Nippon Violin Society
Nippon Violin began its journey as an instrument dealer in 1980. Since 1990, alongside instrument sales, we have been connecting owners of valuable instruments with top-tier musicians and promising young artists from Japan and abroad. In 2007, we established the Nippon Violin Society within our company to actively facilitate the lending of instruments entrusted to us by their owners to musicians.
The number of old violins is finite, and with strong demand, their prices have soared, making it almost impossible for even top musicians to purchase them individually. Without patrons, musicians cannot play these old violins, which are treasures of humanity. Nippon Violin’s ultimate role is to ensure that these supreme instruments, passed down through generations, are not left unused but played by the musicians who need them most today. The Nippon Violin Society currently facilitates the lending of over 60 violins owned by our patrons to musicians.
Patron: Hikaru Shimura
Musician: HIMARI
Nippon Violin: Sota Nakazawa
Hikaru Shimura
CEO, Crystco Inc.
The first time I heard HIMARI perform was at an NHK Symphony Orchestra subscription concert at Orchard Hall in Shibuya. I saw the name of this young violinist, who was only ten or eleven years old at the time, on the program and went simply out of curiosity, wondering what it would be like to hear someone so young perform a violin concerto.
I was astonished. There she was, such a small figure, performing with remarkable confidence alongside the distinguished musicians of the NHK Symphony Orchestra. I went to hear her again two years later and was once again deeply impressed that such an extraordinary young musician existed. At the time, however, I never imagined that I would one day become one of her supporters.
Later, Mr. Sota Nakazawa, President of Nippon Violin, approached me about the instrument HIMARI was looking for. I already knew how exceptional her playing was. But what truly convinced me after meeting her in person was the seriousness and dedication she brings to the violin.
I have met many violinists over the years, but I have rarely encountered anyone who works with such extraordinary commitment. She also has an unwavering determination to follow her own path, regardless of what others may say. At times, I almost feel as though the spirit of Paganini has been passed on to her. Paganini himself is said to have once played this very Guarneri del Gesù, the “Ferni.”
I have never purchased violins simply as investments. What matters to me is, first, the musician’s genuine passion—the feeling that this is the instrument I truly want to play—and second, the character of the musician as a person. I make the decision only when those two elements come together. In HIMARI’s case, they came together perfectly.
It is a great source of pride for me to be able to support HIMARI, and I look forward to watching her continue to grow as an artist.
HIMARI Violinist
Current Instrument
Giuseppe Guarneri “del Gesù” 1732, “Ferni”
My teacher at the Curtis Institute of Music, Ida Kavafian, had been telling me for some time, “The way you play, and the kind of sound you want to create, make me think that a Guarneri del Gesù would suit you.”
After my debut with the Berlin Philharmonic last March, she told me, “If you are going to change instruments, this is probably the best time to do it.” That was when the search began in earnest. Almost every week, I had the opportunity to try different del Gesù violins—eleven or twelve of them altogether. I was amazed by how completely different each one sounded, even though they were all made by the same maker.
I first had the opportunity to play the “Ferni” while I was in Chicago performing at the Ravinia Festival. The first thing I noticed was how naturally I could use portamento and slides. I could shape all the subtle nuances between notes exactly as I imagined them, and it was simply so enjoyable to play.
I had always imagined a Guarneri as having a dark, powerful sound, but this instrument has an extraordinary range of colors. It has the depth and richness of the G string, of course, but it can also produce a bright, projecting sound that reaches every corner of a large concert hall. When I imagine a certain sound, this violin seems to respond and produce exactly what I am looking for.
This instrument has been treasured and passed down from one person to another for a period of time far longer than I can even imagine at my age. The fact that I am now able to become part of that history and make music with it feels both incredibly special and deeply meaningful to me.
With the support of Mr. Nakazawa, Mr. Hikaru Shimura who shares a deep love of music and has long supported the world of classical music purchased this instrument so that I could play it and has generously placed it in my care.
I am deeply grateful for this encounter and for the relationships that made it possible. I hope to continue enjoying music, learning and growing, and above all, to make music that allows everyone who comes to hear me leave the concert hall with even a little more joy.
Patron: Tokuji Munetsugu
Musician: Mayu Kishima
Nippon Violin: Sota Nakazawa
Tokuji Munetsugu
Director of NPO Yellow Angel
Founder of Curry House CoCo Ichibanya
My love for classical music began in my first year of high school when I happened to watch “NHK Symphony Hour” on TV. However, once I started working, I rarely had the chance to engage with it. Upon retiring, I was invited to a concert by Ryu Goto, which reignited my appreciation for classical music, leading to my current activities. I heard Goto was looking for a good instrument and purchased a Stradivari in New York. Without ever handling it myself, I entrusted it to Goto, who played it for some time. That marked the beginning of a recurring process: finding an excellent instrument, matching it with a deserving musician, and purchasing it if the timing was right. I honestly don’t know exactly how many instruments I currently own, but all are lent to musicians through Nippon Violin. Instruments only have meaning when played by the right person; leaving them as decorations serves no purpose. I continue this activity with the hope that more people will enjoy classical music.
Mayu Kishima Violinist
Current Instrument
Antonio Stradivari 1699 “Ex-Walner”
The instrument I currently play was lent to me by Mr. Munetsugu in 2019. When my previous instrument loan ended, I was searching for a replacement, and Mr. Nakazawa of Nippon Violin introduced me to this violin, asking, “How about this one?” Being slightly smaller, it was a perfect fit for my small hands, but it also felt right in every other aspect. After being introduced to Mr. Munetsugu, I was fortunate enough to receive this instrument. For me, meeting the right instrument constitutes 80% of creating my sound, with the remaining 20% achieved through daily practice. This violin had not been played for decades before it came to me, so it took time to bring out its true voice. However, I was able to nurture its dormant tones into a full bloom that represents my own sound. A Stradivarius produces sounds beyond imagination—extraordinary tones that transport me to another realm. I am always grateful for the incredible support I have received in using this instrument in the best possible way.
Patron: Hikaru Shimura
Musician: Fumiaki Miura
Nippon Violin: Sota Nakazawa
Hikaru Shimura
CEO, Crystco Co., Ltd.
When I was in elementary school, my mother, who loved classical music, encouraged me to learn piano and violin, but I didn’t continue for long. Although I enjoyed music across genres, including classical, I never became deeply immersed in it. It wasn’t until my 60s that I became deeply involved in the world of classical music. About ten years ago, I was asked to provide financial support for the Lupon International Music Festival, where Daishin Kashimoto of the Berlin Philharmonic served as music director. After becoming close with Mr. Kashimoto, he mentioned that he wanted to play a Guarneri del Gesù, which made me consider the concept of lending instruments for the first time. It took me several months to make a final decision. I don’t buy violins as investments. Only when a deserving musician expresses a strong desire to play a particular violin do I consider lending it. If this results in creating great music and increasing the enjoyment of classical music among more people, I consider it a worthwhile use of money. Through Nippon Violin, I have also had Fumiaki Miura play a Guarneri del Gesù, and I am willing to consider similar opportunities in the future.
Fumiaki Miura Violinist
Current Instrument
Giuseppe Guarneri ‘del Gesù’ 1732 "Kaston"
My encounter with the 1732 Guarneri del Gesù, “Kaston,” was a revelation. For many years, I had been playing a 1704 Stradivarius, but one day, Mr. Nakazawa of Nippon Violin mentioned that an extraordinary del Gesù had arrived and asked if I would like to try it. Having been devoted to Stradivari, I initially approached it with a light heart, but it turned out to be destiny. From the very first note, it resonated like my own voice. While Stradivari violins have their characteristic sound that requires crafting into the desired tone, this del Gesù produced my ideal sound effortlessly from the start. It’s a sound that cannot be simply described as bright or deep; it’s profoundly personal and intimate. From that moment, my mind and heart were consumed with the thought of playing this violin. Thanks to the support of Mr. Nakazawa and the generosity of Mr. Hikaru Shimura, who loves music and supports the musical world, this violin was purchased for me and lent to me. Every day with this incredible partner brings me happiness, and I feel immense gratitude for this miraculous encounter. I look forward to sharing the sound of this violin with audiences in concert halls around the world.
Andrea Obiso Violinist
Current Instrument
Giuseppe Guarneri 'del Gesu' 1741
In the course of my musical life I have always considered myself a lucky boy when my parents let me start playing a musical instrument. It’s not to be taken for granted that one family alone can support the development of their children once they noticed I had a special hearing ability.
But never I would have thought to be so lucky in my life for having had the chance to meet the Munetsugu family and Nippon VIolin Tokyo.
I had never experienced, after my parents, the infinite generousity and humanity with which they have enlighten my path as a musical artisan.
Being given the possibility of playing on a Guarneri Del Gesù, of growing with the instrument, of competing in the most prestigious competitions and performing in the most famous concert halls in the world is the magic for which these instruments were born and the goal that every artist would want to pursue.
One promise was sworn that day towards myself and the instrument: that together we are going to give all the music and share it to everybody and every culture in this world.
My family and I are so gratefull and feel blessed by their generosity and their legacy will always stay alive through the same love that have inspired us.
Mayuko Kamio Violinist
Current Instrument
Antonio Stradivari 1731 “Rubinoff”
The instrument I currently play is a Stradivarius lent to me from the Munetsugu Collection since 2019. When the loan period of the instrument I had been using in the United States ended, Mr. Nakazawa introduced me to Mr. Munetsugu. Before this, I had the fortune of playing several Stradivariuses, and as their reputation for being “temperamental” suggests, many of them had unpredictable sounds and were challenging to play. However, from the very first note, this instrument astonished me with its fully-engaged, powerful sound. Nippon Violin has supported me in various ways since then, and I find their instruments to be consistently well-maintained and adjusted. Regardless of the instrument’s class, they all possess remarkable tonal quality. I believe this is due to their ability to procure excellent instruments and their meticulous adjustment skills. I am deeply grateful for their unwavering support.
Daishin Kashimoto Violinist
Current Instrument
Giuseppe Guarneri ‘del Gesu’ 1744 “de Beriot”
For the past three years, I have been playing the 1744 Guarneri del Gesù “de Beriot,” lent to me by Crisco Co., Ltd. (CEO Hikaru Shimura). Encountering and being able to perform on this magnificent instrument is an immense joy, and the “de Beriot” has become an indispensable partner in my musical career. I am deeply grateful to Nippon Violin for their invaluable assistance in handling various procedures, enabling me to travel the world and perform seamlessly with this instrument.
Introduction of Prestigious Instruments
All instruments handled by Nippon Violin meet our rigorous selection criteria. These include masterpieces such as Stradivari and Guarneri del Gesù, which are lent to carefully selected musicians. We also manage these instruments with the utmost care, as they are valuable assets for their owners.
Storage, Management, and Maintenance After Lending
Instruments should always be stored in optimal conditions. At Nippon Violin, we provide dedicated storage facilities where humidity and temperature are carefully controlled. Additionally, we perform regular maintenance to ensure the instruments remain in top playing condition after lending. We work closely with musicians to promptly carry out any necessary adjustments or repairs.
Lending to Musicians
Musicians eligible for lending are selected through auditions or recommendations. Selection criteria include not only their performance skills but also their understanding and handling of instruments. When lending an instrument, we sign a usage agreement to ensure proper use of the instrument.
Communication Management with Musicians
We value close communication with musicians even after lending instruments. We regularly check the condition and usage of the instruments and provide necessary support. Additionally, we build trust with musicians by sharing concert information and supporting promotional activities.
Hosting Lending Ceremonies
When a lending decision is made, we host a lending ceremony attended by the owner, the musician, and Nippon Violin representatives. During this event, the history and characteristics of the instrument are shared, allowing the musician to gain a deeper understanding of the significance of using the instrument.
