Inspiration and creativity: they’re essential to every art form. Yet how they truly work remains a mystery. What sparks inspiration, and when does it slip away? How does a conductor approach a score creatively? And what can you add to music that’s more than a century old?
Every composer, musician, and conductor answers these questions differently. Curious about Kazushi Ono’s perspective, we discovered his love of nature, his relationship with the score, and a few golden moments from his career.
W/S 26 with Kazushi Ono
- 07/02/2026 Mahler 7 [more info]
- 12/02/2026 Leonskaja plays Beethoven [more info]
- 20/03/2026 Rachmaninov 2 [more info]
- 21/03/2026 Hosokawa & Rachmaninov [more info]
- 23/05/2026 Dvořák 8 [more info]
What do creativity and inspiration mean to you?
'Creativity plays, of course, a crucial role for a conductor. Contrary to a composer, however, a conductor’s creativity should not spread freely beyond the score with the purpose of self-display. Conductors always need to keep in mind, that we are as loyal as possible to the score, loyal to the composer’s intention, loyal to what composers intend to transmit to the audience.
We are, so to say, spiritual mediums and creativity should be shown in this way. By reading the musical score, conductors begin the eternal conversation with composers, going very often beyond time and space and of course in person in the case of our contemporary composers.'
When you find yourself in a creative rut, what do you do?
'Close to my home in Brussels there are beautiful parks and lakes. Not far from my home there is Forêt de Soignes. I always enjoy taking a walk in this beautiful nature nearby, listening to the birdsong or the rippling of the leaves, feeling the breeze, sometimes even enjoying being caught by a sudden “drache” in Belgium.'
Where do you start with a score?
'I play the piano when I read the scores. To imagine the spirit of the time, in which composers lived, I read the novels or see the paintings of their time. For example, in order to understand “Zeitgeist” of Mahler’s time, I see the paintings of his contemporary Gustav Klimt, Maximilian Lenz, enjoy the architecture of Otto Wagner or Josef Hoffmann (I always admire Palais Stoclet from Avenue Tervuren on my way home from Flagey!).
In addition to understanding Mahler, I read the novels of Dostoevsky or Goethe, whom Mahler is said to have been a devoted reader of. Apart from the dialogues through the musical score, these activities help me to have a broader viewpoint towards the piece and background of the composition.'
Do you have any pre-concert rituals?
'Before the concert (or rehearsal) I repeat the music again and again in my head, wherever I am, whether on the metro or at the crossing. Therefore, to unwind myself, I take a hot bath (Japanese habit) with relaxing bath oils.'
Which moments in your career will you never forget?
'Mahler's Fifth Symphony at the Inauguration of Brussels Philharmonic is of course a memorable concert, since it was an encounter with the orchestra and the audience. At the same time it was for me “homecoming” to Brussels after La Monnaie.
