An interview with blind pianist Takeshi Kakehashi: His life story and future prospects

Takeshi Kakehashi is a blind pianist with a brilliant career, having won second prize at the 1998 Long-Thibaud International Piano Competition and the Warsaw Mayor's Prize at the 14th International Chopin Piano Competition. At one month old, he had his right eyeball removed due to retinoblastoma, and later his left eye as well. After six years at a public elementary school, he went on to study at the Vienna University of Music and Performing Arts preparatory course in Austria. He currently performs frequently in Kanagawa Prefecture, including appearing in "Classic Yokohama: Living – 2024 Concert to Support Young Lives." We asked him about his 26 years with his mentor, his activities to date, and his future goals.

She lost her sight shortly after birth and studied abroad in Vienna during middle school.

—I read your book, "There's Always Light Inside Me." It's an autobiography that covers your life from childhood to around age 25. Your father was a former viola player in the NHK Symphony Orchestra, and your mother was a vocalist who taught piano and singing at home. Your mother wanted you to attend a regular elementary school, even though you showed a strong interest in music and glimpses of talent from an early age.

Back then, the only option for a blind child was a school for the blind, but my mother believed it was important for me to have the opportunity to interact with nature and learn alongside children who could not normally. My mother spoke with the school and the board of education, and her supporters collected signatures. After I started attending a regular elementary school, volunteer translators converted my textbooks into Braille so that I could understand them by touch, and my family made cloth versions of the illustrations in the textbooks. I was able to learn thanks to the cooperation of many people.

—I heard you've also tried dodgeball and monkey bars. Weren't you scared?

Mr. Kakehashi was scary, wasn't he? Especially the monkey bars; if your hands slipped off the bars you'd fall down, so it still scares me when I think about it. I still get scared by the sound of balls flying and hitting you. If it hit you in the face, you'd get a nosebleed.

—So you learned everything by tackling it head-on. After graduating from elementary school, you immediately went to Vienna to study, right?

Ms. Kakehashi : Yes. I wanted to attend the junior high school affiliated with a Japanese music university, but I was refused entry to take the entrance exam. So, I decided to try applying to the preparatory course at the Vienna University of Music and Performing Arts, which accepts students who are blind, as long as they excel in music.

—German is the official language of Austria, so I imagine it was a very difficult decision.

Mr. Kakehashi faced many obstacles, but the Kakehashi family's motto was to just try, to keep trying even if it meant failing. There are many doors in society that are closed to people with disabilities. When you hit a wall, you grow as a person, and the people around you may change as well. There is an Okinawan saying, "Nankuru nai sa" (Everything will be alright). Just like that saying, I have always believed that if I keep trying, a path will open up for me someday, and I have managed to overcome these challenges and get by.

The secret behind its clear and transparent tone.

—I always feel like my soul is cleansed by Ms. Kakehashi's delicate touch and transparent sound. In your book, you mentioned that you felt a special connection to the piano of your mentor, Professor Elisabeth Dvorak-Weishar, describing his sound as "highly refined." Is it possible that you are carrying on that same tone?

I would be happy if I could have taken over from Ms. Kakehashi . Her instruction is abstract; she says things like, "I think this way of playing is musical and good, so try it." I try, but it's difficult and I can't do it on the spot. Sometimes I can do it after practicing at home, and sometimes it takes years before I understand what she meant. Also, the teacher doesn't immediately agree, but patiently works with you until you get a good sound. She has an extraordinary dedication to sound, and that attitude encourages the growth of her students.

—I saw your photos, and you're a beautiful woman. You give off a strict impression, but I hear that "not bad" when it comes to playing is actually a compliment.

Ms. Kakehashi is a very human and charming person, straightforward, honest, and emotionally expressive. If I were to compare her to a plant, she is as flexible as a willow tree, with a strong trunk, yet her heart is as delicate as a leaf swaying in the wind. Although I have had some heated arguments with her, the sound I want to produce is ultimately her tone. Her sound is wonderful; it is meticulous and elegant, with strength and a positive, expansive quality within its delicacy.

—Since Ms. Kakehashi is blind, it must be very difficult for her to learn to touch the ball.

Mr. Kakehashi, every pianist struggles to refine their touch, and I, too, have gone through a long and arduous process, gradually acquiring my touch step by step. My mother would observe my teacher's posture and muscle usage, then convey that to me, and I would try it myself, and this cycle continued.

—So, your mentor is looking for a "musical way of playing." Could you elaborate on that?

To perform, Ms. Kakehashi needs to have an open heart, but equally important is a closed heart. In other words, she must be someone who can open her heart to the outside world and interact with others, but at times, a sense of solitude that descends into the depths of darkness is also important. As my teacher often said, "Art is something that cannot be explained," so it is difficult to express.

―Speaking openly, at your concerts, I often see you coming out into the lobby after the show and shaking hands with fans. Do you always do that?

Yes, Mr. Kakehashi . I enjoy talking to people, and more than anything, I do it because it makes my fans happy. If I can bring joy or comfort to people through music, which is the only thing I'm good at, then there's nothing that would make me happier.

Passing on what to the next generation, and future performance activities

—Your activities are currently mainly based in Japan, but are you studying under anyone?

I practice on my own, recalling the lessons I've received from Mr. Kakehashi . When learning new pieces, I listen to them on YouTube, and I ask my father, a viola player, for help reading the sheet music. My father can't play the piano, so he plays one hand at a time. I'm always grateful for his effort and cooperation. When I was younger, I had a good musical intuition and memory; I could play and memorize pieces after listening to them just a few times, and I could recall them years later after playing them once. But now I'm in my late 40s. Unfortunately, I'm feeling a decline in my memory, and it's a struggle.

—You're also involved in activities to introduce music to younger generations. Are you active in Kanagawa Prefecture as well?

Ms. Kakehashi: Yes. I also feel it's important to pass on music to the next generation. One way I do that is through "Classical Music for Children," where I hold concerts at elementary schools in various locations. In 2024, I held one at Higashi Hongo Elementary School in Midori Ward, Yokohama City. I do this with the hope that people will feel closer to music and that it will be a way for them to find light and joy even in difficult times. For example, even if someone is in despair, listening to music can allow them to escape their problems, even if only for a moment. And then, if they approach it again with a renewed spirit, they might be able to overcome that difficult situation.

I also mentor younger musicians. While the student's musical intuition is important, I want to pass on everything I can to them.

—What kind of activities would you like to pursue in the future?

As I 've gotten older, I'd like to play more solemn pieces, Bach pieces that evoke a sense of divinity. Also, I'd like to try accompanying German Lieder.

—What is German Lied?

Ms. Kakehashi, you're talking about German lieder, which are songs with German lyrics. While operas are performed by an orchestra, German lieder consist only of piano and singer. The lyrics expand the possibilities of the performance, which is fascinating, so I'd like to try it someday.

—Thank you very much. I'm looking forward to your future activities.

Takeshi Kakehashi
Official website: Click here
Official website for introducing classical music to children: Click here