Ottawa Chamberfest: Violinist Shunske Sato on historical practice

This page is also available in / Cette page est également disponible en: Français (French)

When Shunske Sato takes the stage, the audience steps into a whole new era. Far beyond playing music from the past, Sato is determined to immerse himself in the era. Through a blend of research and music, he has fostered a unique approach to early music—one that is equally rooted in fact and feeling.

Beyond his career in performance, Sato also doubles as a scholar and educator. His practice is historically-informed, based on his involvement in extensive research on 18th– and 19th-century performance practices. A violinist and conductor, Sato attempts to bring to life the textures and intricacies of the works we all know and love. This summer, audiences at Ottawa Chamberfest will have the chance to witness Sato’s expertise first-hand, as he performs pieces by Beethoven, Mozart, Vivaldi, and Poulenc.

Sato was drawn to historical performance practice at an early age. He recalls attending Juilliard Pre-College as a teenager. It was at this point that he became fascinated with early music recordings by pioneers in the field, such as Christopher Hogwood. This was when he began to realize that music can be approached in vastly different ways, particularly in contrast with what he was being taught, and that intrigued him. Beyond Hogwood’s recordings, he found himself particularly drawn to early 20th-century interpretations of baroque music. Every recording he listened to offered a new perspective.

Sato’s performances at Ottawa Chamberfest offer up new interpretations of pieces that many audience members may already be familiar with. A duo recital will also showcase pianist Shuann Chai playing Mozart, Poulenc, and Beethoven (July 24). When they perform Beethoven’s Violin Sonata No. 9, Sato and Chai will demonstrate the stylistic differences between hearing the piece played on a period fortepiano versus a more modern piano.

On July 26, Sato will perform Vivaldi’s The Four Seasons—a piece that he took on around a decade ago—alongside an ensemble of local musicians. Initially, Sato was very hesitant about a work that is so well-known, but it offered the challenge to discover a fresh approach. According to the violinist, technique is not an end goal, but a means of interpreting what the composer was truly trying to convey. Sato uses every inch of his instrument to convey the intricacies of the contrasting seasons. His research also plays an integral role in his performance. Only by understanding the time period, the surrounding musical landscape, and the other composers of that period can he begin to understand Vivaldi’s intentions.

Sato looks forward to bringing these works to life at Ottawa Chamberfest. With an approach that is as fresh as it is historically accurate, his upcoming performances promise a rare chance to listen to familiar works reimagined through a historical lens.