Daishin Kashimoto



Daishin Kashimoto is First Concertmaster of the Berlin Philharmonic and a soloist in high demand across the globe.  He has performed with a list of orchestras that includes the Boston Symphony, Orchestre Nationale de France, Bavarian and Frankfurt Radio Symphony orchestras, Dresden Staatskapelle,  St. Petersburg Philharmonic, Orchestre de la Suisse Romande and Czech Philharmonic as well as the NHK Symphony.  He has performed with conductors Seiji Ozawa, Lorin Maazel, Semyon Bychkov, Sir Simon Rattle, Mariss Jansons and Charles Dutoit amongst many others.

Daishin is also active in the field of chamber music, and has performed with noted musicians such as Martha Argerich, Itamar Golan, Yuri Bashmet, Gidon Kremer, Mischa Maisky, Gérard Caussée, Paul Meyer, Emmanuel Pahud, Eric Le Sage, and others. Since 2007, Daishin has served as music director at annual chamber music festival “Le Pont” in Ako and Himeji in Japan.

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“Kashimoto and Uchida’s combined quietness and exceptional control meant the incredibly rarefied, atmospheric ending – in which the violin rises to stratospheric altitude then descends in a slow, unshakeable, pianissimo succession of fifths and fourths – was breathtaking.”


David Fay

“Daishin Kashimoto, a Japanese national born in London who studied at the Juilliard when barely in long trousers, started prodigiously young – he gave his first full recital aged nine and has scooped most of the world’s top violin prizes. Today he is first concertmaster of the Berlin Philharmonic Orchestra. He also has a lively career as soloist and chamber musician. His clean, elegant tone and peerless accuracy suit these Beethoven sonatas, requiring digital precision in, say, the early “classical” Op 12 set or the witty, tail-chasing Scherzo of the C minor, Op 30 No 2. In contrast he easily embraces the big-boned ambitions of the Kreutzer Sonata Op 47, never sounding forced. Konstantin Lifschitz is a sympathetic, alert partner, even if the recording seems to favour the violin perhaps more than Beethoven would have expected. But the musicianship is never in question.”

Fiona Maddocks

The Guardian

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“And this was indeed an ensemble concert, not a star recital; of the final encore, Strauss’s Morgen, it’s Daishin Kashimoto’s violin solo that lingers in the memory more than Kožená’s singing or Rattle’s playing.”

Erica Jeal, The Guardian