2012-07-05 Update
Philippe Tondre, Oboe
―We are very happy to have you as a regular member. How are you feeling about it?
It’s a big honor for me. I am so amazed by the Japanese culture. I love this country and the people who live here. I also love how people consider the classical music and the arts. So I’m really happy to play in such a great orchestra and be a regular member.
―You’ve had a lot of experiences to play in the leading orchestras in Europe such as the Stuttgart Radio-Symphony Orchestra (SWR). What do you think is the great characteristics of the Mito Chamber Orchestra (MCO)?
There’s so many! For example, the Stuttgart is more traditional and classical orchestra. The MCO has a kind of incredible energy. It’s something that you cannot re-create in other orchestras. The members are so motivated and concentrated. They also give everything they have. And the mixture of the Japanese and the few European or American musicians is great. So I would say the variety and the implication of the musicians. The big implication makes the music much more intense and refined.
―You come to Japan frequently. How did you come to have the interest to Japan and its culture?
The first time I came to Japan was 2009 for the international oboe competition of Karuizawa. I fell completely in love with this country, the food, and the people. This kind of love or passion made me want to come back in any case, for music, visiting or tourism. The more I learned about the country, people, and the musical aesthetic, the more I loved coming.
―What impressed you the most through the experiences in Japan?
I was surprised because there were a lot of people listening in Karuizawa. That’s why I realized how much people love the classical music here. I love the atmosphere in the concert. Also the public in Mito and Tokyo are amazing. You can see that they really focus on the music and pay attention to all the details. It’s more than just listening, they’re trying to understand. The quality and engagement of public is really nice.
―Why did you choose the oboe at age 6?
In France, everybody starts quite young to play music. I wanted to start it because I already liked to play the instrument. I wanted to play flute actually, it was my first choice. I started it when I was 5, but it didn’t work. I couldn’t get the sound out of the mouth piece. So I decided to change it because I was frustrated not to be able to produce the sound by myself. I went to the music school and asked another teacher about the other possibility. He told me immediately, “go to the oboe, there are not so many people to play it. And it’s really nice instrument. I’m sure you’ll have fun with it”. Then, I was immediately fulfilled with playing it. I could get the sound and that was really comfortable. That’s why I chose the oboe, although it was not my will at first. But I was completely happy with it and still I am!
―All your family are musicians?
No, I’m the only one. My father is a dentist and my mother was English professor at the university. My sister plays music for fun, and she is a painter. And I wanted to do music, and more I did, more I liked. At first, it was a hobby, and then it came at the stage where I really fought for doing it as a professional. I had tried when I was 15, and then it went onward to the conservatoire in Paris.
―After graduating the conservatoire, you became the principal oboe in the Stuttgart Radio-Symphony Orchestra at the age 18.
Yes, it’s perhaps a bit too young. It was my first audition and I got the first job. It was a shock for me. Of course, I was ready and knew how I had to play for the audition. But you’ll never know what’s going to happen. It’s possible that your style does not pass for the orchestra, the musicians don’t like you for other reasons, or you might be in the bad day to play. But they played really well because I think I was not completely stressed. At that time, I was studying in Paris and thinking that working at 18 was a bit too early. I said to myself, “If I get the job, that’s great. If I don’t, it doesn’t matter. Try later.” So I tried and they took me! And I went back to France and said to my family, “sorry I have to go to work!” But now I realized how important it is for my career and my motivation or identity. I realized how much the position helped me.
―It was a turning point for you. Was there any difficulty?
Yes, it was difficult. At the beginning, I was really young and I’m a foreigner, French, it was a German orchestra. All the colleagues were older than you, and they have other interests such as friends, family, and kids. They had much more experiences than you. So when you come in, you have to prove yourself. There was quite a lot of pressure. But they were really nice. All of them helped me to feel comfortable in the orchestra and go through my trial year. So I could manage the difficult moments.
―Were there anything you have learned about how to create the orchestra sound?
Yes, I mean, it’s also happening here in Mito. You have to change the way of playing a little bit to match the others in the orchestra. In Stuttgart, there are a lot of really good players, so it was difficult at the beginning to match all of them, to find my style, or to play relaxed with the other colleagues. I needed about three or four months to find my sound and focus in the wood wind section. Now I feel really comfortable and it works quite well. And I think it’s easier here in Mito.
―What makes you feel that way?
It’s difficult to explain. In music, there is something that you cannot explain. For example, when you play with Maestro Ozawa, it’s unbelievable what happened on stage. He is the only one who could create this atmosphere. You can play the same piece with other people, but it will not be as fantastic as with Maestro. Because it’s him, and you cannot explain why. What’s happening in Mito, matching the others’ sound, esthetic, and philosophy of playing is the same. I cannot explain why it works. But it’s perhaps the energy. Here, there’s a lot of concentration to create the music together. I think this power makes the difference. And it opens the sound so naturally and goes through all the explanation or characteristics you can give to it. I’ve been played with lots of good orchestras such as in Budapest, Chamber Orchestra of Europe, and really good orchestra in France. But here, the level is much higher. I didn’t find a similar level as here. So, I would say it’s the best chamber orchestra in the world.
―You also became the prizewinner of the renowned music competitions such as the Geneva International Music Competition and the ARD International Music Competition Munich. What does it mean for you?
First of all, I have to say that thinking of the prizewinners in the past such as Heinz Holliger, Radek Baborák, Dag Jensen, or Emmanuel Pahud, I still don’t realize somehow that I did it too. It’s still fresh in my mind! I did it to prove something to myself. I mean, of course, I wanted to gain experience and test my musical, physical and mental capacity. But I also tried to prove that I could do something great or enormous. I did five major competitions in five years and it was my goal to win all of them. I don’t want to be arrogant but I’m a big competitor. I love the excitement, the stress, and the whole energy coming out of the competition. It also helps me to find who I am, what I really want to do in my life, and what my goal is. The competition helped me because you’re alone against yourself. I mean the biggest enemy is yourself when you do competition. It is where you can see all your weakness and also your strength. It was really amazing and the most important experience in my life. And I realized how important it was because now I have the chance to play solo and chamber music a lot. I develop my repertoire. I also have the possibility to meet new musicians and people to have more contact with this musical world. It has changed my life completely, and I think I’m in a period where I need to settle down! But I’m really honored to have won this competition. To see that Heinz Holliger and Maurice Bourgue won all of them, it’s really amazing because I have a lot of respect for these musicians.
―What is your long-term goal as a musician?
I have focused on these competitions so much to do my best and to get the results. So I need more time to think about what I could do. Now I take what’s coming and enjoy everything I do. I try to play my best and give great concerts. I would love to continue the music as long as I can for the public here in Japan and Europe. That’s what I want to do now, just to play, have fun, and give some pleasure of music to public. Of course I could wish having the big position in big orchestras like Berlin, Vienna whatever. Or I could wish myself to have a great solo career. But you cannot plan it by yourself. The important thing is to accept what you have and do your best out of what you have. For the moment, I am really happy what I have and it’s already a lot.
―What do you like to do when you have holidays?
I love skiing, I go skiing a lot in Switzerland. I also love going to a hot country like south Spain or Greece. I think my best holiday is to have a rest to be alone, to breathe the fresh air, or just to enjoy having some silence away from all the great activities, cities, and music, to see my family, and go somewhere I could be in peace and rest.
―I really enjoyed talking with you. Thank you very much!
It was my pleasure. I’m really happy to come to Japan and make the music to share great moments with you all.
July 2012
Interviewer: Maki Takasu
