The "Listen to Musicians" section is a section where professionals who usually play music on the stage go down the stage and speak in words.This time, we will interview Eiichi Chijiiwa, who is active as a deputy concertmaster of the Paris Orchestra in France and a professor at the City Conservatory of Paris and the City Conservatory of Paris. I would like to talk about the theme of "studying abroad in music."
(Interview: March 2009)
-Profile of Eiichi Chijiiwa-
Eiichi Chijiiwa, Deputy Concertmaster of Paris
After graduating from the Music High School attached to the Faculty of Music of Tokyo University of the Arts, he studied at the Paris National Conservatory of Music as a French government-sponsored international student and graduated with the first prize of all the judges.Studied under Chikashi Tanaka, Kishiko Suzumi, Pierre Ducan, Olivier Charlier, Philippe Hirschhorn, and Walter Levin. Deputy concertmaster at the Paris Orchestra since 1998.Professor at the Paris National Conservatory and the Paris Municipal Conservatory (Maurice Ravel Conservatory, 13th arrondissement of Paris).As a soloist, he has performed at the Dona Wessingen Music Festival (French National Orchestra conducted by Tsagrosek), the Paris Orchestra Subscription Concert at the Paris Chatelet, the Tokyo City Philharmonic Orchestra Subscription Concert, and Berlin Art Week as a chamber musician. , "Autumn in Paris" Music Festival, Louvre, Chamber Music Series at Orsay Museum, Old Rose Music Festival in England, etc. The CD includes Skalkottas's collection of works (Bis), Nono and Lachenmann's string quartet (Assai, France), and Marc-Andre D'Albavi's concerto (Paris Orchestra conducted by Eschenbach, Naive, France).
-First of all, please give us a brief background.
Chichiiwa Born in Tokyo in 1969, he started playing the violin and piano at the age of five. From the age of 5, I began to concentrate on the violin, and went on to study at Tokyo University of the Arts, a high school attached to Tokyo University of the Arts, and then studied abroad at the National Conservatory of Music in Paris.It's been 10 years since I became a deputy concertmaster of the Paris Orchestra while I was enrolled in the Conservatory.
-What made you start playing the violin?
Chichiiwa First, sensei's older sister, who learned the piano, was a graduate of Tokyo University of the Arts, majoring in oboe, but she also taught me the violin.So, I thought it would be good to learn both because it was a big deal, so I started.Immediately after I started learning, I decided that I would be a pianist, but when I was about eight years old, I heard from the piano sensei that "it's difficult to eat on the piano, so it's better to concentrate on the violin." I was told, "I think it's okay," and I had no choice but to concentrate on the violin about the violinist sensei ( Hisako Kobayashi).
-You were thinking about how to become a professional so early!
Although not of the Chichiiwa musician's family, both his father and mother were very enthusiastic.I think I had a longing for music but I couldn't do it myself.Regardless of whether I'm a violin or a piano, I've always liked music since I was little, so it was pretty early to think "I want to make this a profession!"
-So, when you were 8 years old, was it a shock when sensei said "I can't eat on the piano"?
Chichiiwa sensei (Haruna Hirao) was a person who studied at the Paris Conservatory and was familiar with the professional world. From the perspective of sensei, I think it would be difficult for a man to become a concertist on the piano without some outstanding talent.In that respect, I was told that if you are a violinist, you have the opportunity to play in an orchestra, so there is a possibility.At that time, I wasn't interested in the orchestra because I hadn't heard it live on TV.
-Did you learn more about the violin from there?
Chichiiwa Well, from the age of 10, I had only one violin.I didn't play the piano in sensei until I resumed in the high school sub-department, and I played it in my own way, but I still have a grudge that I really wanted to be a pianist.After all it is an attractive instrument in terms of repertoire.I still remember crying sadly and violently when I gave up the piano.
-How old were you when you studied abroad in Paris?
It was when I was in the fourth year of Chichiiwa University.If I wait until I graduate, I will not meet the age limit of the Paris National Conservatory of the Arts, so I took the entrance examination in the fall of XNUMXth year. I graduated from Tokyo University of the Arts by going back and forth between Paris and Tokyo.
-How old were you when you started thinking about studying abroad?
When I first moved to Europe at the age of 18, I had a strong desire to come into contact with European culture and live in that atmosphere in order to take part in the Chichiiwa International Competition.After that, I started attending seminars and thinking about studying abroad.
-Did you want to study abroad in France from the beginning?
Chichiiwa At first, I was thinking of studying abroad in Russia, and when I was in college, I also learned Russian.However, in Russia at that time, I couldn't get a student visa for study abroad.When I thought about other possibilities, I felt a sense of familiarity with France because the piano sensei I learned for the first time and the violin sensei ( Chikashi Tanaka) at the university were studying abroad in Paris. , I came to think of France as a study abroad destination naturally except for Russia.
-How did you find sensei to study?
I met Pierre Ducan, a professor at the National Conservatory of Music in Paris, at a seminar in Chichiiwa, and decided to study abroad during the spring break between my third and fourth year of university.I was a long-time concertmaster of the Opera House in Paris, and the performances I met at the seminar were wonderful, and I was very happy when I decided to study abroad.In Tokyo, I was hitting a wall, so I had to change my mind and start over.
-The Paris National Conservatory of Music is a top-level school, but what was the entrance exam like?
Chichiiwa There was an age limit, and I was up to 22 years old to take the violin exam.I was over 2 years old for about two months at that time, so I wasn't originally qualified, but sensei negotiated with the Conservatory.As a result, I was able to take the entrance examination with special permission.In the case of France, even if something seems to be impossible due to the rules, it often happens depending on the negotiations.Due to such circumstances, the other examinees looked quite young in the entrance examination.
-Did you study French before studying abroad?
I used French as the first foreign language of Chichiiwa University.The French I learn at school is grammar-centric, and I feel that I learned most of the conversation techniques since I came here.
-If so, did you have a little difficulty in language after enrollment?
Chichiiwa French is difficult to pronounce, and even though I think I'm speaking grammatically properly, sometimes I don't understand it (laughs).Nowadays, it seems that one of the conditions for admission to the Paris Conservatory is French ability, and in the curriculum of the Conservatory at that time, there was no time to learn French, so I was able to talk with my friends and practice it. I feel like I've learned.
-What was the difference between Japanese music and French music after studying abroad?
Chichiiwa In Japan, even if you play an ensemble, I think there is always a place to be aware of the vertical lines.When I played Gregorian chant for a year in the elective class of the Paris Conservatory, I realized the music flowing sideways.At that time, especially in France, I felt that I might be more inclined to move horizontally than to move vertically.
-French music has an image of colorful glitter.
Chichiiwa Well, that may be because the time when Debussy and Ravel were active was the heyday of Impressionist painting, so they were short-circuited and gave the prejudice of French music equal to Impressionism.I don't think that only French ones are rich in color.
-So that's it.How many years have you been enrolled at the National Conservatory of Music in Paris?
Chichiiwa It took a minimum of 3 years and a maximum of 5 years to graduate from the curriculum at that time in the so-called ordinary university course.After that, when translated directly into Japanese, there was a course called Completion Course.I thought about taking the course directly, but it was more like a diploma course than a graduate school, and I wasn't really interested in it because it was a course that focused solely on the violin. I learned.In addition to specialized musical instrument lessons, music analysis, chamber music, orchestra, chorus (mixed chorus or Gregorian chant) are compulsory, and the system changes while in school, and optional conducting, improvisation, ecriture (calligraphy), etc. are taken according to interests. You can now do it.After graduating from the violin department, I spent two years in the violin completion department, and then in the quartet for two years in the chamber music completion department.
-You have been enrolled for a total of 7 years.
Chichiiwa From the time I left Japan, I was thinking of finding a job in France and eating it in the future, so I thought it would be better to stay at school for as long as possible to see what was going on.After all, I wasn't going to be able to eat it right away, and I was thinking of playing music little by little while I was a student, and connecting it to my work.Fortunately, my parents were also supportive and continued to help me even after the French government's stipend ended in three years.After all, I was most happy to be able to reassure my parents who were very worried about whether they could eat with music when they joined the orchestra in the sixth year.
-Is it the Paris Orchestra from the very beginning?
Chichiiwa Yes.I joined the group from the beginning with the current post.
-It's amazing.Many people would like to join an orchestra in France, but do you feel like you can send your resume, get a letter of recommendation and take the test?
Chichiiwa I think that's the case in Germany, but in France it's relatively more open and anyone can take it.For example, in other European countries such as the Netherlands, you may not be able to receive it unless you have European citizenship, but in France this is not the case, and any foreigner can receive it.For example, if you live in Japan and do not have a letter of introduction, you can receive it.The point is that you can enter as long as you play an instrument.
-How can I get the recruitment information? Is it publicly available?
It is published in the Chichiiwa Music Magazine, and when you go to the Conservatory, a poster for recruitment is posted.After that, you can now see it on the Internet.Every orchestra's website has a job listing.
-What was the audition that Chichiiwa received?
Chichiiwa I had an audition for a soloist (chief), so there weren't many test takers.I played Isai's unaccompanied sonatas and orchestra studies in the first, Brahms concerto, solos of various styles of orchestra in the second, and Bach's unaccompanied sonatas and orchestra studies and solos in the third exam.I remember that about 10 people who were already enrolled in Tutti in the Paris jurisdiction joined from the secondary exam with the primary exemption.
-What made you audition for the Paris Orchestra in the first place?
Chichiiwa I didn't really want to join the Parisian pipe, but I knew that I could only be enrolled in school for another year, so that
I had to leave France if I didn't get a vacant seat in the meantime.So, I can't help but get stuck (laughs).
-So, were you auditioning for other orchestras at that time?
I also took the seat of the first concertmaster of the orchestra of the Chichiiwa Opera.At that time, I couldn't play well and fell off on the way.Just two months later, it was a test of the Parisian tube in a completely different program.I remember having a backache when I redecorated my room in my apartment between the two exams and having a hard time for about a week.When it comes to recruiting orchestras, I don't know if there's a seat that's right for me when I want to, and I think there's a lot of good luck and bad luck with the ridiculous power of the fireplace. ..
-I hear that there is a curtain at the audition in Germany, but how was it in the Paris pipe?
There is no Chichiiwa.I think it may or may not be another orchestra.I think that will change every time.
-For example, are there any advantages or disadvantages for Japanese people?
When judging from the standpoint of Examiner Chichiiwa, I have never been aware of any particular racial discrimination.However, prejudice will work.For Japanese people, I think it's difficult if there is nothing more than playing cleanly.
-Is that so.
Even if I receive Chichiiwa, there is a trial period from the latter half of the year to a year, but there are quite a few people who are out during that period.Foreigners often have communication problems, don't they?
-So that's it.In that sense, personalities other than performance are also important.
Chichiiwa That's right.Even if it's called a personality, he doesn't know what to do, so he's pretty tough.In the case of French people, I think that they often play extras first and then take the test after understanding the orchestra's unique atmosphere to some extent.In order to be called an extra, it is necessary to take the enrollment test once and get good results, or to be introduced by sensei.In my case, I didn't know anyone in the orchestra, so I felt lonely.But before that, I was working on an ensemble of French contemporary music, so that experience was useful when I entered the orchestra.Without it, I think it would have been difficult to get inside.
-Now, in addition to the work of the Paris Orchestra, you are also instructed at the Paris Conservatory of Paris and the City Conservatory of Paris, right?
Chichiiwa Yes, the City Conservatory of Paris (CNR revised CRR) took over the post of Dogareil, the chief concertmaster of the Parisian jurisdiction three years ago.I also teach at the Conservatory of Music in Paris.There are up to 3 wards in Paris, and each ward has a conservatory, but we teach in 20 wards.It seems that this is a school in Paris that competes for both scale and level.
-Are you teaching students from different countries?
Chichiiwa There are also Japanese students. When I first started CRR, I had six students, three of whom were Japanese, two of whom were French, and one of whom was American.There are 6 French people at the Municipal Conservatory.
-If you are teaching American students, is the class in English?
Chichiiwa No, it's French.I can't speak English anymore than before.Even if I speak, it will be French-style English (laughs).
-Are there still many Japanese students?
Chichiiwa It feels like a student who has registered with a music school somewhere and has a residence permit will come to me for lessons in private.Recently, not only Japanese people but also many people come to prepare for the orchestra's entrance exam.
-I see, i see.
Chichiiwa Since I'm coming to France, I think it's appropriate to learn French from the French sensei.It's important to speak French with the French sensei.If you come to France and enter a lesson-only school, you will have extremely few opportunities to talk about music in French unless it is a group lesson.French people are rather exclusive and few people are willing to make foreign friends.If you don't talk to us positively, you won't be able to join us from the other side.
-What was Chichiiwa doing?
Chichiiwa In my case, playing chamber music with French people gradually expanded the circle of people.
-What is music for Chichiiwa-san?
Chichiiwa Music is a communication tool for me.Even when I just came to France and couldn't speak, I always felt that I could communicate through music.Therefore, I have a strong awareness that music is one of the words.
-You have been active in Paris for a long time. Please tell us your future goals.
Chichiiwa: Actually, I've almost realized what I wanted to do.I could play contemporary music, and I had no dream of playing a quartet.Then I was able to fulfill my goal of playing Concerto.Speaking of what I haven't been positive about so far, I would like to keep a recording.I want to leave an album for my own project.This is an external goal.More internally, I would like to deepen my performance so that it can be more integrated with the music.
-Finally, please give some advice to those who are thinking of studying abroad.
Chichiiwa If you have something to ask for yourself, you can get it if the environment is in place.But if you don't specifically ask what you want to do, nothing will happen.I think it is the same in Japan.There is nothing that can be done if you go for the time being.
-You should decide what you want to do before studying abroad.
Chichiiwa I think that when you come to a foreign country, you may face a wall, such as when you don't understand the language, so I think you need to be strong enough to withstand the spiciness you experience there.Nowadays, there is a lot of information, and I think you may see blogs of international students.When I read what is written there, I think it would be fun to eat delicious food and go to a concert, but I think that the negative part is hard to see.It is also important to keep in mind that studying abroad does not mean that you will be upgraded suddenly.
-How did you overcome the pain that you couldn't understand after studying abroad?
Chichiiwa On the contrary, when I was in Japan, I felt like I had nowhere to go.That's why I left Japan thinking that I had to find a place to stay, so I didn't feel that it was too painful for the situation where I couldn't understand the language.I thought it was one of the trials.However, looking back, I was blessed with friends.Foreign friends and Japanese friends.I often hear people say, "I try not to get involved with Japanese people in order to learn the language," but I think Japanese friends are also very important.After all, they are comrades who have a hard time together.I think it's hard to forcefully eliminate it (laughs).
-It's important not to be biased.
Chichiiwa That's really true.When I look at the young students, at first I don't have any friends and I have a dark face, but they are all doing their best.You can see that you can interact with each other and it gets brighter and brighter, and Paris becomes your own garden.
-Music will change with that kind of spiritual growth.
Chichiiwa Yeah, I think it is.I think that every single thing I feel and hear in my daily life becomes a filter and appears in the sound.I think that individuality is something that oozes out of you even if you don't force yourself to find it.Therefore, I think it's best to go naturally.
-Thank you for your really valuable story today.
Note) If you are aiming for the Paris National Conservatory of Music, please be sure to check the latest information. With the reforms in 2008, the curriculum has changed significantly.
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