Who or what inspired you to take up piano and pursue a career in music?

I must say, I don’t know… My parents, although not musicians, are very musical. My father composed some songs for my mother to sing with his guitar accompaniment. There was always much music in the house, mostly classical and what in Russia is called ‘bard song’.

There also was an upright piano and I well remember I was fascinated, enchanted by the sound of major third.

But in the end it all might be even simpler and a bit embarrassing. I was about 6 years old and I went to a symphonic concert to hear a violinist playing. She was wearing a purple velvet dress, a rather unbelievable hue of purple. I thought I’d never seen a colour more sumptuous…and I decided I wanted to play violin. That’s how my path in music started – I am afraid, because of a velvet dress!

Who or what have been the most important influences on your musical life and career?

I am easily influenced in the sense that I am easily fascinated, easily enthused about things. In a way, this can be a disruptive quality sometimes – one needs, perhaps, some distance with the subject to get to the core of it. Inevitably, the list of musicians who left their imprint on my playing is long and eclectic.

My first great musical idol was Sviatoslav Richter. Of course, I heard his recordings very early on, but I “discovered” him in my teens. I then first understood what a word “musician” means, or should mean. A few years later I was struck by Theodor Currentzis who came to my home town in 2004 to start Musica Aeterna. I never knew before how hard one can work and how far one can go in carving ideas and reaching one’s vision. Yet later on I subsequently worshipped Mikhail Pletnev, Dietrich Fischer-Dieskau, then Maria João Pires with whom I studied, and Graham Johnson. During my years at the Moscow Conservatory I was very much under the spell of one of my mentors, Pavel Nersessian, a formidable personality and a very unique musician. Lately, however, I feel more and more that I am influenced, inspired or fuelled by things outside music, be it painting, photography, dance or fashion.

What have been the greatest challenges of your career so far?

The challenge which perhaps is quite specific for the time we live in is to pace oneself and allow the music enough space and time to grow naturally. It is extremely important, but it takes quite some effort to avoid temptations and sometimes work hard against the flow.

Yet a greater challenge is to always try and see – artistically – things as they are, not what you expect them to be. It’s hard work overcoming your own knowledge and experience. It is a paradoxical but, I believe, a necessary task for any artist at some point.

Which performance/recordings are you most proud of?

Perhaps, the Louis Couperin disc was altogether the most ambitious and challenging recording project to date. In Russian we say: “To push a camel through an eye of a needle”. That’s what it was.

Which particular works do you think you play best?

The ones that I am deeply in love with at the given moment.

How do you make your repertoire choices from season to season?

The repertoire choices are painful…. I have big appetite for repertoire, but a pianist has to set the priorities clear early enough as Alfred Brendel once said to me. You learn to live with the thought that you won’t be able to play everything you want, in a lifetime.

Usually, there emerges a certain theme, or a composer, or a piece which attracts me. I then start searching for a concept that would be strong enough to construct a program around it. It is curious that at a certain point there is always an element of surprise, a moment of spontaneity when you suddenly see the possibilities that you didn’t expect at all at first. It’s important not to miss that moment.

Do you have a favourite concert venue to perform in and why?

Perhaps I enjoy the most playing at places that are not regular concert venues. When they sound good, of course.

Who are your favourite musicians?

My most favourite musicians are those that are fearless, selfless and inquisitive.

What is your most memorable concert experience?

When I was 16 years old I went to a music festival in Casalmaggiore. At one point with few friends we went on a day trip to Venice. As we were walking past La Fenice a friend from St Petersburg noticed that Grigory Sokolov was playing that very night. We went in and bought last tickets. I had not a slightest idea who he was. He went on stage and the instant before he started playing I knew I was about to hear something I’d never forget.

As a musician, what is your definition of success?

Success is like food: the quantity and quality of it shapes you in a certain way over the time, whether you want it or not. Have too little or too much of it – and you will die, metaphorically speaking of course.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Funnily, my deep conviction is that no idea or concept of true artistic importance can be imparted or transferred. The real things are those that you grow yourself in your own garden, without anyone overseeing. In that sense art is the land of absolute sole responsibility. There is nothing that cannot be challenged, but in fact there is nothing that has to be challenged at all – quite simply, there really is nothing that is impossible, unless you’ve decided so.

Pavel Kolesnikov performs Rachmaninov’s Rhapsody on a Theme of Paganini with the Britten Shostakovich Festival Orchestra who reach the UK next week for their inaugural UK tour from 17 to 25 September in Birmingham (17th September), Leeds (19th), Manchester (21st) and Cadogan Hall, London (25th September).

Pavel makes his debut at The Tetbury Music Festival on 5 October 2019. The festival runs between 28 September and 6 October – please visit www.tetburymusicfestival.org for more information and tickets


Since becoming Prize Laureate of the Honens Prize for Piano in 2012, Pavel Kolesnikov has performed around the world.  Significant recital and festival appearances include Zankel Hall at Carnegie Hall, Berlin’s Konzerthaus, the Louvre (Paris), Vancouver Recital Society, La Jolla Music Society, Spoleto Festival USA, Canada’s Ottawa ChamberFest and Banff Summer Festival, Plush Music Festival, and the BBC Proms.  Recent and upcoming orchestral appearances include London Philharmonic, Philharmonia Orchestra, Russia’s National Philharmonic, Orquestra Sinfônica Brasileira and Toronto Symphony Orchestra. Pavel is also a member of BBC Radio 3’s New Generation Artists for 2014 to 2016 and RCM Benjamin Britten Piano Fellow for 2015 to 2016.

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(artist photo: Eva Vermandel)

Who or what inspired you to take up singing and pursue a career in music?

I always loved to sing; in fact, I can’t imagine a life without being allowed to sing.

Singing makes me feel free, and what is a life without freedom? I suppose there are many ways of expressing oneself, but for me, the most natural is to sing. I like the fact that my body is my instrument, and that I can use it to communicate with an audience. It’s such a direct transfer of emotion from my heart to other hearts. I never thought there would be another path for me. That’s my path.

Who or what have been the most important influences on your musical life and career?

My music teacher in high school, Tim Bruneau, had a big impact on the way I listen to and think about music. He taught the chamber choir at the girls’ school I attended in Los Angeles, and we rehearsed every day. He always shared the latest recordings with us. We listened to incredible singers (mostly women) every day: Jessye Norman, Kiri Te Kanawa, Frederica von Stade, Cecilia Bartoli, Barbara Bonney… He taught us to listen for colour and tone, for style, to study how the singers used their breath – those were very formative years. I know my love for lieder and art song began then. In terms of career, the best advice I ever received was from my friend Frederic Alden, who is a businessman. He told me to “look at what everyone else is doing and do something different.”

What have been the greatest challenges of your career so far?

Producing my brand-new album ‘The Wild Song’ on my own has been particularly challenging. Several people told me to give the recording to a label and let them produce it, but I had invested so much of myself in its creation that I thought it would be better to produce the album myself. I wanted to make a very beautiful object, and I knew that record labels didn’t do that anymore. I’m thrilled the album has been so well received.

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Which performance/recordings are you most proud of?

I’m very proud of ‘The Wild Song’. I set out to make a recording that was very different from anything I had ever heard. I wanted to mix classical art song with spoken poetry and electronic music. Although I feared that an album like ‘The Wild Song’, which is rather non-traditional, would be rejected by the classical community, I have been delighted by the classical community’s embrace of it. To me, that means our community is evolving, which I think is very necessary in our intensely connected and computerised world. The biggest musical challenge in the project was ensuring the transitions between the different genres felt organic, and I think Mychael Danna’s electronic interludes work very effectively as bridges between Britten’s songs and W B Yeats’ poems.

Which particular works do you think you play best?

I have been a champion of women composers for a very long time, far before it was fashionable. Historically, there are so many who have not been given the attention they rightly deserve. I particularly love to sing Mel Bonis’ mélodies and Barbara Strozzi’s vocal music. However, Clara Schumann composed my favourite lieder, and I would say my favourite song of all is Liebst du um Schönheit. I love Rückert’s poem about loving for love’s sake. When it comes down to it, the only thing that truly matters, is love.

How do you make your repertoire choices from season to season?

I love words. My repertoire choices are always made based on the poetry. If I can’t relate to the words or the poem, I can’t sing the song. Music always has to come from the heart, so I have to be able to relate to the poetry.

Do you have a favourite concert venue to perform in and why?

My dream is to perform ‘The Wild Song’ at the Disney Hall in Los Angeles. Somehow it would be going full circle— taking a dream I created in Europe back home with me.

Who are your favourite musicians?

My favourite living singers are Barbara Bonney and Thomas Hampson. I absolutely adore Barbara Bonney’s voice, both for its purity and force, and I find it very sad that she is not performing anymore. What fascinates me with Thomas Hampson is that he is able to create a very strong connection with the audience from the moment he sings the first note of a recital. I’ve never seen anyone else do that. It usually takes other singers an entire song or two. He is truly a master recitalist. As for singers ‘of old,’ I am a huge fan of Rita Streich. I don’t think there has ever been a more fabulous Zerbinetta. As for pianists of the “new generation,” I love listening to Víkingur Ólafsson. I’m also a big fan of Igor Levit.

What is your most memorable concert experience?

I once gave a recital in the Royal Chapel in the Château de Versailles. It was such a glorious place to sing. Not only were acoustics incredible but the chapel itself is so incredibly beautiful. I very much like to sing in places with centuries of history; I like the idea of being part of that history.

As a musician, what is your definition of success?

Success is being able to do the next project that is blossoming in my imagination.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

I think the main thing is to never give up. That’s obviously challenging on a hard day, or during a hard year, but it’s really important. My yogi friends often use a hashtag that says #practiceandalliscoming. We musicians should use the same hashtag. Practice. Don’t give up. Trust your instinct.

What is your idea of perfect happiness?

I think we all carry perfect happiness inside ourselves all of the time. The challenge is being able to tap into it. Unfortunately, I believe most people never learn to tap into their true selves and never experience this. My yoga practice has taught me that peace and happiness are always available to us. I have a deep sense of contentment.

The Wild Song is available now

Review of The Wild Song


American by birth and Parisian by inclination, Marci Meth has been celebrated for her performances “imbued with charm and elegance” (Classica magazine). Nominated for the most promising recording by a young classical singer at the Orphées d’Or in Paris in 2009, her performances have been lauded by audiences at the Château de Versailles, St. Martin-in-the-Fields, St. James Piccadilly, as well as at venues in Paris, Stockholm, Brussels, Tokyo and Osaka. 

The creation of The Wild Song has occupied Marci for the past three years and has included the creation of a new record label, Modern Poetics. The Wild Song brings together Marci’s interests in poetry, music and film and is her vision of what the 19th century song recital looks and sounds like in the 21st century. 

Marci Meth earned her Postgraduate Diploma at the Royal College of Music in London and was awarded the Century Fund Prize for Early Music. She has studied singing with Ryland Davies, Jennifer Smith, Christine Barbaux and Marie-Claude Solanet. She received her Bachelor’s degree in Art History from Stanford University. 

marcimeth.com

Who or what inspired you to pursue a career in music?

When I was very young (2 or 3 years old) I would visit my grandmother and watch her play piano. She was amazing – she could play by ear. The memory that is the clearest for me is listening to her play “Harlem Stride” piano – mostly songs by the great Jelly Roll Morton. She would have this incredible laugh. It was pure joy. I was captivated and I wanted that for myself. It‘s funny – at 3 years old I don’t think I knew what “that” was…

Who or what have been the most important influences on your musical life and career?

How much time do you have? (laughs) I think the single biggest influence on me has been film music. I have been listening to film music since seeing “Fantasia” (Disney 1940). I have always been amazed at how music and visual could work together. Even now, my recordings are so programmatic. I love creating “scenes” and characters in my songs. People ask if my songs are about me… or if I am the central person that the song is based on. The answer is a resounding “no”. Music is an opportunity for me to inhabit the lives and experiences of others – just like in the movies.

Which performances/recordings are you most proud of?

My new recording “Cupid Blindfolded” has been one of the most satisfying of my life. I think it started with the writing. I was very, very focused and disciplined and I think all of the preparation made a huge difference. Many of my other piano recordings have been either completely improvised or partially improvised – “Cupid” stands out as a triumph of performance and composition for me. I also think “Cupid” is the best sounding piano recording I have ever made. Engineer Tom Eaton is a genius and he did an amazing job. You can watch a “mini-documentary” about the making of the recording here:

 

Watch the first video here:

The other album that I am very proud of is: “The Shadows of October.” It’s a collection of my ‘classical’ chamber works including my two string quartets. You can listen to my String Quartet No. 1 here:

Which particular works do you think you perform best?

It’s hard to say because I only perform live 5 or 6 times a year. Frankly, I hate playing my pieces exactly the way I recorded them. In concert, I use the melody as a “jumping off point” and I take the audience on an adventure musically. It’s been fun to take a very popular melody like “I Have Loved You for a Thousand Lifetimes” and watch it evolve over the last 15 years. In the case of that song, I do NOT mess with the melody. I think there would be a riot at the performance! (laughs)

What is your most memorable concert experience?

Last year, I did a concert for about 75 people – lovely space. No chairs. People laid on matts. Some did yoga (quietly). Some napped. Some held hands with their friends and partners and just “vibed” to the music. A woman even laid down UNDER my piano! It was wonderful. The audience loved it. I might do it again with all this new music I have created.

How would you describe your compositional style?

I think my language changes based on the type of music I am creating. I am something of a “chameleon” in this way. I might be creating a “rock” track for a jingle that has a very different musical language than a classical piece versus my solo piano music which is maybe the ONLY place in my musical life where I take shards of all the musics I create and press them into their own palette. On my new album, “Cupid Blindfolded”, you can hear my pop, jazz, soundtrack, classical and even my bent towards chromaticism – even avant-garde. I love the idea of self limiting systems in music. For example, a string quartet is the most rigorous kind of system where you have these four instruments and centuries of repertoire. Writing for solo piano is a similar challenge but you can surf more easily inside of “style” or “genre”. Recently, a reviewer on the radio said: “it’s ridiculous to call Michael Whalen’s music on ‘Cupid Blindfolded’ ’new age’”. (laughs) Honestly, I have to agree. I am pulling together 30 years of experience when I make my music. The only problem is that I trip over my limitations as a “pianist” while trying to execute the music I have created often!

How do you work?

Oh, this is TOP secret! (laughs) Honestly, it changes from project to project. However, for my recordings – – I do two things: first, I create the NAMES of the songs before writing a note of music. Secondly, I like to have some idea on the cover artwork as early in the process as possible. Having these elements helps me focus on the “story” and the “character” of each piece. I love writing programmatically. I guess it is from writing so much music to picture.

As a musician, what is your definition of success?

Freedom. Artistic, financial and creative freedom. Two out of three ain’t bad! (Laughs)

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Integrity. I think for musicians coming up to be true to who they are as artists versus trying to create “content” to be popular. I have friends my age who battle with this idea. They think to be relevant they have to be well liked. That is nonsense. To be relevant you need to be saying something that is connecting with people authentically. Fans can smell a fake a million miles away. You can’t fake soul, emotion or pathos.

Where would you like to be in 10 years’ time?

Exactly where I am.

 

Michael Whalen’s new album Cupid Blindfolded, his first solo piano album in 20 years, is available now. Stream or buy “Cupid Blindfolded” here


Michael Whalen is a two-time Emmy® Award winning composer and music supervisor (with 8 nominations) who has worked in advertising, television, film and video games for over 30 years. Some of his best-known work: “Veronika Decides to Die” (2014), “What the Bleep Do You Know?”, “As The World Turns”, themes for HBO, CBS News, ABC News’ “Good Morning America”, “The Oprah Winfrey Show”, dozens of specials for PBS, National Geographic, Discovery, The BBC, NHK and the History Channel and television films for Lifetime and the Hallmark Channel. Michael is also an internationally known recording artist with 32 solo and soundtrack recordings to his credit. Well-known for his beautiful and thematic music, he performs when time allows. He has also produced and executive produced over 100 recordings for other artists. His work as a executive producer resulted in a Grammy Nomination in 2000. 

michaelwhalen.com

 

Who or what inspired you to take up composing?

When I started learning piano I quickly found that improvising around the pieces I was learning was far more fun than practising scales! Quite soon after that, I realised I could begin to write these inventions down (inspired at first by an ardent desire to acquire a Blue Peter badge…!).

Who or what are the most important influences on your composing?

Recently I’ve been especially inspired by composers who have an outward-facing, collaborative approach to their craft. Composers like Nico Muhly epitomise this for me: not only is the music totally brilliant, but it’s made for people, not just the instruments they play.

What have been the greatest challenges of your career so far?

This past year I’ve been writing for the London Symphony Orchestra as one of their Panufnik Composers – this has certainly been a huge challenge, exciting and daunting in equal measure! Having the whole orchestra (under the baton of François-Xavier Roth) at my fingertips was an incredible feeling, but attempting to write not just a good overall piece but also great parts for all 80 phenomenal musicians certainly took a lot of careful balancing!

What are the particular challenges/excitements of working with an orchestra/ensemble?

It’s the biggest thrill of the process, BUT sharing music that you’ve been living with potentially for months for the first time is a daunting thing! A player’s relationship with the thing you’ve made is so different to your own, which is why I obsess over how parts look. Most performers won’t be religiously studying your score for weeks on end; they’ll be getting under the skin of the notes you’ve written for them, so it’s critically important that what they see is presented perfectly.

How would you characterise your compositional language/musical style?

My music is built out of a core I would describe as essentially emotional. I will never shy away from that word (which is often lazily conflated with ‘sentimental’) – I can’t imagine wanting to spend my life writing music if I didn’t want to move, surprise, excite, provoke people, and I’m obsessed with finding harmonic, melodic and rhythmic ways of aspiring to do just that. The Requiem that I’ve just written for Laura van der Heijden, Nicky Spence and a fantastic choir that I’ve put together is, in part, a kind of manifesto for everything I love about music. It’s my biggest work to date, and I’ve designed it in such a way as to (hopefully) crystallise the main things which make up my musical voice.

How do you work?

I work in very intense periods where a lot seems to happen very quickly! But of course this is only part of the process… I don’t believe there’s any such thing as ‘pre-composition’ – once an idea is floating around in my head, I find it very difficult to ignore, and it’s constantly evolving, shifting, forming… When these ideas get onto paper, the process has already begun (and a long night at my desk usually follows…)

Of which works are you most proud?

The works of which I’m most proud are the ones where I haven’t felt any pressure to make them something they’re not, or self-consciously ‘new’. One of my favourite Stephen Sondheim quotes is ‘Anything you do, / Let it come from you, / Then it will be new’. I think there’s a lot of truth in that.

Do you have a favourite concert venue?

My favourite venues and spaces make you feel like the music is happening to you, however big or small they are – but this has a lot to do with the performance too…

Who are your favourite musicians?

The musicians I’m most inspired by are those for whom the notes they play are only the tip of the iceberg – musicians who are obsessively curious, who understand why the music they’re playing exists, and who can make you hear familiar music as if it were completely new.

What is your most memorable concert experience?

In 2017 The Bach Choir performed my carol ‘Nowell’ at Cadogan Hall; there was some very specific choreography at the event which meant that I watched the premiere from onstage, facing sideways, so I was able to take in not only the choir but the full audience as well. This turned an already exciting moment into an electrifying one: it felt like a kind of arena, with 100 voices at the centre… what could be better?!

What is your favourite music to play? To listen to?

My Spotify history at any given moment is a completely bizarre and eclectic mix of music – musical theatre has an extremely special place in my life, and I still can’t beat it for listening to on the go. At the moment I’m trying to discover as much new choral music as possible. I love finding music I’ve never even remotely heard of; those are the most exciting listening moments for me. In terms of playing, I love anything that gets me performing with other musicians – I love accompanying, and recently I’ve been able to delve deep into the french horn repertoire for an upcoming recital at Buxton Festival with Alexei Watkins.

As a musician, how do you define “success”?

If I’ve made something that nobody else could have made in exactly the same way, and which the performers really want to own, I’ve succeeded. The rest is largely beyond my control!

What do you consider to be the most important ideas and concepts to impart to aspiring musicians/students?

Be polite; be punctual; be proactive. The rest will follow!

The World Premiere of Alex Woolf’s Fairfield Fanfare will take place on Wednesday 18th September 7.30pm as part of the Fairfield Halls gala reopening concert with the London Mozart Players:

https://www.fairfield.co.uk/whats-on/london-mozart-players-fairfield-halls-gala-opening-concert/

Who or what inspired you to take up the piano and pursue a career in music?

I took up piano as a hobby after my grandmother asked if I’d be interested in learning it. Growing up on a farm in southern Tasmania meant there wasn’t much else to do, so I said yes. I didn’t decide to pursue a career in music until the end of my school years, when the head of music suggested I apply for conservatoires in London.

Who or what have been the most important influences on your musical life and career?

Probably my dad and my teacher. The former because he is inadvertently responsible for much of my taste in music, and my teacher Joanna MacGregor because she allowed and helped me to take a path less travelled in my musical development (no repertoire is off-limits!), and instilled in me a passion for new music.

What have been the greatest challenges of your career so far?

Moving to the other side of the world by myself at age 18.

Which performance/recordings are you most proud of?

I couldn’t say for certain, but in recent times I have been particularly pleased with a performance I gave of Michael Finnissy’s 2nd Piano Concerto with Ensemble x.y and An Assembly. Sometimes things do hold together when you need them to.

Which particular works do you think you play best?

I think I play modern/new music best, but I also like to think that I play Romantic-era works quite well too.

How do you make your repertoire choices from season to season?

Briefly:

It depends on the concert and the context of the concert. One thing I hate vehemently is uninspired programming. A programme needs to be more than a series of pieces one after the other without connection other than ‘similarity’ or ‘contrast’. I like forming narratives, be it stylistic, historical, emotional etc. and I feel it is necessary to talk to an audience (either verbally or through your own programme notes) to offer this information, and offer an approach to listening. I strive to choose programmes that will be relevant to either the venue, the context of the concert or a featured piece. So this is primarily what drives my repertoire choices. It usually means I have to learn new pieces quite regularly, but that’s fine.

Who are your favourite musicians?

I couldn’t say, it would change from week to week or day to day even.

What is your most memorable concert experience?

I don’t know, mostly because I have a bad memory. Although I once did a certain concert with a certain friend of mine where between us we performed about two thirds of Boulez’s output for piano(s) and in retrospect it was a completely ridiculous idea and I have no idea how we pulled it off.

As a musician, what is your definition of success?

Owning a home.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Do things other than music at least as regularly as you do music.

What is your idea of perfect happiness?

I don’t know. But I think if I owned at least three pianos, and a celesta, and maybe throw in a few harpsichords and/or a clavichord and a few other things with keyboards I reckon that would do for a start. You could ask me again then.

Joseph Havlat is a St John’s Smith Square Young Artist for 2019/20


Joseph Havlat was born in Hobart, Australia, and studied at the Royal Academy of Music in London under Prof. Joanna MacGregor from 2012 – 18. Joseph has performed in major concert venues around the UK and in Europe, America, Japan and Australia as a soloist and as part of chamber groups and orchestras. He is a keen sock enthusiast and chamber musician, performing frequently with multiple groups – Tritium (clarinet) trio, Trio Derazey, Duo Ex Libris as well as the LSO percussion ensemble, with whom he toured Japan in 2018 giving the premiere of a work by John Adams. Passionate about contemporary music, he is a founding member and artistic director of contemporary music collective Ensemble x.y and is also an avid composer, having written for the aforementioned ensembles, among others. Having now graduated from the Academy, he is there serving as a Piano fellow for 2018-19, having also been a Chamber music fellow for the previous year.

josephhavlat.com

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Your father, Masaaki Suzuki, must have had a major impact on your musical development as a child. Can you tell us about this, and what else inspired you to pursue a career in music?

My father had a lot of influence on me as a musician, though I never actually studied with him properly apart from at the Tokyo University for Fine Arts and Music, when I was a student in Masaaki’s class. This was quite special in a way, as I was able to see the way he works, as every other student in the class. Whilst Masaaki introduced me to the world of Baroque music, I became inspired whilst studying composition at the University of Tokyo, where I became familiar with many fascinating contemporary composers. This is especially interesting to me as the composers are still living, so I am able to see the inspiration of their compositions, relating to the world I live in now.

What have been the greatest challenges of your career so far?

Becoming Principal Conductor of the Bach Collegium Japan was a great challenge, as I was formerly the organist, and therefore my relationship with those I work with in the orchestra changed considerably. Every day presents new and exciting challenges that I look forward to tackling. Conducting an orchestra is pure fun for me!

You feature on numerous recordings with Bach Collegium Japan, and have recently been appointed their Principal Conductor. Which performances/recordings with Bach Collegium Japan are you most proud of?

The first would be ‘Bach: Cantata’s, Volume 28’ (BIS) my first recording as harpsichordist of the Bach Collegium Japan! I’m also proud of our Cantata’s Volume 44, where I played the solo part in Bach’s Organ Concerto.

Your new recording project with Antoine Tamestit sees you perform JS Bach’s three sonatas for Viola da Gamba and Harpsichord. What inspired you to take on this project?

Antoine and I have been very good friends for years, and share a love of sushi which always brings us together, and of course music. We have been talking about making a recording for a while, and it has been the greatest joy to finally work with him on this. The result has been so fruitful and I look forward to sharing this with people.

You will be making your debut at Edinburgh International Festival this season. What are you looking forward to about performing there?

I’m very happy to be returning to Edinburgh to make my debut at the International Festival. The press were very kind about my harpsichord playing last time I was here, and I’m of course looking forward to sampling Scotland’s famous whisky!

You seem to have a very busy workload! How do you make your repertoire choices from season to season?

I believe you have to enjoy making the music you choose to perform. I have always chosen music I love, and I’m happy with the results so far.

Do you have a favourite concert venue to perform in and why?

The Concertgebouw in Amsterdam is special to me as I used to live in this area. I always love visiting Tokyo’s Suntory Hall, and Wigmore Hall for its warm atmosphere.

As a musician, what is your definition of success?

I don’t have a definition of success, as such. I’m happy with the way my career is growing and developing, and believe musicians should always take a humble stance on their career. Acknowledging success might encourage you to stop striving as much, and there is always better music to be made!

What do you consider to be the most important ideas and concepts to impart to aspiring musicians? What advice would you give to a younger artist?

I once attended a masterclass given by the great Yo-Yo Ma who explained the three steps to becoming a musician. The first evolved around being confident and proud of what you are making. The second focused on overcoming your insecurities and inexperience as a young musician, and the third encouraged us to continue making music against all odds! I think this third step is the most important but also the most difficult.

Where would you like to be in 10 years’ time?

After 10 more years I hope I am still making music and still happy!

Masato Suzuki’s recording with Antoine Tamestit of J S Bach’s three sonatas for Viola da Gamba and Harpsichord is released on 23 August 2019 on the Harmonia Mundi label

Masato Suzuki joins the Dunedin Consort in a performance of keyboard concertos by J S Bach at this year’s Edinburgh International Festival. Further information


A multifaceted musician, Masato Suzuki appears on the concert platform as conductor, organist, harpsichordist and composer. His conducting engagements have seen him work with orchestras such as the Bach Collegium Japan (as Principal conductor), Hiroshima Symphony, Kyushu Symphony, NHK Symphony, Tokyo Philharmonic, and the Yomiuri Nippon Symphony Orchestras, with repertoire from Haydn and Mozart to Ravel, Tchaikovsky and Schnittke. As organist and harpsichordist Suzuki’s relationships with ensembles such as Bach Collegium Japan as well as chamber music have taken him to major concert venues and festivals across Europe and the US. In the capacity of composer, Suzuki is published by Schott Japan and has recently received commissions from Sette Voci, Tokyo Musik Kreis and Yokohama Minato Mirai Hall among others.