Ambassadors interview - Sabine Meyer and Reiner Wehle
October 12, 2024
Hi Shigeru! Can you tell us about your early days in music and what drew you to the violin and clarinet at such a young age?
My mother chose the violin for me because she played it herself. But after playing it for six years, I switched to the clarinet.
How was your musical training experience at Kunitachi College of Music in Japan, and who were your main influences at that time?
Two years before entering Kunitachi College of Music, I had already decided to study clarinet in France. I knew that the French school was better for wind instruments, which is why I started learning French. At the end of my second university year, I won a French government scholarship as a foreign scholar. So, I chose to attend the Conservatory of Rouen to study under Jacques Lancelot.
What memories do you have from your time in France?
My life was always linked to the orchestra; we played as many operas as symphonies. The operas taught me a lot, working with great singers and conductors, as well as my fellow musicians.
What led you to join the Orchestre National du Capitole de Toulouse as a solo clarinetist, and what were your most memorable experiences during your 21 years with this orchestra?
I was selected by the French state and Michel Plasson, conductor of the Orchestre du Capitole de Toulouse, based on the results of the French government exams. At that time, the exams to become a soloist in regional orchestras were held in Paris.
What were your most remarkable experiences in France?
I participated in a two-week musical tour with the Franz Liszt Chamber Orchestra of Budapest. We performed with soloists such as Karl Münchinger, Mstislav Rostropovich, Jean-Pierre Rampal, Maurice André, Georges Cziffra, Tamas Vasary, Galina Vishnevskaya, the Cleveland Quartet, and even guest dancers like Rudolf Nureyev and Carolyn Carlson. We gave symphonic concerts with the orchestra, as well as chamber music concerts with Mr. Rostropovich, Mr. Rampal, Mr. André, and the Cleveland Quartet. It was an incredible experience for me!
You have recorded many albums with prestigious labels. Can you tell us about some of your most memorable recordings?
The most memorable recording is the Chausson Symphony, as it was the first CD of the Orchestre du Capitole. And "Pastorale d'été" by Honegger with Deutsche Grammophon is also special because DG decided to do it at the last minute and provided us with the scores on the spot. We had to decipher them very quickly!
After living in France for 26 years, you returned to live in Japan. Today, what advice would you give to young musicians aspiring to a career as a professional clarinetist?
The orchestra is truly fantastic! It is really worth trying to get into an orchestra and never giving up.
What differences are there in the teaching of music in general (and the clarinet in particular) between France and Japan?
In Japan, we do not play pieces with the piano from a young age, and I think the teaching is more serious in Japan, meaning that students do not have as much fun with music. There is therefore less imagination, creativity, and fantasy.
You play with the Exclusive reeds. Can you give us your opinion on Steuer reeds and why you like playing them?
Steuer reeds have great resistance. Before playing Steuer, I sometimes had nasty surprises, and it happened several times that just before a concert some reeds became too weak. I no longer have this problem with Steuer because they have both very good resistance and excellent durability.
You have visited the Steuer workshop in Carqueiranne several times. What did you think of this experience and what does it mean for you to be an ambassador for the Steuer brand?
Like many musicians, I had never seen musical canes growing in the ground, at least not on such a large scale. Visiting the Steuer plantations impressed me a lot. As a user and knowing the plantations, the workshop, and your way of working, I am very proud to be an ambassador for the brand!
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