Photo: Yat Ho Tsang |
On December 8th 2016, I talked to violinist and violist Shunske Sato at his home in The Hague. Born
in Tokyo in 1984, he moved to the USA at age 4, then winning the Young Artists Prize in 1997 and making his New York recital debut in 2000. Recently returned from performing with the Australian Brandenburg Orchestra, Shunske appears widely in Europe and the USA as soloist or concertmaster, also performing chamber music. He currently serves as concertmaster of Concerto Köln and the Netherlands Bach Society. In 2013, he was invited to join the faculty of the Amsterdam Conservatory, where he teaches violin in the context of historical performance practice. His most recent recording (October, 2016) is of Vivaldi’s “Four Seasons” with Concerto Köln for the Berlin Classics label.
PH: Shunske Sato, having lived in different countries, you
seem to be a citizen of the world.
Shunske Sato: Something like that. This is the fifth country
I have lived in. A lot of moving around and new languages. From quite a young
age I have really loved linguistics and language. And now, living in the
Netherlands, the country with the highest English language proficiency rate, I
dove straight into learning Dutch. Knowing German has helped.
PH: Are you from a musical family?
SS: I guess I could say that. My mother is a pianist. She
teaches piano. Her mother, my grandmother, never really played an instrument,
but she listens to quite a lot of music, enjoys it and was plunking at the
upright piano at home at the young-old age of 80-something! So, there is
definitely a musical strain in the family, but no performers, apart from
myself.
PH: Would you like to talk about how it all began and your
early musical training?
SS: Yes. Because my mother was a musician, there was music
regularly in the house – her own playing and records. It was a musical
environment. It seems I was drawn to the timbre of the violin and my mother
noticed this. She also noticed that there were a lot of children around our Tokyo
neighbourhood at that time walking around with their mothers and violin cases
and she asked one of the mothers about this, thinking there must be a music
school nearby. There was and it was a Suzuki method school. So, my mother took
me there and, apparently, for a solid 45 minutes (I still remember this; it
must have made an incredibly powerful impression on me. I was two at the time!)
I was observing a room full of young children playing Suzuki-style and completely
enraptured. The teacher noticed this two-year-old sitting in the corner and
found it unusual for such a small child to be so incredibly focused like this
and suggested I try the lessons. And then I had some very good teachers,
including the first two in Japan. Years later, I came across a book of
exercises of one of them and they are very good…very good material. Altogether,
I have been lucky with all the teachers I have had and still remember the many,
many good things I learned from each one of them. I have been very lucky.
PH: When was your first performance?
SS: Oh gosh…I believe it was at the age of three at a Suzuki
concert, and there is even a video to prove it. I had knee-high socks with little dogs imprinted on the top. Being much
encouraged, little class concerts were a very regular part of my musical
upbringing.
PH: In the USA, did you go to a music school?
SS: Yes, I did, but it was as a supplement to my regular
school in Philadelphia, where I grew up. It was called Temple Prep School. Children
went there once or twice a week after regular school. After school the kids
came and had orchestra, where we played
our Grieg “Holberg Suites” etc. And what I think is incredibly good, I had
chamber music lessons. So, I was playing my Haydn Trios and Beethoven Trios at
the age of six or seven. Even in a childlike manner, I think that opens one up
to the world of playing together with other people and to working towards
listening to others. That was very important. I had some very good teachers,
with whom I kept in touch for a very long time. In Philadelphia about three
years ago, I visited one of them, now in her 90s and still cheerful.
PH: And after Temple Prep?
SS: At the age of 11, I started going to Juilliard
Pre-College on Saturdays and continued there till age 18; it was very
informative and significant. There, I
studied with Dorothy DeLay. On completing Juilliard Pre-College,
students can proceed to the Juilliard School (college level), but I did not do
that.
PH: So where did you take higher studies?
SS: I was living in Philadelphia and applying to different
schools. I sent an application to Juilliard; oh, and down the street from me
there was the Curtis Institute of Music, so I applied there, too. Was accepted
to both, I believe, but, after seven years at Juilliard, opted for Curtis. I
did one year at Curtis, but, already before that, I was starting to become
interested in the goings-on in Europe, in a lot of the European musicians,
having heard their concerts and CDs. (My outstanding Juilliard teacher Ms.
DeLay, musically-thinking and analytical, always strong at filling in
background information, had a funny little thing about Classical and Baroque
music in Europe. She would say: “Sugar plum, when you go and give a recital in
Europe, avoid the classics because they play them differently over there and
you won’t be met with good feedback if you play them there”. Well, of course,
when somebody tells you not to do something, you want to do it, to find out.)
There was one teacher – Gérard Poulet - with whom I had
done summer courses two years prior to that, who invited me to come and study
in Paris with him. I went to Paris, planning a year there and to return to
where I had left off in the States, but that did not happen. I stayed in Europe;
after the two years’ study with Poulet I stayed on in Paris for a couple more
years.
PH: When did you develop your taste for Baroque music?
SS: It is hard to say. In the USA, I did have the odd
Christopher Hogwood recordings lying around in the house. I did take notice and
quite liked them, too, but didn’t think of pursuing Baroque music. However, I
think the sound and idea that that all of this music could be done differently
was planted then and there.
PH: So, when did you start getting involved in Baroque music?
SS: It was during those years in Paris. Paris and Europe, as
a whole, offered the environment. There I discovered Baroque music and Baroque
performance practice, which had been completely absent, at least, to my
immediate environment in the US before then. It added fascination to be able to
explore the violin in a completely different and new way. And it was so common
in Europe. You could go to a concert of Rameau and Telemann and Bach and
Beethoven on period instruments, which is still hard to do in the US. Then I
drifted, drifted, drifted and decided to do some proper study, as it were, at a
music school to really immerse myself in that and found a lovely teacher, an
American teacher – Mary Utiger - in Munich. The funny thing was that, 30 years before I
did, she had also studied with Dorothy DeLay at Juilliard. By that time, I had
decided that, as far as my studies were concerned, I really wanted to focus on
Baroque violin.
PH: So, no more modern violin?
SS: I was also
playing modern violin at that time and still do. Every now and then, I get
asked to do a Brahms concerto or whatever and still love doing all of that
repertoire. I haven’t bid farewell to any of it. In fact, I have been able to
revisit a lot of it – Brahms, for example – viewing it from a historic
perspective, like discovering what kind of pianos or string techniques were
used. 19th century Brahms was probably very different: you very
quickly find out that it’s quite different to the modern 21st
century, as a matter of fact. It has been very interesting to be able to see
all of this repertoire from a completely different perspective.
PH: When did you start playing the viola?
SS: I’m surprised you mentioned it I love playing viola but
don’t do it so much. I started playing the viola at 14 or 15…it was out of
curiosity. I bought one of those very
cheap instruments, probably with water-and-bulletproof varnish, I scraped away
and saw my way through it. I still do not play it as often as I would like.
PH: Do you have a Baroque viola?
SS: No, I still have the cheap, very red viola I bought
then. I don’t have the incentive to acquire one as am known much more as a
violinist.
PH: Do you see yourself mostly as a Baroque musician at
present?
SS: Well, I’m not sure about me. Certainly, a for lot of
people, yes. I think people would associate me with the Baroque violin, just
from the sheer amount of work I have in that direction. For me it is actually
quite remarkable to see how little the violin per se has changed in comparison
to, say, the harpsichord versus the modern Steinway. Moving from the
harpsichord to the modern piano is a much more difficult adaption, even from
the fortepiano to an Érard piano. In that way, I think, as a string player, you
actually have the advantage of taking more-or-less the same instrument and
playing it in so many different ways. As I said before, I love doing Brahms and
Schumann and much later repertoire. In fact, in February I am doing a 20th
century program – Stravinsky, Khachaturian and Milhaud and on “historical
instruments”! We found a nice Steinway from the beginning of the 20th
century in an incredible workshop where they have three or four of these early
Steinways. One of them, apparently, is a piano on which Vladimir Horowitz gave
a concert. Quite a remarkable
collection. Anyway, there will be the Steinway, my violin with gut strings and
steel and the clarinettist has also found a clarinet from this time. I think
you can just extend this in so many ways. I enjoy a lot of kinds of music and
like to have a broad repertoire.
PH: I read you played Paganini on gut strings. Is that
authentic?
SS: Yes, yes. I did that in Australia, as a matter of
fact. Authentic? Yes, absolutely. Gut
strings were in use on the violin till 1930 or ’40, but even longer for
‘cellists and double bass players. Violinists were the first to use steel
strings. So, basically all the repertoire we now associate with Classical
music, right up to Debussy and Ravel and Bartok was intended to be played on
gut strings.
PH: Would you like to talk about your teaching?
SS: Yes…my teaching. I love it. I’m learning just as much as
the students – even more. I knew that I liked it very much, even before I
started teaching at the Amsterdam Conservatory. If anything, I think I have
always been a very self-reflecting musician. I have never been a person to “just
do something” – a difficult passage – and not know why or how. And then there
is realizing that all of those students coming through the door bring with them
their life. You see them for an hour and a half every week or two weeks and you
give them this homework or that – a task to complete for next time – but a lot
of them work at a shop five days a week, for example, in order to make ends
meet…or to teach, and this little snippet of time is, in a way, so superficial!
I realize that you can teach them about the violin and what to do when you
encounter a diminished chord, how to ornament, and all of these things, but, in
the end, what I try to do is to get that person to give his maximum, and what
that means for every person is different. Some people…honestly…are not soloist
material or they are more suited to group playing or even I would say, some
people are much better geared towards teaching or research. I have one student
who is incredibly good at research, brings along pieces I have never seen or
heard of and knows so much about things. He is not the strongest player, but he
really has a head and heart for music in a completely different way; I am not
going to expect him to play a Bach fugue, but I can develop him in so many
other ways. I really have to say I have a very good class of motivated students
(young adults), and I think I am getting better. One of the things my teacher Dorothy
DeLay said was when asked why she was such a good teacher was: “I do a lot of
it every day”.
PH: Shunske, what is your current project? What is on your
mind musically at the moment?
SS: Oh, gosh. Whatever is next! Actually, it has been
interesting. Speaking of later Romantic music, 19th century
repertoire – post-Beethoven - on historical instruments, you have a lot of
Baroque ensembles, but those who focus on later repertoire…there aren’t so
many. Actually, I have found a few “partners in crime” who know a lot about
this period. We are trying to get a group off the ground. It will be very
interesting to see how that goes. We
have sent out our first round of concert offers to concert halls throughout
Holland. Reactions have been very positive, saying they like what we are onto
and would like to have us for the next season. This is incredible: it must be a
combination of a lot of factors as this is something that is not done much as
yet. That is something I would love to expand. Just as the way we revolutionize
the way we do Baroque music, we can go much, much further with other genres.
PH: Are you referring here to chamber music?
SS: Yes, yes. Absolutely.
PH: What do you find audiences want to hear at the moment?
SS: What do they want to hear? I think that depends. I can’t
be a judge of that. It is such a synergy of different things, the synergy being
between performer, listener and composer or whatever piece of music is being
played. And with the same three people
in the same roles on Monday and then on Saturday, it is going to be different,
even with pieces very well known to us. I
think it is exactly that which I try to really bring to life. The fact of the
matter is that music is born and dies at the same moment, if you will. The
moment the sound finishes it is gone and will never come back again. That is
how I see it and, I think if you must go on that, unless you have a very jaded,
skewed and strange audience (which you do have. Some audiences are in for a
much more canonical approach, sticking to the “status quo” of the music. You
have different audiences and can’t predict that sort of thing.) I think what
does usually succeed is being genuine, being yourself – for better or worse.
It’s just like when you talk to people, you know if they are being honest and genuine
with you. I think if you are there 100 per cent the audience will be there 100
per cent too.
PH: Are you into new music?
SS: I have not been as such. There was a time that I did do
more of that. New music is a bit in its own category. There are musicians who
specifically dedicate themselves to it. It’s
a bit like what is happening with Baroque music: there is a certain circle that
has been established to perform this kind of music. As to new music, I think I
am not really exposed to it very much and so it is hard for me to say whether I
would like it, as I haven’t yet done much of it. My personal experience of it
has been mixed. I have sometimes come across new works that are brilliant, that
I really like, and others not. The same thing goes for earlier music. There are
some pieces of Beethoven or Mozart that are nice, but I don’t care to play them
so much. It happens. So, I think it is mainly a question of exposure and simply
of time, because, with what I have already now…it’s incredible; I’m already
covering three centuries of music.
PH: Do you do any Japanese music?
SS: No. As a whole, and it is not just me…it is a very
specialized area of music, even within Japan, actually. There you will much,
much more easily find a classical or non-Japanese music concert than
traditional music. Maybe that has a lot to do with the history of the country
itself in the 19th century, when America and Europe came knocking on
the door with cannons, guns and ships. The Japanese were, on the one hand very
frightened and, on the other, fascinated by this new culture and, within a span
of 20 to 30 years, they had completely turned their culture upside down and
westernized it. And with that came also the ascent of western classical music and,
at the same time, the decline of traditional things. Since then, it has become
a bit marginalized. I don’t understand Japanese music at all: it follows rules
that are completely different to what I know.
PH: Is this visit - end of December ’16 - going to be your
first to Israel?
SS: Yes. My very first. I will be playing with two friends
who live in The Hague (we quite often play here together) – Benny Aghassi
(bassoon) and Hen Goldsobel (double bass) – and Israelis whom I have not yet
met: Doret Florentin (recorder), Tali Goldberg (violin) and Yizhar Karshon
(harpsichord). The concerts will take place in Jerusalem, Raanana, Haifa and Herzliya.
PH: Shunske, when it’s not music, what interests you?
SS: For sure I could say: cooking and architecture. What I
like about both is the combination of science and creativity, and balance, too.
Well, cooking simply because I like food – I just love food and am fascinated
by how food is prepared and where it is sourced. However, by no means do I know
terminology and things like that, for example, what part of the cow is called
what, but that doesn’t deter me from enjoying it a lot. You can combine
more-or-less the same ingredients in so many ways. In architecture, there is
the construction – the science part of it – and then there is what you do with
that. My fascination with architecture started early. In particular, I remember
in Philadelphia, where I lived in a big apartment complex, they would send a monthly
newsletter to all the residents and on the very back page there were advertisements
for apartments for rent or for sale, including floor plans. I would take those
floor plans and copy them to make variations on them – add a new room or make a
three-bedroom apartment from a two-bedroom apartment. Where architecture is
different is that in music or food, once it is gone it is gone, of course,
remaining in the person’s memory and soul, but it’s not there. The crucial difference is that in
architecture when you build something it serves people every day in a very
tangible way; small things impact, for example, the way you feel comfort at
home, or discomfort. The wrong placement of a wall can really have a negative
effect. The architect has to find solutions to problems that are optimal. Well,
living in a country like Holland, you have old buildings all over the place and
it is sometimes exciting, sometimes depressing, to go into a 17th
century building. Sometimes whoever renovated it did a terrible job, with ugly
tiles and laminate all over. Or not: somebody has really taken care and brought
out the characteristics of the house, also making it very modern and
comfortable. I think that food and architecture would have been very nice
alternative professions for me.
PH: Shunske Sato, many thanks for your time. It has been most interesting talking to you and hearing about your career and thoughts on music.
PH: Shunske Sato, many thanks for your time. It has been most interesting talking to you and hearing about your career and thoughts on music.
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