For Junichi Hirokami, the role of a conductor extends beyond the podium. It is about understanding musicians, earning their trust and, perhaps most importantly, understanding the audience on the other side of the music.
It is a philosophy that now informs his work as Music Director of the Malaysian Philharmonic Orchestra (MPO), a role that brings him back to an orchestra he first encountered more than two decades ago. Hirokami arrived with an understanding of the MPO’s capabilities. What surprised him was less its musical ability than the character of the musicians themselves.
“I expected the orchestra to be classically trained, professional and disciplined,” he says. “What surprised me was how warm and welcoming the musicians were. They are energetic, eager to learn and open to discovering new things because they love music.” That attitude, he adds, was an important reason for taking on the role.
Hirokami’s relationship with the MPO predates his current appointment. Over a career spanning more than four decades, the Tokyo-born conductor has worked with many of the world’s leading ensembles, including the Royal Concertgebouw Orchestra, London Symphony Orchestra, Wiener Symphoniker and Gewandhausorchester Leipzig.
He has also held conducting and artistic positions in Europe, North America and Japan, while serving as Chief Conductor and Music and Artistic Advisor of the Kyoto Symphony Orchestra from 2008 to 2022. Yet his approach to the MPO is not simply about importing an international model.
Through his eyes, he sees an orchestra with its own history and personality. We have put a lot of effort into developing these musical talents,” Hirokami says. “So, it is important for the musicians and me to make a sort of restart and revive the music programme in a new way.”
Building Trust Through Music
For Hirokami, building an orchestra’s identity is neither immediate nor prescriptive. “It takes time and trust,” he says. “You need to choose music that fits the orchestra’s personality and also keep the core musicians together. That is the primary task of a music director.”
That idea of continuity sits alongside a desire to broaden the MPO’s reach. Hirokami describes his vision simply: “The MPO is a world-class orchestra, everybody’s orchestra.” This year’s programme reflects that ambition, moving between established symphonic repertoire, popular performances, animation and local music. For Hirokami, variety is not about abandoning the classical canon. It is about creating different points of entry.
“We want to educate audiences,” he says. “We don’t want to categorise ourselves as an orchestra that plays only classical music or a specific type of music.” The balance, he believes, lies between the familiar and the unexpected. “In that way, we are in a position to lead the audience on a journey of discovery, building that trust to uncover the world of music in an exciting and entertaining way.”
A Broader Musical Landscape
That philosophy also extends to the music of Malaysia and Southeast Asia. Hirokami believes the MPO has a role in giving local and regional voices a larger platform, allowing audiences to encounter their own musical heritage alongside the international repertoire.
The approach comes into focus in Beats of Borneo: Alena Murang with the MPO on 31 October, which pairs Ravel and Mozart with the world premiere of Vivian Chua’s concerto for sape’ and orchestra, performed by Alena Murang. “The sape’ is both a Borneo tradition and a national treasure,” Hirokami says. “It shows both pride and respect for this culture and instrument.”
For him, these collaborations can do more than diversify a concert programme. “Through this perhaps we can find a measure of peace and understanding for all cultures and their people around the world. To open their minds through the arts.” His belief in accessibility does not mean compromising musical ambition. On 24 October, Hirokami conducts the MPO with pianist Stephen Hough for Beethoven’s Emperor Piano Concerto and Symphony No. 4.
“I feel that the Emperor Piano Concerto is not just a fantastic piece of music but also one of the best piano concertos ever written,” he says. “To hear how Stephen Hough brings this wonderful masterpiece to life is something I am looking forward to.” December brings A Chorale Spectacular, where Hirokami leads the MPO and Kuala Lumpur City Opera Chorus through some of opera’s most powerful choral works.
For Hirokami, each concert offers a different way into the music. “For me, each and every concert is different and a little exciting,” he says. “I hope audiences will enjoy what we have in store for them.”
Listening Beyond The Podium
Hirokami’s own musical education helps explain this expansive approach. He studied piano and composition before turning to conducting, a foundation that continues to shape how he reads and communicates music.
“It allows me to think like a musician and approach compositions with a deeper understanding of their structure, phrasing and musical language,” he says. Composition, however, proved not to be his path. “I discovered early on that composition was difficult for me,” he says. “My teacher eventually convinced me to become a conductor instead.”
The decision ultimately placed him between two worlds: the architecture of a musical score and the human act of bringing it to life. “Most important as a conductor is to also feel both the musicians as well as the audience behind you,” he says. “You have to lead with heart and emotion.”
That instinct continues into his interpretation of the repertoire. Ravel, he says, can feel “almost magical”, while Mozart is “clear, transparent and incredibly precise”. “As a conductor, the challenge for both pieces is to preserve that clarity while allowing the music to feel completely natural and effortless.”
After decades of conducting, his own listening has also broadened. Where he once gravitated towards popular music, he now embraces everything from classical repertoire to Asian and Malaysian artists.
Looking towards 2027, Junichi Hirokami hopes to continue expanding the MPO’s reach, including performances beyond the conventional concert hall. Exciting future collaborations and partnerships with corporations and other entities will bring the MPO musicians into a different environment, reflecting his belief that orchestras must explore new avenues to nurture talent and expose more people to culture and the arts.
“In this century, it’s important to explore all sorts of performance avenues,” he says, “to nurture talent and also to expose more people to culture and the arts.”
Photos: MPO and Kenny Loh
