Who or what inspired you to pursue a career in music and who or what have been the most important influences on your musical life and career?
Nina Sereda: I came to the UK to study with her. She was one of pupils of Heinrich Neuhaus. She gave me a fundamental understanding of “touch” and the art of music-making through touch. She also taught me how to use my entire body to play — almost anatomically — which helped me understand how to approach the piano and the harpsichord differently, using the arms, fingers, and body in distinct ways.
Robin Bowman: A wonderful vocal coach and collaborative pianist, he taught me how to be a truly supportive partner in ensemble playing — not just an obedient accompanist — both in mindset and in practice.
Laurence Cummings, OBE: He inspired me to the stylistic and historically informed performance practices of composers like Purcell, Handel, J.S. Bach, and Rameau. Working with him on this repertoire ignited a deep passion in me for these works.
What have been the greatest challenges of your career so far?
One of the greatest challenges has been overcoming the bias that an artist cannot be taken seriously as both a harpsichordist and a pianist. Breaking that misconception and proving that one can pursue both with depth and commitment has required resilience and determination.
Which performances/recordings are you most proud of?
As a collaborative pianist, I had the pleasure of touring Belgium and Japan with French mezzo-soprano Héloïse Mas. I was particularly pleased with our performances of Debussy’s Trois Chansons de Bilitis and Britten’s Cabaret Songs — both programmes felt very alive and connected. I also enjoyed performing Bizet’s Nocturne (for solo piano) as an interlude during those concerts.
As a harpsichordist, I’m proud of my two solo albums released on the FHR label: J.S. Bach’s Six Partitas and Handel’s Eight Great Suites.
Which particular works/composers do you think you perform best?
That’s a difficult question, as what I feel I perform best might differ from how others perceive it. However, I feel a strong connection to the music of J.S. Bach, Handel, and Domenico Scarlatti — both on the piano and the harpsichord. I also particularly enjoy performing Lieder by Schubert and Schumann on the piano, as well as French mélodies by Poulenc and Debussy.
How do you make your repertoire choices from season to season?
When I have the opportunity to choose, I try to select repertoire that reflects the character of the season. I aim to create programmes with a clear thematic flow, while also offering a variety of contrasting moods to keep the performance engaging and dynamic.
Do you have a favourite concert venue to perform in and why?
Anywhere the audience is enthusiastic and engaged — and when I feel a genuine connection to the programme — becomes a favourite venue for me. The energy shared between performer and audience matters more than the location itself.
What do you do off stage that provides inspiration on stage?
I try to enjoy life and approach everything I do with sincerity, because I believe that performance is a reflection of who you are. I also love reading about composers and their letters — it helps me understand their personalities, thoughts, and makes me feel connected to their music.
What is your most memorable concert experience?
After a lunchtime concert, a woman handed me a small, scribbled note. It read: “I entered the church by chance, and your playing washed my soul — tears came out. Thank you.” I believe it was Schubert’s Impromptu that moved her so deeply. At the time, I was seriously considering giving up the piano, as some people had told me it would negatively affect my harpsichord playing.
Not long after, I performed the Goldberg Variations on the harpsichord, and another woman approached me afterward to say that my performance brought her to tears — it had stirred memories of her happy childhood.
These two encounters reminded me why I play music. They gave me the strength and clarity to continue pursuing both instruments with equal passion.
As a musician, what is your definition of success?
For me, success means being able to continue performing and conveying the composer’s message through music — and, in doing so, touching someone’s heart.
What do you feel needs to be done to grow classical music’s audiences?
Children should have the opportunity to receive quality music education in every school, not just in prestigious private schools. For example, offering free, regular one-on-one lessons of at least 30 minutes to anyone interested in learning a musical instrument would make a significant difference.
What’s the one thing in the music industry we’re not talking about which you think we should be?
I’d like to focus my answer on the keyboard music industry, especially since the piano is such a widely played instrument. I deeply admire pianists from the 20th century—they had the ability to communicate profound expression and depth through sound. Today, many people enjoy high-quality digital pianos, which are convenient and accessible. However, I believe that true expressive playing can only be developed by practicing on a real acoustic piano, even if it’s an old one. And when it comes to the harpsichord, there’s simply no substitute—you must practice on the actual instrument to understand and convey its unique qualities.
I also feel that facial expressions can sometimes become a distraction—or even an obstacle—to genuine musical expression. If you watch and listen to someone like Horowitz, for example, you’ll notice that he expresses everything through sound, not through exaggerated facial or bodily gestures.
What advice would you give to young or aspiring musicians?
I still consider myself learning and growing as an artist, so I offer this with humility. That said, I believe that studying historical performance practice in depth can be truly enlightening. Learning from the past is, in my view, essential to shaping the future.
What is your idea of perfect happiness?
This is a fascinating question, as I often reflect on what “happiness” truly means. I’m not even sure if something like “perfect happiness” really exists. To me, happiness feels like a fleeting state of mind—something momentary. You might feel it when you make a good cup of coffee or score 100 on Duolingo! If I limit the idea to music, I experience a moment of happiness when I manage to play a phrase—or, on a lucky day, an entire piece—exactly the way I wanted it.
Asako Ogawa performs with soprano Isabelle Haile in the world premiere performance of Metropolis by Bernard Hughes on Tuesday 24 June at St Bride’s Church, Fleet Street, London. This free lunchtime concert also includes music by Poulenc. More information here
Discover more from MEET THE ARTIST
Subscribe to get the latest posts sent to your email.
MEET THE ARTIST 