Daishin Kashimoto

Violin

Biography

​Both as the soloist of international orchestras and as a sought-after chamber musician, Daishin Kashimoto is a regular guest of major concert halls around the globe. The tremendous wealth of experience gained in over 15 years as first concert master of the Berliner Philharmoniker benefits him in his equally adept role as a soloist, where he plays a wide repertoire ranging from classical to new music.

Recently, Daishin Kashimoto performed Bruch’s Violin Concerto with the Dallas Symphony Orchestra conducted by Fabio Luisi and appeared with the City of Birmingham Orchestra under the baton of Kazuki Yamada, the Gürzenich Orchestra under the direction of François-Xavier Roth as well as the NDR Radio Philharmonic conducted by Thomas Søndergård. A highlight of 2023 is the world premiere of Toshio Hosokawa’s new violin concerto Prayer with the Berliner Philharmoniker under Paavo Järvi at the Philharmonie Berlin, followed by the Swiss premiere at the KKL Luzern with the Lucerne Symphony Orchestra and the Asian premiere at the Suntory Hall with the Yomiuri Nippon Symphony Orchestra. The new season also saw the start of his residency as soloist with the Kurpfälzisches Kammerorchester Mannheim.

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Reviews

“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.”

Bachtrack

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

More Reviews

“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