WFIMC Café: Kaoruko Igarashi

Since 2022, the Concours de Genève has included an "artistic project" as part of the evaluation. During the semifinals, candidates present an artistic project, which the Concours de Genève helps to realize as part of the Career Development Program. 

What was your impression of the artistic project at the competition?
I didn’t think much about it at first, but I started taking it seriously when I advanced to the online recital. It was refreshing but challenging since most competitions focus only on performance. As it was the first year, I didn’t know what to expect, so I just tried my best. I had online sessions with coaches who gave me feedback to refine my project. My project initially focused on chamber music and my master’s thesis, and eventually centered on my master’s thesis: the arrangement works of Franz Liszt. I presented it with both a written text and a face-to-face interview. It was unique to have this as part of the competition.

In addition to the official prizes, laureates benefit from two years of services from the concert agency Sartory Artists, partner agency of the Concours de Genève. This includes career management, personal coaching and multiple concerts, enabling them to take their first steps on the Swiss and international music scenes.

What was your impression of the Career Program?
The biggest thing I learnt was thinking deeply about what kind of musician I want to be and what kind of career I want to build for that purpose. In my normal music life, there are few chances to think concretely about my career, but this program made me clarify my musical stance itself. It made me wish that such programs were also part of music education in Japan.

I also learned the importance of having my own opinion and being able to express it to others, as well as the communication skills needed to share my vision with people from different backgrounds. Through feedback from others, I was able to view myself more objectively. I also noticed differences in negotiation styles between Japan and other countries. In Japan, artists tend to be revered, but I think it’s ideal to have a more mutual exchange of opinions.

Those seem like they would be helpful in situations like the ones you experienced after the competition.

Yes, that might be true.

You’ve won many prizes in Japan as well. Why did you decide to participate in the Geneva competition?
I was drawn to the Geneva Competition for its prestige and history, and some of my favorite pianists, like Argerich, Haebler, and Gulda, were past winners. In addition to this, I felt that the repertoire requirements suited my strengths well, so I thought it would be a good challenge. There are many competitions with chamber music in the semifinals, but few require duo repertoire. I had worked on duo performances before, especially cello sonatas, so I felt confident. The overall repertoire matched my skills, so I decided to give it a try.

What’s the difference between competitions in Japan and other countries?
In Japan, audiences watch very seriously, which creates a tense atmosphere. In other countries, especially in my case in Geneva, people seem to enjoy and cheer along, creating a more relaxed feeling. In Geneva, there was less external pressure, so I felt more relaxed. I wanted to see more of the world, and it felt good to challenge myself in an international competition. At the same time, I think it's wonderful in Japan to perform in excellent halls with great pianos and tuners. The audience listens with intense focus, allowing me to share a deep, inner dialogue through the music, which is a beautiful part of Japanese music world.

Did you experience any changes in yourself through the Geneva competition?
This experience made me thinking that if there’s something I want to do, I should go for it. No matter the outcome, I felt there was something to gain from trying. However, the half-year after the competition was very tough. I had high expectations and thought things would progress smoothly, but reality was different. In a new environment, I suddenly had to make decisions on my own, and though I got advice, it was hard to know who to listen to. I even ended up buying a lot of illustrated sticker tapes as a stress relief... The tension from the competition continued, and I felt overwhelmed, often lonely and frustrated as things didn’t align.

How did you overcome that difficult period?
I got tired of always feeling on edge. Rather than becoming someone who’s irritated, I turned trying to look inward and understand what I really wanted. And then, one day quite by accident, during a chat with my friend, the book Momo by Michael Ende came up, and I thought, "Maybe I should read it again." I found it really relatable, especially the part where Momo’s friend, the poet Gigi, loses sight of what’s truly important in pursuit of luxury. It resonated with me, and I began to reflect on myself gradually. I realized that it’s important to move at my own pace and choose paths that make my heart happy. Ende’s message that, even on a long journey, you’ll reach the end one step at a time, also touched me. Now, I cherish doing what feels true to myself.

How did you cope with pressure during the competition?
I usually refresh by running, and I run every day! but I couldn’t do it during Concours de Genève. Instead, I read books or looked at the lake to calm my mind. Being in nature helped me feel more relaxed.

Do you have any pre-performance routines?
I squat or release shoulder tension in a dark place. By grounding myself, I feel more in touch with my body. Since I play while feeling the piano keys and being mindful of my center of gravity, I might be trying to focus on my body in advance to become more aware of it. I also do mindful walking and avoid caffeine on performance days.

Any message for those planning to participate in competitions?
Focus on quality over quantity, and choose what you really want to do. Practicing just for competitions is one way, but don’t let it be your only goal. Treasure moments when you genuinely feel like expressing something, and let the competition be a part of that journey. Take time to notice what’s important to you, for me enjoying nature or reading helps.

What are your future goals?
Through my performances, I hope to create moments where the audience can reconnect with their emotions and inner voices. Also, When I'm in a position to teach, I want to say, “It's okay not to focus only on success.” I aim to help create a music industry where everyone can live on equal ground. I believe that musicians, future musicians, music fans, and all those who love music speak the same language. Moving forward, I hope to continue cherishing what I love and focus on doing my best to tell its beauty.

©︎ WFIMC 2024 / HS