Beyond Performance
You’ve taken on many initiatives, such as producing your own orchestra, the Japan National Orchestra, and planning to establish an international music school in Japan. What motivates you to act not only for your own career, but for other musicians and the wider industry?
I suppose it’s simply part of who I am. Even when I was young, I was the kind of person who would try to help friends who were struggling. In the music field, it can be difficult even to make a living myself, but that doesn’t stop me from wanting to support others.
I’ve always placed great importance on responsibility and compassion. So I never let people down, but I don’t mind if someone lets me down. Perhaps I just can’t ignore anyone who needs help.
‘Keep believing, and continue to imagine what you want to become’
Did you feel anxious about becoming a musician, given how difficult it can be to earn a living in this field?
No. I was determined to build my life in music. I believe the most important thing is to have a clear vision of who you want to become, and a belief in pursuing it. I don’t like criticising something before I’ve even tried it, for example, saying ‘competitions aren’t everything’ even without having taken part in one.
There’s no shame in trying and failing; if one path doesn’t work out, you can always find another. In a way, I can see that a failure rewards you, because you could learn that the way was wrong. So I always ask myself, ‘Won’t I regret it if I don’t try?’
To be honest, I hesitated many times before applying to the Chopin Competition, concerned about the risk of failure. But I didn’t want to speak negatively without making the attempt, so I decided to take on the challenge.
How would you speak to young people who hesitate to pursue their dream careers because they are worried about their future?
I think the most important thing is how deeply you love what you do. Of course, many people struggle with uncertainty, but I believe there is great value in continuing to pursue one path with dedication.
Some well-known conductors gained real recognition in their 60s or even 80s. You never know when an opportunity will arise. I got my first chance to perform with a major orchestra when someone from the industry happened to hear me playing the piano in a café.
So hold on to your dream. Keep believing, and continue to imagine what you want to become.
Looking Ahead
What are your future plans?
I will continue to focus on my work as both a pianist and a conductor. My conducting can be deeply influenced by my experiences at the piano, and vice versa. The two disciplines constantly enrich each other.
I would also like to bring my orchestra to a wider international audience and raise its global profile through digital platforms. In Japan, I hope to produce a music festival. I’m considering organising one in Nara, where my orchestra is based, and I also believe Okinawa would be a wonderful location.
I’m also interested in collaborating with education companies. I believe that combining different fields can spark new ideas and create unexpected possibilities.
Do you believe you will be able to realise your dream of establishing an international music school in Nara, Japan?
Yes, I believe it can be realised in around fifteen years. As my orchestra gains greater international recognition, we hope that children around the world will come to know about us and eventually choose to study with us in Japan.
By establishing a music school alongside a resident professional orchestra, we would be able to create close collaboration between students and the orchestra, helping to nurture highly trained soloists. At a time when the number of music schools in Japan is declining, I believe that it is important for our country to concentrate its resources on institutions with high standards.
We are currently building strong partnerships with local governments and sponsors, and I am hopeful that this dream will take shape step by step.
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