Editor’s note: This is the last of a two-part series about the life and career of violinist Midori Goto based on an interview. Celebrating the 40th anniversary of her debut, the musician, who is often referred to mononymously as Midori, recounts her story as an artist, social activist and educator.

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Former violin prodigy Midori Goto, now 51, is giving back to children, including starting a drive to provide them opportunities to enjoy hearing music. 

She is considered a pioneer in social contribution activities via music, which she embarked on in her 20s after overcoming health problems. 

In an interview with The Asahi Shimbun, Midori talked about the driving force behind her social activism.

Excerpts of the interview follow:

Question: How did you begin committing yourself to social contribution activities?

Midori: I started my social engagement programs over thirty years ago.

Having had numerous discussions with musical colleagues, I decided to help present children with opportunities to learn music.  Music and art classes had been removed from public elementary schools and junior highs in much of the United States, especially in urban areas. In fact, music programs had already been canceled by the time many kids’ parents had been in school themselves, so not learning about music was a problem spanning generations. 

I began my activities in 1992 in New York City under the auspices of my nonprofit organization, Midori & Friends. I learned many things quickly. For instance, I found that it was important for me to go to the schools, to the children’s “territory,” rather than trying to have them come to concert halls, which is to say “my territory.” 

But it was not easy to bring music to the students. Some schools were not even equipped with dedicated rooms for music classes while others were not happy to welcome me on board. There were also communication issues, because in some schools, particularly in New York, other languages, such as Spanish or Chinese, were more the “lingua franca” among students than English. 

DOING IT ORGANICALLY

Q: Can you tell your story of being chosen in 2007 as the first U.N. Messenger of Peace who hails from Japan?

A: I support the UN’s Sustainable Development Goals through my projects including bringing music and musical opportunities to children, to the elderly, to people with disabilities, and by going to areas where people are geographically, socially and economically marginalized. 

I draw upon so many memories! Once, in India, I was touring with three young musicians, on the way to presenting a program in a village of people recovered from Hansen’s disease. The driver of the van dropped us off well short of our destination because, given the local prejudices – the place was not even marked on local maps – he was unwilling to go near the village itself. 

The stench at one of the garbage mountains in Phnom Penh, Cambodia, is immense, and to play for children who live there, and might not live to see “tomorrow!” I recall so many stories like those. 

In such situations, nobody cares about what I might expect in the setting of concert halls. To say what conditions you require in order to be able to perform – these may be standard expectations otherwise, but in these kinds of circumstances they become both arrogant and obsolete. 

Instead, when music is shared far away from concert halls, something extraordinary can be experienced together, something which could not have been anticipated. These days, I always try to stay open-minded, rather than being restricted by assumptions. 

In truth, I am sometimes overtaken by feelings of hopelessness. But music always saves me. An act of sharing, wherever it takes place, brings me a sense of hope, of connection. 

Music conveys emotions and warmth. By making music, I hope for moments that provide comfort to listeners, that can help another person overcome feelings of being left out. That is what I always have in mind.

EMPATHY ON, OFF STAGE

Q: Will you clarify what you attempted to convey by saying peace is based upon acceptance?

A: Today we are facing many, many critical challenges, including the coronavirus pandemic and extreme violence, in Ukraine and in other countries. Through it all, I want to stress the importance of empathy, how it can bring people to better understanding and acceptance of each other, of each other’s opinions. Such acceptance, in turn, can create a desire to be at peace with each other. And in that effort to understand others one begins to understand oneself better. 

Such insights influence me as I pursue community engagement projects – after all, “engagement,” rather than mere “outreach,” is not a one-way street. What is important in starting a community engagement program? I always remember three essential concepts, which should serve as the basis for anyone creating a new venture.  1) Focus clearly on what one wants to do; 2) Focus on what is needed, and 3) Keep in mind how any of us would feel if we were on the receiving end of our actions. In other words, be empathetic. 

Without empathy it would be impossible to collaborate successfully with other musicians. Isaac Stern always encouraged me to try to understand the meaning of every note and symbol in a score from the point of view of the composer. He always said, “This shouldn’t be about you, the player.” In chamber music, I would not be able to make music together with other musicians without maintaining an empathetic perspective, and the same concept holds when working with an orchestra and a conductor. 

Beyond that, though, music has other lessons for today’s citizens. We live in a world of data and statistics, and we are inundated with tangible things, all right before our eyes. How is music, which cannot be seen, of importance?

This is my response to that question: In order to play a piece of music, we bring to life notes on paper. We then take that printed score, and turn it into something that can be heard, something that provides emotional impact to listeners. I believe that alchemy is of real importance in this material world – and I believe that whether this happens inside or outside a concert hall makes no difference. 

I hope that my students are learning these kinds of lessons, and in that way we are joining together to play our parts toward the creation of a better, more responsible society.

Q: What is your take on your 40-year career?

A: Music has always been a source of inspiration for me, and that will always continue. The mantra I share with my students is, “Health, honesty, and dignity.” I consider these to be important elements of a positively ordered life. I hope that each of my students can keep these values close to their heart. 

Looking back at my twentieth, thirtieth, and now fortieth anniversaries – for the twentieth there was 9/11. That day I was supposed to be heading to Washington, D.C. All the trains had been stopped and I never made it there.

Around the time of my thirtieth the Great East Japan Earthquake and Tsunami occurred. My mother was in Japan, as was my brother, who had just landed at a Japanese airport. For the fortieth, we have just had the pandemic. Life doesn’t always proceed in ways we would have expected. It is how you realize that there is a larger power over this world. 

My desire for my own future is to accept pleasures and trials, challenges and achievements, to appreciate and be grateful for what I am given and empowered to do, while continuing to present music. 

(This interview was conducted by Misako Yamauchi, a staff writer of The Asahi Shimbun.)