CAPTAIN OF THE SHIP. Nobuyoshi Yasuda, pictured, has passed the baton from his dual roles as the conductor and music director of the Chippewa Valley Symphony Orchestra (CVSO) and director of university orchestra at the University of Wisconsin-Eau Claire. On May 9, Yasuda conducted his final performance with the CVSO – “Maestro's Finale: Conductor Nobuyoshi Yasuda’s Farewell Concert” – at the Pablo Center.

Steering both the Chippewa Valley Symphony Orchestra (CVSO) and the University of Wisconsin-Eau Claire’s student orchestra for more than thirty years, Nobuyoshi Yasuda is ready to “pass the baton” as he entrusts the region’s orchestral legacy to a new generation of artistic leadership.

The unpretentious – yet still zealous – Yasuda, though former students and colleagues know him best as “Nobu,” has brought a through-line vision to both orchestras in the Chippewa Valley. He first arrived to the region in 1991, following musical degrees and accolades from his home country of Japan and Indiana University.

A violinist at heart, Nobu remained deeply committed to his personal artistic growth while acting as a vital source of musical knowledge for his university students and members of the CVSO.

Following his final showcase with the CVSO on May 9 in Eau Claire, “Maestro's Finale: Conductor Nobuyoshi Yasuda’s Farewell Concert,” we sat down with the acclaimed conductor to reflect on 30-plus years of community investment and chat what’s next as he enters retirement and returns to Osaka, Japan this summer.

V1: After living and working in Eau Claire for over three decades, what are some changes in the arts community you have witnessed?

NY: "Maybe five or six years into (this work), I started being a part of the community – especially after I started working with the CVSO. The first thing I really needed to do was not just study the score(s), rehearse and perform, but I really needed to understand the community first. Here, I mean, everybody knew everybody – that was the kind of beauty of this community. (Eau Claire) is not big like Chicago and New York, however, when I came here it already had a (university) orchestra and then the community had an orchestra. That is really unheard of in the size of a community like this.

30 some years ago... the State Theatre (316 Eau Claire St., Eau Claire) was our venue for a long time. It was not ideal for performance, but at least we had a venue. Some people complained, 'If we had (another venue), then we could to it better.' My approach was different: First, we have to show what we can offer, then we can develop. That was part of my vision and somehow, 10 to 20 years later, people started realizing that.

The Eau Claire community needed a much better hall or performance art center to really provide more entertainment. My part in that (was) to develop the orchestra – provide an incredible symphonic experience to the community – which can perform this kind of repertoire... I really feel comfortably (that) we got to the destination I envisioned (over the past) 35 years."

V1: Could you describe moments in your career that showcased your leadership style in the CVSO and university?

NY: "During these 35 years, I study the score(s) really seriously... and then prepare for the rehearsal. I call it 'rehearse the rehearsal,' in my mind. I have a certain expectation with my strategy – 'this has to improve by this much' – so I have incredible calculation of how I'm actually taking the orchestra to the certain kind of a standard ... for example, especially for students, I never say 'it's great' or anything because usually we read the music, and first thing I usually say is, 'something like that.' 'Something like that' actually kind of contains a lot of meaning. I expect them to always get better, so then they play better.

I have been told by many, many great conductors that being conductors, we are not actually running for the popularity contest. We have to get the job done. Whatever it takes, we have to get the job done for you guys (the players) to perform well. It's not about me, but it's about me getting you there. After the performance, I want you to feel good about what you did.

I am a captain of the ship: When I left the port, I knew exactly where we are heading for. People expect some storm but somehow, I knew. It's going to be a storm but I know how to go through. Now, I feel I safely brought my ship with the crew to my destination."

V1: A while back, you shared this sentiment with Volume One: "Music is a gift to foster true sensory experience and contentment through expression." How do you respond to this sentiment, today?

NY: "These days, many, many music is actually created by computer or recorded. Even the classical music listener often choose(s) to listen to recordings. I enjoy listening to those things, however, being a musician – especially (as) I'm the conductor – I have this leader position for other current musicians. I want to make sure that I carry my philosophy; I call it 'the power of live music.'

When you come to the orchestra, in my case an orchestra concert in the Pablo Center (128 Graham Ave., Eau Claire) it's not just listening to something – it's a visual thing. You can really see the musicians performing and that actual sense of sound you feel around you, it's a sensory experience.

You need a certain kind of active listening, because music is actually art in time ... you go with friends and after you can talk about (the performance). That experience is, I think, very important. You are sharing the (music) together to experience something together."

V1: Looking back at the CVSO’s repertoire, could you share which classical music scores excited you over three decades as music director?

NY: "My vision with this orchestra – both in the university orchestra and also the Chippewa Valley Symphony – was, in a way, kind of a selfish (one). Why? Because I had my certain favorite symphonies (and) I want to conduct those pieces. But at the same time, my passion was that I wanted to introduce that power of that particular symphony. For example, Gustav Mahler. Mahler actually wrote nine complete symphonies; we did perform one, two, three, four, five, six and nine. This is a big deal because usually the community orchestra like this size cannot play those symphonies – very difficult and also complicated.

Another big name is Bruckner, Anton Bruckner – it's a very sophisticated music and we played, in this community, fourth, seventh (and) eighth symphonies. Another category is Richard Strauss, he wrote a lot of tone poems and so we performed one of the tone poems called Death and Transfiguration.

These three composers, Bruckner, Mahler and Richard Strauss, this is usually the pinnacle of symphonic music. So, if you can perform this – or if those musics are in your program – means wow, your orchestra can do that.

I just always wanted to conduct (those pieces) for myself in a way, but I had to develop the orchestra to that level. In a way, I needed to develop (the audiences') symphonic experiences to get a little bit more deeper and higher standard.

My selection of those great pieces (was) because you believe in them, you (are) just really passionate about the music and that touches the people, that moves the people. They didn't know what to expect from listening to Mahler or what to expect from Bruckner but that concert became the incredible experience."

V1: Are there any lessons you have received from your students over the years at UW-Eau Claire that you still carry with you today?

NY: "One of the things I was telling to many students and former students were that I am still learning. I am a teacher, but what I do is I learn something and in my passion of learning, I need actually the outlet.

It's like a room with two windows: If you have two windows, but one window is closed, when (one) window is open air doesn't really come in. You open both windows, then the wind go through. What I try to say is, I learn, this window is open, this is an output. I am so excited about learning something because I want to share what I learned with the students. My motivation or my passion of learning is stronger because I have students or the Chippewa Valley Symphony musicians.

Students really inspire me to learn... I am really blessed to have students."

"I have been told by many, many great conductors that being conductors, we are not actually running for the popularity contest. We have to get the job done."

nobuyoshi yasuda

former conductor and music director, chippewa valley symphony orchestra

V1: Outside of your work and investment in the Chippewa Valley's arts, are there any places or things about the region you will miss, as you return to Japan?

NY: "The Coffee Grounds (4212 Southtowne Dr., Eau Claire); I was studying there every single day, so I will miss that spot and also the environment. When you study scores, it's really intense. In my mind, all the music is happening and then I'm hearing those notes... I am in the zone. It's a really nice location for me because I can be in (the) zone but also I can relax and people often talk to me. That's also another thing that I can really enjoy. I know there are so many other restaurants and cafes, but somehow that's the only place I went.

Other places I actually enjoy dining (at are) The Nucleus (405 Water St., Eau Claire), their breakfast is amazing. American breakfast – omelettes or pancakes – those are really, really good. Now, I am going to The Nucleus and trying to really enjoy the American breakfast, because I cannot get that experience in Japan."

V1: What do you think are some of the challenges facing the arts in Eau Claire – and more broadly, the Chippewa Valley – today? How can creatives and community members best overcome them?

NY: "The existence of live music is actually being challenged, especially those traditional (pieces). This is actually related to the beginning of my vision and why I am leaving. The traditional symphonic music or classical music being challenged severely right now because not many people really understand those sophisticated classical music. 

To me, the fascination of listening to the actual classical music is that it's like reading serious literature. Sometimes you have to stop there to really try to think about the the meaning of the word that author used. You really need to use your imagination. (Music) is the exact same thing... it's the same kind of process. You need a certain kind of active listening.

Not many people (are) actually used to listening to music like that, these days. They don't want to use their creativity to listen to any music.

Even the Minneapolis Orchestra... when they perform movie music or anime music – it's entertaining and the people enjoy. Those music are becoming more popular and so they have to perform those more than the traditional things.

So that's exactly why I feel like I already brought my ship to the destination and I should hand my baton to the next generation. Because, I don't have a vision for that kind of music, but I am sure somebody has a vision for that kind of music."

V1: Can you share your perspective on the university's direction regarding arts education today and how your own department at UW-Eau Claire has impacted you.

NY: "(The) department of music is actually very active; I (feel) very positive about our department of music. The students are also very happy. Relationships between the faculty, professors and the students are very close and I think we actually work together unlike other big universities.

I am like (the students). I learn something so then I want to share it with them; it's almost like baby birds in the nest and then mother bird is getting them the food – I feel like that. That is the strength of this university, (and) it's not just the music department."

V1: What reflections might you share with the forthcoming CVSO director, or for the Chippewa Valley community at-large?

NY: "I have developed certain things and many people really trust what I do and my decision(s). Two years ago, we celebrated the 50th anniversary season (of CVSO). After the concert, I told them that I have another year (here), but I want to stay here as kind of an advisor: I don't really make a decision but I let you make a decision, so in a way I advise you as more of an observer. 

I am glad (the CVSO) came forward with ideas... there are so many new things (that the organization) actually came up, especially our youth educational concerts.

That was another thing – (because) I decided to leave there, I have to let them do it. Some people get an authority position (and) they try to hang on until the last moment. You can use me in a way, but I want you to make a decision and create something new because that's what you need. You have to develop your next leader, and then my retirement (is) complete.

I am a kind of guy (who is) really curious about so many things, not just music. Music, it's a whole world in a way. It's actually kind of a comprehension of the entire human activities, the thoughts and everything – (music) encompasses so many of those areas."

This interview has been edited for length and clarity. Learn more about Nobuyoshi Yasuda's legacy and work in the Chippewa Valley Symphony Orchestra and University of Wisconsin-Eau Claire, online at VolumeOne.org.