Hiro Kurosaki is an Austrian musician of Japanese origin, who grew up in Vienna and is now one of the most sought-after interpreters in the area of performance on period instruments. He completed his violin studies with Franz Samohyl at the Vienna University of Music and Performing Arts graduating cum laude, attended master classes with Nathan Milstein and in addition studied architecture and art history at the Academy of Fine Arts in Vienna.
A prizewinner in two major violin competitions (the Henryk Wieniawski in Poland and the Fritz Kreisler in Vienna), he began his career as a soloist very early on, performing under famous conductors with orchestras that included the ROYAL PHILHARMONIC ORCHESTRA LONDON, the STAATSKAPELLE DRESDEN, the WIENER SYMPHONIKER and the MOZARTEUM ORCHESTRA in SALZBURG.
For many years Hiro Kurosaki has been occupied with the baroque violin and historical performance practice, working in close collaboration with René Clemencic, Jordi Savall, William Christie and other major figures in the early music field.
As soloist and concert master with the Paris orchestra LES ARTS FLORISSANTS and CAPPELLA COLONIENSIS, as well as the ensembles LONDON BAROQUE and the Viennese CLEMENCIC CONSORT, Hiro Kurosaki performs all over Europe and undertakes regular tours to Japan, the United States and Australia, appearing at the major international festivals.
With Linda Nicholson on the fortepiano and the LONDON FORTEPIANO TRIO Hiro Kurosaki has worked on both the classical and romantic chamber music repertoire. In the years 2008/2009 Linda Nicholson and Hiro Kurosaki recorded for the Accent label all the works for violin and piano (including the variations WoO 40, Rondo WoO 41, Deutsche Tänze WoO 42 of Beethoven. (Complete recording on four CDs.) In January 2003 a large-scale concert tour of recitals performed with William Christie on the harpsichord took the two musicians to all the major European concert halls.
The artist is associated with the CAPPELLA COLONIENSIS in a collaboration over many years and under Bruno Weil they made the first ever recordings of Der Freischütz by Weber and Wagner’s Der fliegende Holländer on period instruments.
In September 2007 Hiro Kurosaki undertook a highly successful tour of Australia with the AUSTRALIAN BRANDENBURG ORCHESTRA, performing works by Vivaldi, Pisendel and Zavateri.
Over the years he has developed a close collaboration with the Spanish ensemble LA RITIRATA (artistic director: Josextu Obregón, violoncello).
The catalogue of his CD recordings with the above ensembles is extensive and varied.
In November 2006 Hiro Kurosaki was artist in residence at the WDR festival, Tage Alter Musik in Herne; works performed together with Linda Nicholson included four different versions of the Chaconne by J.S. Bach: the original version on the baroque violin, the version by Brahms for solo piano, and the arrangements for violin and piano by Mendelssohn and Schumann.
Now, after teaching for many years the baroque violin and historical performance practice at the Vienna University of Music and Performing Arts and also at the Mozarteum University in Salzburg, Hiro Kurosaki has trained and helped to launch the careers of a new generation of young musicians, who by now are themselves already in leading positions as teachers and performers.
From 2005 to 2018 Hiro Kurosaki taught the baroque violin at the Real Conservatorio Superior de Música de Madrid.
In the winter seminar 2011/12 Hiro Kurosaki was appointed professor of baroque violin and viola at the Salzburg Mozarteum University.
Interpretation workshops, for the MOZARTEUM ORCHESTRA and the BAYERISCHE STAATSOPER for example, as well as participation at conferences such as the Heinrich Ignaz Franz von Biber-Kongress in Salzburg demonstrate the commitment of Hiro Kurosaki to share his knowledge of string playing in the different styles of the various periods and to create a bridge between “modern” and “baroque” musicians.
Hiro Kurosaki firmly believes that deep insight into the aesthetic and performance technique of different eras is needed in order to achieve interpretations that are satisfying for both performer and audience, since only thus can they really live.