Takashi Shimizu

A Summary of his artist journey:
The acclaimed Professor Takashi Shimizu was raised in a business family and was very much interested in architecture. His dream was to become a famous architect. At the same time, he also showed great talent in music. At the age of 17, he was fortunate to become a student of legendary Violinist Jascha Heifetz,
Two years later, he moved to London to study with one of the most prominent violin pedagogy of the 20th century, Yfrah Neaman, with whom he spent almost a decade refining his musicianship and technique. After winning prizes at the Queen Elizabeth and Carl Flesch International Competition, Mr. Takashi started his solo career in Europe for a decade.
Even with such blessings, Takashi still wandered his real passion for life. Until age 27, he finally made the commitment to violin and music. Until now, he has the very same passion, devotion, and faith in music.

Q: Could you share your experience teaching at SVF and the things you are looking forward to in 2021 SVF with this online setting?

A: I've been a faculty member since the very beginning, in 2016. This festival is becoming a representative of educational festivals in the Orient. I am sure that it is the biggest and one of the most important scenes. The level of the students has been escalating, reaching very high-levels and I hope it will continue developing in future time. I am looking forward to seeing new talents in the festival this year.

Online teaching is a very new thing to me. It took a while for me to adjust and feel comfortable. After one year of teaching online, I am already getting used to it. I can adjust mentally and physically as well. Sometimes physically it is quite tiring, you must focus on the screen, and your eyes get tired after a while. But now I enjoy it teaching online because you feel connected to the whole world. The opportunities are equal to everyone everywhere now. This is amazing! The lower quality of sound allows us to be more objective in issues like the structure of work, directions of the phrases and when working on technique.

Q: Could you share some experiences with your mentor and teacher, Jascha Heifetz?

A: In life, everybody confronts some difficulties, struggles, but fortunately for mine, Heifetz was like a Polar star, guiding me through my life direction.

I went to Los Angeles to take the audition for his class, and I had prepared my repertoire. Of course, he asked me to play scales but surprisingly, many sight-reading pieces as well. I remember one was Hindemith; a couple of them were very rhythmically tricky.

 Q: Doing the study time was it pleasant or nerve-racking?

A: The class runs twice a week. That doesn't mean you have to play twice a week, it's a group lesson setting. We prepare all pieces, and he will choose them during the class. His favorite key is F sharp minor because it is very difficult.

Q：As a student, you often hear him closely. Could you describe his sound?

A: He has a unique, really unbelievable sound. It is so focused like a beam. That leaves me a big impression. Until today I still remember the sound.

He was a man who was really skinny, but in great shape with absolutely no fat. His sound is always cutting through to the end of the hall, amazingly focused and projecting. He likes to use gut strings on A and D, and G & E with nylon. During that time, I have never heard the gut string so near to the ear, and I have never used it. The sound coming out of his violin had so much grip even with gut strings and he also used a very high bridge to keep the tension.

Q: What are some preparation tips you'd like to give students before participating in competitions or auditions?

A: I like to have a full stomach before I go on stage that keeps me calm. Also, being 120% ready is a must, because one has to be as confident as possible in what they do. Confidence gives you freedom on stage.

Q: As a judge of many international competitions, what kind of performance would you find impressive?

A: After hearing the first round, I always ask myself: do I want to listen to this person again in the second round? These days, the technical level of individual playing has increased dramatically. Everyone can play really well. They have a good command of the instrument. If a person plays dazzling well but doesn't have his story, personality, and communication in his playing, in other words, if he doesn't talk to me musically, I will say no. This is very important for me.