Ryu Goto Japanese-American Concert Violinist Plays for the PPO 45th Anniversary: Exclusive Interview

This year marks the 45th Anniversary of the Philippine Philharmonic Orchestra (PPO), and under the direction of Maestro Yoshikazu Fukumura, PPO is also celebrating their 36th Concert Season.

The grand anniversary concert was held last November 15, 2018, at the Manila Cathedral, featuring guest violin superstar and conductor, Mr. Ryu Goto—a classical music soloist that plays along with international leading orchestras at some of the world’s most prestigious venues.

Also read: PPO Celebrates 45th Anniversary and 36th Concert Season With International and Filipino Soloists 

Ryu Goto is a Japanese-American violinist who has established himself as a significant voice in classical music. His career began at age seven when he sold-out his debut at the Pacific Music Festival in Sapporo, Japan playing Paganini’s Violin Concerto No. 1.

Since then, he has performed as a soloist with many of the world’s leading orchestras. He is also a member of the US-Japan Council and has been honored by the Japanese American Bar Association.

Philippine Primer got the honor to meet the distinguished concert violinist himself before the performance. In our interview, he spoke well of the Filipino people, as well as his hopes of coming back to see the rest of the country, visit the popular islands, and experience the country’s top diving spots.

Also read: Top Diving Destinations in the Philippines

Due to security reasons, Ryu Goto is not able to bring his Stradivarius 1722 violin “Jupiter” on loan to him from Nippon Music Foundation which he usually plays

How does it feel to be invited to conduct the Philippine Philharmonic Orchestra?

It is a great honor for me and a pressure because this is the third time I’ve worked with them. I’ve always only had good memories with them. They are one of the few orchestras I’ve ever encountered that are professional and at the same time have maintained the heart, the love, for the music. They are playing music because they want to, aside from it being part of work. They are very open to different ideas and because I am not a conductor, initially, they have been very patient with me that I don’t think this would not have worked with any other orchestra.

How long have you practiced with the Philippine orchestra?

Only three days and it is coming together wonderfully. It will be a good concert especially because we will be doing it in a big cathedral which is really something special with its ambiance and aesthetic, I’m sure that the audiences are going to love being in that space. I know it’s a big event to be part of an anniversary like this so I am so fortunate that they have chosen me to perform.

This is the second time you are in the Philippines, the first back in 2016. What do you think has changed with the orchestra and also with you?

Under Maestro Fukumura’s direction, the orchestra has become even more leveled up. To begin with, they were already wonderful and professional but Maestro Fukumura has this ability to really bring out the best in people; their best abilities and their utmost dedication. He has done that and they sound even better since then. Personally not much has changed for me except now I am conducting but only for PPO.

Also read: PPO’s 34th Concert Season has them going back to the basics

Goto finds the Philippines to be very interesting, as Filipinos are kind and hospitable

Tonight, you will be playing Antonio Vivaldi’s The Four Seasons and Antonin Dvorak’s Symphony No. 8, Op. 88, in G Major. Did you have a hand in choosing the music and is there any reason for these choices?

This is a program that we did in Cuba three years ago. Dvorak is a great piece and everybody can enjoy it, it is very expressive and fills up the space. It’s such a wonderful piece and it’s got that rustic feel to it while Vivaldi is heavily rooted in nature and easier to conduct while playing, performing. I would have to play and conduct at the same time and I think it works very well and is suited to that. There are a couple other pieces that work but I think Vivaldi is the right choice.

So much of Vivaldi’s works is a celebration of God’s creation and you get that sense just like with The Four Seasons, it is a celebration of nature. The music also works in a space like a cathedral, especially because it is played with only strings and feels like it belongs there. Baroque music like that in general sound good in closed cathedrals with big, closed, pensive sound. Dvorak is actually more difficult.

How have the Filipino people reacted to your music?

Filipinos are always so warm and honest and they are unpretentious and I appreciate that about them. They have always been so helpful and nice. In New York, you don’t really experience that kind of thing because when people ask for directions they get annoyed but here, people are very nice and approachable. They are really great and hospitable.

You collaborate with young contemporary artists, do you see yourself collaborating with Filipino artists, musicians?

Not right now but definitely in the future. I’m a performer for the Asia/American New Music Institute (AANMI). They recruit Asian composers from all the Asian countries and I’m sure they are looking at the Philippines too for young contemporary composers. As well as musical outreaches, I would like to do some outside of Manila.

 

The Minor Basilica and Metropolitan Cathedral of the Immaculate Conception, also known as Manila Cathedral in Intramuros, Manila is considered as the Mother Church of the Philippines

Goto also holds a 3rd-degree black belt from the Japan Karate Association, while his other activities include diving and video game e-sports.

During the interview, Goto shared that he streams when he plays online games. When asked about it, he says “I love games. I have always loved playing that I even customized my own computer. I have taken components out and then build it back together with new parts.” He laughed as he continued, “I like that kind of thing, having my identity in something that I made and I think that is sort of the creative part of me, putting my mark on things and creating it.”

Much is true and felt during the concert later that night after the interview.

Playing the lead violin, Goto led the orchestra in performing the whole concerti of Vivaldi. The music was composed under the inspiration by the paintings of the seasons by Marco Ricci. The Four Seasons under the wing Goto became very vibrant and, as he said, fills up every space of the cathedral.

His Vivaldi was very easy to enjoy and listen to, whereas the Dvorak was intense. Despite airing his concern about it being difficult to play inside the Manila Cathedral, Goto led the orchestra with much gusto and excitement that the music demanded. The energetic music vibrated through the thick stone walls almost asking to be released.

Goto’s music left the audience with a cheerful and optimistic mood.