Kazuki Yamada: ‘Let’s make music together’

This article was originally published in our Spring 2023 issue. Click here to subscribe to our quarterly print magazine and be the first to read our Spring 2025 issue features.

You take on the role of City of Birmingham Symphony Orchestra (CBSO) chief conductor and artistic advisor in April; how will you make your mark on the orchestra’s sound?

The CBSO already has a fantastic sound and a long history, but if I could attach an element to their sound, I would add my feeling of the music, my ‘Japanese sense’.

There are many approaches to Western classical music, and I feel by applying this sense to my interpretations I can add a special element for our audiences. I’m not a strict conductor; I would like to work closely with the CBSO players in order to discover this sound together.

How does this ‘Japanese feeling’ for classical music manifest itself in the sound you produce?

In Japanese, we think language and words should be very short — shorter and shorter and shorter, until finally there is beauty. For example, the Japanese haiku poem is very short, only 17 syllables overall, but even 17 syllables can say something; the people reading it can imagine the rest of the picture.

I would like to apply this philosophy to music at the CBSO. The notes are only one part of the whole performance – we can imagine much more out of the music.

'We know each other well, we have something, and now we can add, add, add, and be better, better, better' © Zuzanna Specjal

You will make history as the first non-European conductor to lead the CBSO – what does this mean to you?

For me there is no pressure about it. Of course, I’m Japanese and I will be chief conductor, I’m so honoured, but also, ‘why not?’.

I am totally thankful for the many Japanese conductors who forged this way. Seiji Ozawa, for example, was the first conductor who worked in Europe and in North America – he struggled through many inequalities to create a path for younger Japanese conductors.

You will be building on a strong relationship with the orchestra gained over five years as principal guest conductor. What advice would you offer to conductors aiming to develop similarly successful conductor-ensemble relationships?

An orchestra and conductor can fall in love immediately after one performance. I can totally understand the feeling and it’s totally fine, but my way is to take time. I want the relationship to grow up together. I was happy that before becoming chief conductor I could spend time with the CBSO as principal guest conductor. We have done many concerts already, and the relationship is fantastic. We know each other well, we have something, and now we can add, add, add, and be better, better, better.

You were revealed as Mirga Gražinytė-Tyla’s successor in September 2021 following an intensive search process’. How did you navigate this experience?

Of course, I’m always trying to do my best. I had been working with the CBSO for some time and we have great chemistry. But I also think a lot of it was luck, I am totally lucky to finally be the chief conductor.

If we hadn’t done the Japan tour in 2016, I would not have had the chance to become the chief conductor. That was a very special year because it was the gap between the end of Andris Nelsons’ tenure as music director and the beginning of Mirga’s. So I was lucky to build my relationship with the orchestra during the Japan tour while the orchestra had no director. Relationships are always built on a bit of luck.

'In Japanese, we think language and words should be very short — shorter and shorter and shorter, until finally there is beauty' © Zuzanna Specjal

CBSO Players’ committee chair Joanna Patton described you as ‘a kind, respectful musician’. How important do you feel these qualities of kindness and respect are in a conductor’s career?

It’s a very normal behaviour for me, I don’t think about it every day. In my job this basic respect is always set up within me. The players can see that and it’s a very good thing.

I’m always thinking, ‘let’s make music together.’ A conductor cannot produce sound, only musicians have that power, and I want to respect that first.

I’m also respectful of other cultures. In Japan, classical music is not our culture’s music. Western classical music has affected Japanese culture so much, but a long time ago, Japanese culture also had an impact on the classical music scene. There’s always an exchange. Without respect, relationships can be very difficult between orchestra and conductor – and even between country and country.