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Sachiko Kuroiwa Column

les toits de Paris et le violon

Sachiko Kuroiwa
Violinist / Teacher

Lives and works in Paris. After working as the first violinist of the Milan Symphony Orchestra, she moved to France.She has been active as an orchestra and chamber musician in France and abroad. In recent years, she has been passionate about teaching young musicians in Paris.

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DAYS /  Sachiko Kuroiwa Column

les toits de Paris et le violon

Surreal reality, dense virtual space.



Spring 2022 has come sooner than expected.

More than a month has already passed since the vaccine pass was withdrawn in Paris, and except in certain places, the city is already as lively as it was three years ago during the Easter vacations.

People laughing and murmuring on the terraces of cafes as if nothing had happened, evening lines forming in front of popular bakeries, lovers embracing on metro platforms.


These scenes are [very similar] to the Paris we know so well, like scenes from a scene in a Klapisch film.

But something is different. They have all lost a kind of [mass] and seem somehow transparent.

Is it Paris that has changed? Or is it me? 

Maybe it is both.

Maybe I have come to a parallel world today.

But on the other hand, there exists within me a reality that is more rich in flavor than this chaotic and unpredictable world that is now called [reality].

It is the reality of the world of the senses, such as sound, my feelings, and texture.


I am a musician, so my job is to interact with sound.

I am a musician, so my job is to interact with sound, which means I look inside myself to the point of boredom, always looking for answers in images.

Sound] cannot be seen with the naked eye, but it is a presence that can be felt with a sense of presence.

More specifically, the performer can even visualize the exact location of the sound.

It is like a [virtual space] that exists only within me, and rather than playing the violin in this space, I am sitting comfortably in the driver's seat and operating the steering wheel while watching the images (sounds) that are constantly crossing the windshield.


I must not come back to myself.


This is a lesson that every professional performer knows on stage.

If you become so nervous that you come back to yourself, the next note may disappear from your memory.

This is because [thinking] begins with [realizing].

This is precisely because "feeling" and "thinking" are two different things.

And once one thinks, the virtual space is cut off and the image of the sound is also cut off.

Therefore, the performer must remain in the virtual space (world of images) until the end of the piece, so to speak, but to achieve this in an ideal state requires considerable conscious training.


I was watching a YouTube video explaining the double-slit experiment in quantum mechanics, and even though I do not have even a millimeter of scientific brain, I noticed something.

It was that the process of the experiment, in which something that was previously a "wave" is transformed into a "particle" and materialized as soon as a person starts "observing" it, is reminiscent of the mechanism of musical performances, in which the essence of the performance is drastically changed by "observing" it as well. This is what I meant.


The famous "Law of Attraction" has already been scientifically proven in the field of quantum mechanics, but the most important aspect of this "attraction" is also the power of imagining.

Imagining is definitely the first step to materialize something.


If it is in the field of art, a vision in one's mind can become an actual architecture, a sculpture, or a sound.

Conversely, where there is no image, nothing happens or is created. Therefore, it is not surprising to artists that "imagining with a sense of presence," as the Law of Attraction always says, is closely related to the realization of dreams in life.


Incidentally, there is one way to make it easier to imagine great things.

One way to make it easier to imagine great things, by the way, is to feel good.

It is the same with music. It is very difficult to visualize your ideal performance if you are in a gloomy mood.

When I am in a positive, almost joyful mood, the power of a great image increases.


How strange it would be if my life today is the result of what I imagined in the past!

When I lived in Tokyo and Milan, I was never tired of living in the image of Paris through movies and music.

Paris was nothing but a condensed world of everything I wanted to be, everything I wanted, and everything I longed to be.

As a result of thinking about Paris so much, I am now living in the middle of the city every day.

In that sense, I can say that I have successfully attracted Paris.


What will I be living in three years from now?

The clue to that question is what exactly I am imagining [vividly] at this very moment.

The pipe that leads to the future is being formed at this very moment, without a break.