Yuri Matsuzaki, flutist jp/en
New Music specialist, Yuri Matsuzaki has been actively concertizing both as a soloist and as an ensemble member all over Europe. After graduating from Tokyo University for the Arts in Japan, she moved to Leipzig, Germany to study at Hochschule fur Musik und Theater (HMT) where she earned her Master's degree and Meisterklasse degree. In 2014, she was selected to participate in the prestigious Ensemble Modern Akademie in Frankfurt. Besides numerous concerts that are already planned this year, she teaches at HMT and a music school in Annaberg.
Yuri specializes the music of New Complexity, especially pieces by composer Brian Ferneyhough. His music has been highly regarded and also known for extremely demanding technical skills and complex notation. In this interview, I asked her to share her perspective of music and her life, and why she became interested in New Music. (This interview is also available in Japanese.)
Yuri specializes the music of New Complexity, especially pieces by composer Brian Ferneyhough. His music has been highly regarded and also known for extremely demanding technical skills and complex notation. In this interview, I asked her to share her perspective of music and her life, and why she became interested in New Music. (This interview is also available in Japanese.)
ーHow did you start playing flute?
My sister was playing flute in her school's wind symphony, so I would play around with her flute and imitate what she does with it. When I was fifteen, I became more serious and started taking lessons. At that time, I still didn't know anything, even fingerings and proper posture, but I couldn't help my urge to pursue my career as flutist. So I practiced really hard and went to the music high school. I remember it took me a long time to understand the difference between the time signatures 3/4 and 6/8. (laugh)
ーWow. I can't imagine that from who you are now! You have been performing so much music of New Complexity!
I think it's because I started playing music late, I had no registance or hesitation against contemporary music. But I also went through tough times... In fact, I didn't finish my high school - I quit in my senior year. In the end, I couldn't think of anything other than flute, so I took the University Entrance Qualification Exam and then applied for Tokyo University for the Arts.
My sister was playing flute in her school's wind symphony, so I would play around with her flute and imitate what she does with it. When I was fifteen, I became more serious and started taking lessons. At that time, I still didn't know anything, even fingerings and proper posture, but I couldn't help my urge to pursue my career as flutist. So I practiced really hard and went to the music high school. I remember it took me a long time to understand the difference between the time signatures 3/4 and 6/8. (laugh)
ーWow. I can't imagine that from who you are now! You have been performing so much music of New Complexity!
I think it's because I started playing music late, I had no registance or hesitation against contemporary music. But I also went through tough times... In fact, I didn't finish my high school - I quit in my senior year. In the end, I couldn't think of anything other than flute, so I took the University Entrance Qualification Exam and then applied for Tokyo University for the Arts.
ーHow did your parents react when you decided to quit high school?
They didn't really say much. They let me do what I believed to be good for me. However, they told me to be responsible for my decision.
ーHow did you become involved with New Music?
My high school teacher introduced me to Gendo Kinowaki, a flute professor at Tokyo University for the Arts. He specializes in New Music. I became familiar with new music through his concerts.
ーDuring your college, did you focus on New Music since you studied with professor Kinowaki?
Not really. I believed that entering competitions was necessary for my career, so I worked on standard repertoire besides New Music. In my senior year, I entered a compeitition in Europe for the first time. The experience changed my perspective - I witnessed many high level performances... the level of the world felt so high. This made me decided to come to study in Europe. Shortly after that, I found my teacher in Leipzig and moved here in 2011.
ーIs there anything that you would like to do for your future project?
I like Japanese traditional arts and music such as Shakuhachi and Noh theater. Because I have studied a lot of European music since coming to Germany, music by Joji Yuasa and Toru Takemitsu brings me back many familiar feelings. It feels like I'm back in my home. I am interested in figuring out the ways to express my Japanese spirit, which is a natural part of my deeper identity, through my flute playing. I would like to share this spirit with friends and colleagues from different countries.
Japanese composers' music feels very natural - their use of extended technique feels very organic to me. For example, music of Joji Yuasa sounds like he pulls out the Japanese spirit from the root of our mind and he makes sound out of it. I believe that's an ultimate sound in a way. I sense the same thing from Ferneyhough's music. He challenges himself and seeks the ultimate sound, ultimate music. Because they are fundamentally the same, I feel both composers' music very close to me which allows me to perform their music organically.
They didn't really say much. They let me do what I believed to be good for me. However, they told me to be responsible for my decision.
ーHow did you become involved with New Music?
My high school teacher introduced me to Gendo Kinowaki, a flute professor at Tokyo University for the Arts. He specializes in New Music. I became familiar with new music through his concerts.
ーDuring your college, did you focus on New Music since you studied with professor Kinowaki?
Not really. I believed that entering competitions was necessary for my career, so I worked on standard repertoire besides New Music. In my senior year, I entered a compeitition in Europe for the first time. The experience changed my perspective - I witnessed many high level performances... the level of the world felt so high. This made me decided to come to study in Europe. Shortly after that, I found my teacher in Leipzig and moved here in 2011.
ーIs there anything that you would like to do for your future project?
I like Japanese traditional arts and music such as Shakuhachi and Noh theater. Because I have studied a lot of European music since coming to Germany, music by Joji Yuasa and Toru Takemitsu brings me back many familiar feelings. It feels like I'm back in my home. I am interested in figuring out the ways to express my Japanese spirit, which is a natural part of my deeper identity, through my flute playing. I would like to share this spirit with friends and colleagues from different countries.
Japanese composers' music feels very natural - their use of extended technique feels very organic to me. For example, music of Joji Yuasa sounds like he pulls out the Japanese spirit from the root of our mind and he makes sound out of it. I believe that's an ultimate sound in a way. I sense the same thing from Ferneyhough's music. He challenges himself and seeks the ultimate sound, ultimate music. Because they are fundamentally the same, I feel both composers' music very close to me which allows me to perform their music organically.
Thank you, Yuri!
Yuri just finished China tour with Leipzig-based new music ensemble Tempus Connex. In December, she has a Ferneyhough Complete Flute Solo Concert at Kiev Contemporary Music Days in Ukraine! Stay tuned for more info here:
website: http://www.kecmp.eu/t
Facebook: https://www.facebook.com/newmusicdays
Photography & Interview&Translation by Michiko Saiki
November 17, 2016
Yuri just finished China tour with Leipzig-based new music ensemble Tempus Connex. In December, she has a Ferneyhough Complete Flute Solo Concert at Kiev Contemporary Music Days in Ukraine! Stay tuned for more info here:
website: http://www.kecmp.eu/t
Facebook: https://www.facebook.com/newmusicdays
Photography & Interview&Translation by Michiko Saiki
November 17, 2016