountrylike
Holland,youhaveoldbuildingsallovertheplaceanditissomemesexcing,
somemesdepressing,togointoa17thcenturybuilding.Somemes
whoeverrenovateditdidaterriblejob,withuglylesandlaminateallover.
http://pamelahickmansmusicinterviews.blogspot.com.uy/2016/12/talkingtoviolinistshunskesatoabout.html 7/8
2017519 PamelaHickman'sMusicInterviewsBlog:TalkingtoviolinistShunskeSatoaboutperformance,repertoireandteaching

Ornot:somebodyhasreallytakencareandbroughtoutthecharacteriscsof
thehouse,alsomakingitverymodernandcomfortable.Ithinkthatfoodand
architecturewouldhavebeenverynicealternaveprofessionsforme.

PH:ShunskeSato,manythanksforyourme.Ithasbeenmostinteresng
talkingtoyouandhearingaboutyourcareerandthoughtsonmusic.

P O S T ED B Y PA MELA H I CK MA N AT 8: 24 A M
LA B ELS : B A R O Q U E V I O LI N. A U T H ENT I C P ER FO R MI A NCE A ND I NS T R U MENT S

NO CO MMENTS:

PO STACO MMENT

Enteryourcomment...

Commentas: Iglioni(Google) Signout


Publish Preview Notifyme

NewerPost Home OlderPost

Subscribeto:PostComments(Atom)

http://pamelahickmansmusicinterviews.blogspot.com.uy/2016/12/talkingtoviolinistshunskesatoabout.html 8/8

You might also like