Daishin Kashimoto, a Japanese violinist who leads one of the world's finest orchestras: "I want to deliver sounds that touch the soul to the world."

1)
The Berlin Philharmonic is the world's leading orchestra, bringing together the finest musicians from around the globe. Its first concertmaster will be the Japanese violinist Daishin Kashimoto.

Mr Kashimoto, who lives in Germany and is active on the world stage as a soloist and leading this top group, took time out from a performance in Japan to talk about his ten years with the Berliner Philharmoniker and the power of classical music.

2)
Daishin Kashimoto/Violinist

He was born in London in 1979. He began playing the violin at the age of 3 and entered the Juilliard School of Music Pre-College at the age of 7. At 11, he was invited by the famous German professor Zakhar Bron to study at the Lübeck Conservatory. At 20, he began studying with Rainer Kussmaul at the Freiburg Conservatory.

In 1990, he won several prestigious international competitions, including the 4th Bach Junior Competition, Fritz Kreisler and Ron-Thibaud. While performing as a soloist on the world stage, he was appointed first concertmaster of the Berlin Philharmonic in 2010. He also participates in the Berlin Philharmonic Octet, comprised of the orchestra's elite members, and continues expanding his range of activities.

3)
In June 2009, Mr. Kashimoto was offered the position of First Concert Master of the Berlin Philharmonic. The Berliner Philharmoniker respects the autonomy of its orchestra members and typically allows a two-year probationary period before recognising them as official members of the Commas.

Mr Kashimoto was officially appointed to the position in the concise space of a year and a half. However, depending on the orchestra members' assessment, the offer could be revoked. He has been at the helm of a prestigious orchestra ever since.

4)
-This year marks ten years since you became a member of the Berliner Philharmoniker. How do you look back on this time?

In the ten years since I joined the Berliner Philharmoniker, I have taken on many challenges and learned a great deal. I've always liked to try new things, but this time, it was a massive project called the orchestra, so I had to study hard first.

The compositions differ for orchestras and soloists, and the Berlin Philharmonic likes to play unusual programs. I think relatively famous songs are often programmed in Japan, but the feeling of the Berlin Philharmonic is just the opposite! I haven't had the chance to play Beethoven's 5th Symphony yet. Next year is Beethoven's (250th anniversary of his birth), so I'm hoping it will be there somewhere.

It's hard because I have to study a lot of new pieces, but thanks to it, I've gained more experience as a musician, and I've also been able to meet and perform with great conductors and friends, which has helped me grow as a person.

5)
-In what ways do you feel you have grown or changed?

I now feel a sense of responsibility in many ways. Commas are responsible for the concert results and the representative position that creates the working style and the venue's atmosphere. Of course, I can't do it right from the beginning, but as I gain experience, I gradually better understand everyone's feelings, and I feel like I have a sense of when and how to react to change the atmosphere. I think that's great.

As long as I'm making music, I don't want to think of it as just "work", and I don't want everyone in the orchestra to think of it that way. It's natural to do your job correctly as a professional, but beyond that, I want you to always think about why you're doing it. Even if your body is tired or you don't feel like it, that awareness is the minimum you need. And I think creating an atmosphere can make a big difference.

6)
-Are there any specific things you keep in mind to create a good atmosphere?

I always try to have fun, and smiling is surprisingly important. For example, Commas turn to the orchestra to tune in after performing at a concert, right? The other group members don't see everyone, but Commas does.

Just before the conductor appears and the show finally starts, when everyone looks at Commas at the end and says, "OK!" I think a smiling face is essential. That's why I always try to go out with a smile.

7)
-I have heard that the Berlin Philharmonic has become more international since Karajan's time. What difficulties do you face coordinating orchestra members from different cultural and ethnic backgrounds?

Of course, there are ethnic differences. But I don't think it's that difficult. About half of the orchestra members come from the so-called "Gaijin" background, so everyone knows it well. Some people say strangely selfish things. Well, I think it will take a while.

But in the end, it's just "sound". The Berliner Philharmoniker does not take nationality or race into consideration when auditioning. Ultimately, it comes down to whether the sound or the music suits us. For some reason, most people learn it in German-speaking countries like Germany or Austria, but that doesn't mean it has a "German sound".

That's what we call an "international sound". That's just my personal feeling, but it's not the (German) sound that's played by orchestras in Dresden or Leipzig, where the low string sound completely dominates the sound, where all the parts play a top tone, the sound that I'm trying to make. The orchestra has indeed become international, but the 'path' we value has not changed. Maybe that helps them to overcome their differences.

8)
-Do you sometimes dare to change the traditional sounds?

The sound that the members of the Berliner Philharmoniker seek is a sound that can only be achieved by taking risks. It is unacceptable to lower the level to something safer or of lower quality because of risk.

I think it's a gathering of people who work not only as an orchestra but also as people. Of course, taking risks doesn't always lead to good things. Music is a living thing. But I think that's OK. I don't care if I fail; I always strive for the best sound.

9)
-What exactly are the risks?

For example, the overall tension, tone and speed. This is mainly the conductor's job, but even at the performer's level, there are many different things to consider, such as how to use the fingers and what timing to play.

On a more technical level, in the case of an orchestra, everyone has to be on the same vertical line (the tempo of each instrumental part, the timing of the sound output, etc.), but one person deliberately shifts it slightly. In a way, it's a risk when a soloist pauses for a moment. If everyone's bodies react naturally, it creates beautiful music, but if one person doesn't notice a loss of concentration and misses the timing, it falls apart.

10)
-Do you discuss it with the conductor and other orchestra members when you change something?

No, we don't have that much time. Many people here have many opinions, and the overall decision is still up to the conductor. However, the conductors who come to the Berliner Philharmoniker are first-rate. Listening to the rehearsals first gives you a feel for the orchestra's interpretation of the piece, their feelings about it, and their musicality.

It's rare for me to break it down and impose my ideas ultimately. You are bound to fail. With only two days of rehearsal, I think it is best to have a conductor who can take advantage of the individuality of the orchestra.

However, the members often talk to each other about music daily. Especially on tour, we usually go out to dinner together after concerts and spend time together on the road, so we talk more than usual. Well, it's not just about music; since we're performing, we discuss it.

11)
- You will welcome Kirill Petrenko as your new permanent conductor this year. Do you think this will significantly impact the direction of the Berliner Philharmoniker?

A change of chef (conductor) has the most significant impact on the direction of an orchestra. From Karajan to Abbado, from Abbado to Simon (Rattle) and from Simon to Petrenko, the appointments were opposite, so I think people were often surprised. But that's because this orchestra wants something the previous conductor didn't have. In that sense, I feel it goes back and forth.

I joined the orchestra during Simon's era, and during the 16 years he was conducting, the orchestra became international, and its repertoire expanded enormously. I think I included many minor pieces only after I became Simon. Before that, when I thought of the Berlin Philharmonic, I thought of Bruckner, Brahms and Beethoven, and to be honest, some parts didn't make sense to me.

Of course, they're good at it, but it's like it's not part of their identity or DNA. Because of this feeling, I started playing many unusual songs. Although the instruments used in Baroque music are modern, I think the performances satisfied the audience because everyone researched how to play in the Baroque style. In that sense, we have become an orchestra that can give various versions.

If I were to become Petrenko, it might be the opposite, and I might feel a bit more focused, but I'm looking forward to that, too. He is passionate about the songs, and I think he lives for them. Whether it's a rehearsal or a concert, he gives his all to the song he's playing and creates music that feels alive. He is a very respected conductor.

12)
- In the last ten years, you have expanded your activities outside the Berliner Philharmoniker. In particular, you are the musical director of the Le Pont International Music Festival, which takes place every autumn in Hyogo.

The Le Pont (French for "bridge") International Music Festival brings top artists to places where classical music is usually difficult to access, such as small rural towns like Ako, where my grandfather lived. It was born from the idea that we could bring great music to the world and let everyone enjoy it relaxed. It started in Ako in 2007 and is now held in Himeji and two other places every autumn.

This music festival's distance between the audience and the artists is particularly close. Usually, the venue is a concert hall so that it can feel a bit formal, but at Le Pont, we perform in castle ruins, temples and other media unique to the area. It's just the right size, with about a dozen artists. Some artists and customers come to the show regularly, making very much at home, so it's gratifying and feels excellent.

I had the opportunity to play songs with the children and was very impressed by the expressions on the children's faces, from those as young as first graders to those who had just started playing the violin. I am happy to see the children who continue to come every year and the new children who join us.

13)
-What does Kashimoto think is the power of classical music?

Music is a kind of language that people all over the world understand. Even if I play the same music in Japan, Germany or even in Africa, where classical music is not very popular, the way I feel about it will be different, but there will always be parts that I can understand and feel comfortable listening to.

That should be the case. I think it is because music is connected to the human soul. It's relevant no matter where you go in the world, and it can move people's hearts - that's why classical music has been popular since the Middle Ages and is still needed in many places, including charity concerts.

Classical music is a form of music that has evolved from folk music and is still evolving. We are very grateful that there have been excellent composers along the way and that music has been formed that resonates with the human soul, the centre of humanity. If I could be involved in something great for humanity through these connections, I think there could be no greater happiness than that.