Ikuko Kawai is a globally acclaimed Japanese violinist and composer known for her unique ability to synthesize classical music with a modern, genre-defying sensibility. Originally from Kagawa Prefecture, she began playing the violin when she was only 6 years old, a first step that led to a prolific career spanning decades. 

Beyond her dramatic, moving performances with distinguished collaborators, such as conductor Myung-Whun Chung and tenor José Carreras, Kawai has shared the stage with ballet dancer Tetsuya Kumakawa, figure skater Shizuka Arakawa and pop artists such as the Gipsy Kings. 

As a composer, Kawai has gained international recognition for her work in film and television, and her pieces have been used by world-class figure skaters like Michelle Kwan and Yuzuru Hanyu. In 2022, Kawai formed Orchestra Hibiki, a Japanese-Western orchestra group whose name translates to “resonance.” Releasing its debut album in March 2023, the orchestra performed at the Lincoln Center in New York that September to rave reviews. 

A graduate of the prestigious Tokyo University of the Arts, Kawai is currently a professor at Osaka University of Arts. She continues to infuse the world of contemporary classical music with innovation and effervescence. Tokyo Weekender recently caught up with Kawai to hear about her musical journey and her creative process. 

List of Contents:

Full Interview with Ikuko Kawai

Why did you decide to pursue a career in music? 

As a child, I would often hear the sound of the violin on the radio, and I felt inexplicably drawn to it. I asked my parents for a violin for six months before they finally bought me one. I started playing when I was 6, but it wasn’t until I began my studies at Tokyo University of the Arts that I decided to pursue a career as a professional musician — that’s when I discovered the music of Astor Piazzolla, who inspired my journey as an artist. 

Could you share with us the most influential mentors or collaborators you’ve worked with?

I’ve been very fortunate to have worked with many great collaborators since my debut. Percussionist Ikuo Kakehashi and harpist Tomoyuki Asakawa, in particular, helped me bring the musical worlds I envisioned to life. My encounters with various Japanese traditional instrument players were also hugely influential, as they helped me realize new possibilities of music. 

What have been some of your most memorable performances? 

The concert at the Opéra Bastille will always have a place in my memory due to the audience’s overwhelming response — I felt deeply connected to them, and felt as though the sound of the Japanese instruments had truly reached their hearts. I also recall the wonder of performing in front of the city walls of Xi’an during a cultural exchange event between Japan and China. Finally, I find performing at temples and shrines across Japan to be especially memorable — there’s always a special sense of serenity. 

What inspired you to start composing music? 

I wanted to pursue a sense of originality. My own creative world, like Astor Piazzolla. Composing gives me a profound sense of joy that’s different from performing. It’s given me a new perspective and a deeper understanding of the classical pieces I’ve performed over the years. 

You often incorporate traditional Japanese instruments into your compositions. Please tell us how you fuse musical traditions and genres, and why this duality appeals to you. 

Since my debut, I’ve often envisioned Japanese traditional instruments playing alongside my solo violin. The expansive, cosmic soundscapes that are created through these collaborations [between Western classical and Japanese traditional music] have always moved me deeply, and I find myself intrinsically drawn to them. I feel that this sonic synthesis is deeply ingrained in me, and beyond rational explanation. 

Initially, though, incorporating Japanese instruments into my compositions came with unique challenges. Japanese and Western music differ in every aspect — notation, pitch and rhythm. Luckily, today’s young generation of musicians possess great knowledge and a keen ear for both traditions. They support me in overcoming barriers to build seamless, harmonious arrangements. 

Please tell us about Orchestra Hibiki. What do you hope to convey to the world through this project? 

Combining distinct cultures and musical genres can powerfully enhance both soundscapes, resulting in an unexpected, magnetic force. I would love to encourage more symbiotic collaborations between cultures and mutual respect between people from different backgrounds — not just in art, but across fields. With this project, I hope to expand the audience’s imagination and inspire joy in the creative process. 

What is your process behind composing for visual media (films, television, etc.)? How do you seek inspiration and connect your music to the stories being told? 

For film scores, I find that expanding upon visual or narrative fragments of the story is more helpful to my creative process than trying to analyze the content in detail.   

If you could go back and give advice to your younger self, what would it be? 

I would tell my younger self to be more confident in my feelings and goals, and that it’s okay to walk your own path. It’s unsettling to walk a path that no one has walked before, and I periodically thought about giving up because of other people’s opinions. But looking back, my instincts were often right. I’ve also learned that even steps I saw as failures ended up leading to opportunities, so I would tell myself that there’s no need to be scared of failing. 

How do you feel about the current state of classical music, and what role do you see yourself playing in its future? 

Classical music has a timeless splendor that has been cherished for hundreds of years. But it’s not a static genre; as performers, we have the freedom to interpret these treasures in our own way, to express ourselves. This is an important perspective to maintain, especially for younger generations of classical music enthusiasts. 

The power of a masterpiece lies precisely in its endless adaptability, and its capacity to embrace each musician’s spark of brilliance. It’s a sentiment I feel especially acutely when I’m interpreting classical works through a Japanese sensibility.

What’s next for you? Please tell us about current or future projects in the works. 

My dream is to create a musical production unlike anything that has been seen before. I’ve been performing Genji Gatari [based on The Tale of Genji] in a monodrama format with Japanese traditional instrument players, and it has been very well received. I have a new monodrama planned for December. 

In February 2026, I’ll have my first collaboration with a professional orchestra based in Tokyo, the New Japan Philharmonic, for an Orchestra Hibiki concert. And next year, I aim to create a work that will serve as the culmination of the stage productions I’ve created so far, integrating cross-genre elements like dancers and video technology.

More Information

Find out more about Ikuko Kawai’s projects on her website and Instagram. 

See Ikuko Kawai Live

IKUKO KAWAI Live! East meets West「Elegance×Passion」~25th Anniversary~

Location

Blue Note Tokyo

Date

10.7 tue.

Time

  • [1st Show] Opens at 5:00 pm/Starts at 6:00 pm
  • [2nd Show] Opens at 7:45 pm/Starts at 8:30 pm

Members

  • Ikuko Kawai (violin)
  • Suiho Tosha (japanese flute)
  • Seizan Ishigaki (shakuhachi)
  • Fukujuro Sumita (hand drum)
  • Satasuke Mochizuki (hand drum, Japanese Drum)
  • Ayako Kanisasare (sho)
  • Makoto Tashiro (Japanese Drum)
  • Tomoyuki Asakawa (harp)
  • Toshiya Shioiri (key) 

Get Tickets

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Updated On September 29, 2025