Word: musication
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...that tunnel by sheer willpower and talent and emerge as a giant in the field. But for every one that succeeds, there are thousands that fail. My parents understood the kinds of doubts and anxiety of having only one focus. Having come here, I decided not to concentrate in music under any circumstances, as a kind of personal policy...
European orchestras tend to be opinionated—German orchestras especially. Playing the Brahms concerto in Germany—Brahms’ homeland—was a challenge for me because I am Japanese-American and have a heritage that has nothing to do with Germanic or Austrian music. But I could immediately tell [the music I was playing] just fit there. It was just natural for the audience and the orchestra. It was the same playing a Paganini Concerto with an Italian orchestra and Lorin Maazel. I felt like I was just playing by myself because they were...
...think music from a certain country is often more suitable for orchestras native to that country...
...feeling that BachSoc is bound by camaraderie, not by didactic force. Everyone teaches and learns at the same time. Of course Yuga [J. Cohler ’11, music director] is a leader, but he’s very receptive to the feedback of the others. People are there not to compete but to experiment and to explore the boundaries of their musicality. They’re always striving to improve themselves under their own terms. Alan Gilbert [’89], the new conductor of the New York Philharmonic, is a family friend, and he conducted BachSoc...
...have no idea. I’m just not really an ambitious guy. I love playing the violin, but I just don’t know how my sister made it there, with such a measure of self-discipline. I want to keep on doing music for the rest of my life… But there are other things I want...