A Pianist's Vision for the Future

Our guest today is pianist Kyohei Sorita.

In 2021, he won second prize at the International Chopin Piano Competition.

In addition to his work as a pianist, he's also the founding conductor of a professional orchestra.

He's breathing new life into Japan's classical music scene.

Let's listen to him play.

Bravo.

Thank you.

It's such a famous piece, but your phrasing was so exquisite.

So expressive. I was really impressed.

Thank you very much.

Congrats on winning second prize at the Chopin Competition!

Thank you.

I played it during the competition.

What was going through your mind as you played it for us today?

Well, the last time I went to Warsaw was in late winter.

It was still a little chilly at that time, and there was snow on the ground.

So I thought it would be nice if I could play the mazurka in a way that would conjure up images of melting snow and the arrival of spring.

The Chopin Competition is held every five years.

Contestants must be aged 30 or younger.

For Sorita, who was 27 at the time, the 2021 competition was his last chance to appear.

Tell me, at what point did you decide to compete?

I started to think seriously about in 2015.

One of my childhood friends had made it to the finals, so that probably had a lot to do with it.

If I didn't enter this competition, I knew I would probably regret it for the rest of my life.

I would probably feel bad if I didn't make it to the finals, but it would be better than not taking a chance at all.

Was there pressure?

Very much so.

The competition is so grueling that it can break a person's spirit.

I'm not exaggerating.

I was under so much pressure.

You have to really be mentally and physically prepared.

I experienced many extraordinary moments, both during the days leading up to the competition, as well as on stage.

I was determined to do my best for my Polish piano instructor, with whom I'd studied for the past five years.

But as this competition has the largest jury in the world, truthfully I was very nervous to play in front of so many legendary pianists.

What is it about Chopin's music that makes it so special to you?

Chopin is one of the composers whose works I've been familiar with since I was a child.

People tend to think of Chopin as a physically frail artist.

They associate him with romantic music.

But while studying in Poland, I found out that when he was a boy, he loved to ride horses and run around.

He was full of energy.

Just for fun, he used to write his own newspaper articles full of black humor.

I think that most pianists are unaware of these things about him.

So, in order to feel closer to him, I made a point of visiting museums and studying his biographies and letters.

I think I've gradually come to understand why he was so devoted to the piano.

But I know I haven't grasped the whole picture.

Even if I played the piano for 50 years, I probably wouldn't be able to answer with confidence.

After winning second prize in the Chopin Competition, Sorita has received a steady stream of offers for concerts and media interviews.

Today, he'll be performing with acclaimed conductor Yutaka Sado, the principal conductor of an Austrian orchestra.

Since their first collaboration in 2017, they have performed together more than 50 times.

What about the first movement?

I'd like to create more of a buildup.

We're so used to this kind of sound.

But having studied the score,
it's not so clear cut.

He blew me out of the water.

I was stunned by his technical prowess.

He gave each note
a unique, sparkling sound.

Rich and solid, yet shimmering.

Today's concert is with the New Japan Philharmonic Orchestra.

It's one of Japan's premier orchestras, founded under the leadership of world-renowned conductor Seiji Ozawa.

They'll be performing Beethoven's Piano Concerto number five.

With its grand scale and power, it's known as the Emperor Concerto.

From the opening bars to the finale, Sorita's distinctive sound stands out.

After the rehearsal, Sorita remains seated at the piano.

He continues to play for another hour.

There were so few concerts
during the pandemic.

Pianos are living instruments,
and this one had fallen asleep.

So I gave it a workout
until it began to sing again.

Sorita continued to play until five minutes before the concert.

His aim was to deliver the ideal sound he envisioned to the audience.

Earlier on, I was struck by how powerful your sound was.

How do you manage to produce such a sound?

Does it have a lot to do with muscular strength and flexibility?

Flexibility is, as you say, probably the most important factor.

The second most important thing, I believe, is muscular strength.

There's a big difference between the physique of Asian and European pianists.

And this comes across in the way they play.

Generally speaking, Asian pianists tend to lean in and crouch over the keyboard, whereas European pianists, thanks to their strong core muscles, tend to look up, even when playing with great passion.

So, there was a time when I thought that if I couldn't compete in terms of skeletal framework I needed to build up body mass to compensate.

I actually did a lot of weight training to build up my muscles, but then I began to doubt my approach.

I came to realize that it was having a negative effect on my sound.

I was starting to produce a very hard sound, as if I were hammering the keys.

This was the result of increased muscular strength.

But as I lost some of that muscle mass, I developed a richer, deeper sound.

The only direct contact I have with the piano is through my fingertips.

But even so, all my senses, muscular strength, and power are transmitted to the keyboard.

You've performed with Yutaka Sado more than 50 times.

What discoveries or inspiration has this given you?

I think I've learned a lot about the richness and warmth of music from him.

As a musician, I think it's imperative to be able to express a whole range of emotion.

It's like how a painter mixes different paints from primary colors to create a complex palette of colors.

You draw out this feeling and that from the music to create a certain atmosphere.

I believe that since music is an abstract art, you need to be able to convey a whole range of emotion.

Sorita entered the limelight at the age of 18 after winning first prize in the piano division of Japan's most prestigious music competition.

Since then, he's received worldwide acclaim and gained popularity as a talented pianist.

He's a role model for aspiring young pianists.

- Good morning.
- For you.

- Thank you.
- May I have your autograph?

I'm a big fan. I love all his work.

Thank you.

- See you.
- Thank you.

How did you come to play the piano?

I started taking music lessons when I was about six years old.

The focus was more on ear training and absolute pitch than piano playing.

When I began to recognize notes and was able to play the piano a little, it made my mother happy, and my friends began asking me to play something for them, too.

So, I played because it made everyone happy.

When did you decide to become a professional?

What triggered your decision?

When I was 12, I took part in a workshop organized by a conductor.

The idea was to understand the role of a conductor.

We each got a chance to conduct a piece by Tchaikovsky.

So, there I was, a 12-year-old, standing in front of an orchestra of about 70 or 80 musicians.

I raised my baton, and out came a sound that felt like the wind.

I knew then that I wanted to become part of this world.

I wanted to feel every single sound with my entire body.

And so, at the age of 12, I asked the workshop's conductor what I needed to do to become a conductor.

He said I should first learn to play an instrument.

I told him I was studying the piano.

He replied that the piano was a very good instrument for conducting, and that I should aim to become a good pianist before studying conducting.

That's what I've been trying to do ever since.

In 2018, in pursuit of his dream of becoming a conductor, Sorita founded his own orchestra.

Okay, let's begin.

Sorita has invited university students to play with his orchestra for the day.

These students have had few opportunities to perform during the pandemic.

Don't be too careful.
That would stop the flow.

But it's vital to keep in mind
the direction of each measure.

In 2021, Sorita incorporated the orchestra.

He has 20 soloists working for the orchestra as paid employees.

He's also launched a digital business.

Hello, everyone. I'm Sorita Kyohei.

He provides paying members with services such as consultations and commentary on performances.

He currently has over 30,000 registered members.

There's a strong division of labor in Japan, not only in music, but also in other fields.

A strong sense of craftsmanship.

Yes, that's right.

And because of this, people who try to go beyond their respective fields are not always looked upon favorably.

In fact, there's a tendency to think that they're not dedicating themselves properly to their craft.

That's true.

Of course, I want to be able to become a master at something.

It's fun imagining how far I could go as a pianist.

However, playing the piano while conducting has the same impact as playing the piano before becoming a conductor.

Standing on the podium with the score in front of me provides me with an insight into the music.

It allows me to hear tone sequences and sounds that I couldn't hear when I was just playing the piano.

I started playing the piano because I wanted to be a conductor, so it doesn't matter what other people say.

I want to live my life the way I like.

I'm able to enjoy the best of both worlds, so I'm having a lot of fun right now.

What do you find attractive or enjoyable about working with an orchestra, making music together?

When you're playing with someone and the music ends in a climax, you get to share the applause with everyone.

And that's what I like doing.

I'm very much a "people person."

I've always loved soccer and group activities.

My personality is completely different from that of a classical pianist.

Pianists are able to perform completely alone.

They play the melody line and their own accompaniment at the same time with no need to collaborate with others.

But there are times when it makes me feel lonely.

Your orchestra is incorporated, it's a company.

How common is this in the world?

I think it's very rare, maybe the very first.

Many orchestras are foundations, which I think is wonderful.

But I wanted to create a new style of orchestra.

I also wanted to create an orchestra that would be supportive of its members.

So, we started out with three work-level plans, each at different levels.

If you chose Plan A, you'd receive a certain salary, but with Plan B or Plan C, with a different amount of work, the amount earned would also be different.

We let the members decide which plan they prefer to work.

We also cover all travel expenses, both domestic and international, and we encourage members to go study abroad.

So we end up spending quite a lot of money.

I understand that you run a digital business as part of your activities.

I think it has the potential to transform or break down the classical music scene in a positive way.

In the world of classical music, there's really no sense of community between artists and their supporters.

I believe it's important to give back and show gratitude to those who are kind enough to support us.

And I think people who have just started to play or learn piano want to take lessons with us.

This, I think, is especially true of youngsters, maybe 10 years younger than me, who are dreaming of becoming professional pianists.

It's not so much a student-teacher relationship, but lessons that allow for an exchange of ideas between artists.

That was a major goal of mine.

It's not easy, but I hope that this will help open up a new future for classical music in Japan.

I imagine how much fun people will have playing with friends, working together, and eventually getting invitations to play in venues outside of Japan.

Those thoughts make the hard work feel easier.

We asked Sorita to write a kanji character that expresses his life and his work.

The kanji he selected is "zen:" a natural state, or an affirmation.

I love nature, and when I look at a landscape or forest, you realize that each tree stands on its own.

It's firm and resolute.

And that's the way I would like to lead my life.

Also, I think it's important to simply be.

You can't lie to yourself.

It all comes out in your music.

Your personality is ultimately reflected in your sound.

So, you don't try to hide it?

I can't.

You can't lie?

At least in terms of sound.

So, like the sound I produce when I play the piano, I want to remain true to myself.

That desire has become even stronger these days.

To finish off, what do you hope to accomplish from here on out?

I'd very much like to create a conservatory of some sort.

That's something I'll definitely be doing in the future.

I think it would be good for the future of classical music in Japan.

I'm happy with the outcome of the Chopin Competition.

It gave me the chance to meet other pianists.

I shared second place with another pianist.

And there was also a pianist in third.

I realized we shared the same values.

They also said they wanted to build schools in their home countries.

We talked about this while rehearsing for the prize ceremony.

I asked them what they were going to do after the competition.

One person said he wanted to build a school.

And the rest of us said the same thing.

We all have strong hopes for our countries, especially in terms of music education.

I'd like to see classical music featured more prominently in the future.

And everything I'm doing now is leading up to that goal.