Violinist – Contributor ikuko kawai goes beyond culture

Ikuko Kawai is a globally acclaimed Japanese violinist and composer who, with his unique ability, can give classical music a modern sensibility. She was originally from Chuanxian County and started playing violin when she was only 6 years old, a step that led to a prolific career for decades.

In addition to the dramatic, moving performances with outstanding collaborators such as directing Myung-Whun Chung and tenor José Carreras, Kawai also shared the stage with ballet dancer Tetsuya Kumakawa, figure skating Glacier Arakawa and pop artists such as Gipsy Kings, ballet dancer Tetsuya Kumakawa.

As a composer, Kawai has gained international recognition for her work in film and television, and her work has been used by world-class figure skaters such as Michelle Kwan and Yuzuru Hanyu. In 2022, Kawa formed a Japanese orchestra, and his name was transformed into “resonance”. The band released its first album in March 2023 and performed at the Lincoln Center in New York in September, which gave a positive review.

Kawai graduated from the prestigious Tokyo University of the Arts and is currently a professor at Osaka University of the Arts. She continues to inject innovation and effervescent into the contemporary classical music world. Tokyo weekend Recently, Kawai caught up with her musical journey and creative process.

Complete interview with Ikuko Kawai

Why did you decide to pursue a career in music?

When I was a kid, I often heard the sound of a violin on the radio, and I felt inexplicably attracted it. I asked my parents to eat the violin for six months, and then they finally bought me a violin. I started playing at the age of 6, but until I started studying at Tokyo University of the Arts until I decided to pursue a career as a professional musician – that was the music I discovered Astor Piazzolla, who inspired my journey as an artist.

Can you share with us the most influential mentors or collaborators you have worked with?

Since my debut, I have been lucky enough to work with many amazing collaborators. Percussionists Ikuo Kakehashi and Harpist Tomoyuki Asakawa in particular helped me bring the musical world I envisioned into life. My encounters with various traditional Japanese instrumentalists were also extremely influential because they helped me realize new possibilities for music.

What was your most memorable performance?

Opéra Bastille’s concerts always have a place in my memory due to the overwhelming response of the audience – I feel closely connected with them and feel as if the sound of Japanese instruments really touched their hearts. I still remember the miracle performed in front of the Xi’an city wall during a cultural exchange activity between Japan and China. Finally, I found the performances in temples and shrines throughout Japan to be particularly memorable – there was always a sense of tranquility.

What prompted you to start creating music?

I want to pursue a sense of originality. My own creative world, such as Astor Piazzolla. Writing gives me a deep sense of joy, unlike performance. This gave me a new perspective and gained a deeper understanding of the classical work I’ve done over the years.

You often incorporate traditional Japanese instruments into your work. Tell us how you blend music traditions and genres and why this duality appeals to you.

Since my debut, I often envision traditional Japanese instruments playing with solo violins. The vast cosmic soundscape created through these collaborations [between Western classical and Japanese traditional music] Always touched me deeply, I found myself attracting them essentially. I feel that this sound synthesis is deeply rooted and beyond rational explanations.

Initially, however, incorporating Japanese instruments into my work presented unique challenges. Japanese and Western music are different in every way – symbols, pitch and rhythm. Fortunately, today’s younger generation of musicians have extensive knowledge and have keen ears to both traditions. They support me in overcoming obstacles and building seamless, harmonious arrangements.

Please tell us about the band Hibiki. What do you want to convey to the world through this project?

Combining different cultures and music genres can strongly enhance both soundscapes, resulting in unexpected magnetism. I would love to encourage more symbiotic collaboration between cultures and mutual respect between people from different backgrounds – not only in art, but also across fields. With this project, I hope to expand the audience’s imagination and inspire joy in the creative process.

What is the process of your creation for visual media (movies, television, etc.)? How do you seek inspiration and connect music to the stories you tell?

For movie scores, I found that extending the visual or narrative clips of the story would be more helpful for my creative process than trying to analyze the content in detail.

If you could go back and give advice to your young self, what would it be?

I will tell my young self that I am more confident in my feelings and goals and that I can go my own path. It is disturbing to take a path that no one has taken before and I regularly consider giving up on others’ opinions. But looking back, my intuition is usually correct. I also learned that even the steps I think failing end up leading to opportunities, so I told myself that I don’t have to be afraid of failure.

What do you think of the current state of classical music and what role do you think you are playing in the future?

Classical music has eternal brilliance and has been cherished for hundreds of years. But this is not a static genre. As performers, we are free to interpret these treasures in our own way to express ourselves. This is an important point of maintenance, especially for the younger generation of classical music lovers.

The power of a masterpiece lies entirely in its endless adaptability and its ability to embrace the glory of every musician. It is an emotion when I explain classical works through the sensitivity of the Japanese.

What’s next? Please tell us about current or future projects.

My dream is to create a musical piece that is different from anything I’ve ever seen before. I’ve been performing Genji Gatari [based on The Tale of Genji] It is very popular in the mono format of traditional Japanese musical instrument players. I have a new Monodrama scheduled for December.

In February 2026, I will work with the Tokyo Professional Orchestra of the New Japan Philharmonic Orchestra for the first time to participate in a concert of the orchestra. Next year, my goal is to create a work that will climax the stage work I have created so far and integrate cross-genre elements such as dancers and video technology.

More information

Find more information about Ikuko Kawai’s project on her website and on Instagram.

See Ikuko Kawai Live

Ikuko Kawai Live! The East meets the West “Elegance × Passion”~~25th Anniversary~

Place

Blue note Tokyo

date

Tuesday 10.7.

member

• Ikuko Kawai (violin)
• Suiho Tosha (Japanese flute)
• Seizan Ishigaki (Shakuhachi)
• Fukujuro Sumita (Tanks)
• Mochizuki (hand drum, Japanese drum)
• Ayako Supervision (SHO)
• Makoto Tashiro (Japanese drum)
• Tomoyuki Asakawa (harp)
• Toshiya Shioiri (key)

Get tickets

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