Interview with Lin Tokura: Echoes of the East Concert
By Ryoko Kato
NAP Contributor
On March 8th and 9th, the Seattle Festival Orchestra will present Echoes of the East, a concert celebrating the essence of Eastern musical traditions. The program features exotic and mesmerizing pieces such as Gustav Holst’s Japanese Suite and Bao Yuankai’s Taiwan Sketches. As a highlight of the event, Seattle-born prodigy violinist Lin Tokura will take the stage as a soloist to perform Felix Mendelssohn’s Violin Concerto in E Minor. With the concert just around the corner, we spoke with Tokura about her journey with the violin and her thoughts on the upcoming performance.
©️Sisi Burn
Lin Tokura■13, began playing the violin at age three and made her orchestral debut at 11. She has performed three recitals at Carnegie Hall in New York City and has been named Young Artist by both the Seattle Symphony and the Olympia Symphony Orchestra in Washington state. She has also won multiple awards at international violin competitions. In 2024, she joined the prestigious Yehudi Menuhin School in the United Kingdom, where she studies under Professor Robin Wilson.
instagram: ＠lin.tokura
―What inspired you to start playing the violin? When do you feel the most joy while playing?
My mother always admired the violin, so when she decided to introduce me to an instrument, she chose the violin. When I was two and a half, a violin school opened near our home, and she took me there to observe. Apparently, I spent six months just watching before I started playing. I do not remember much from those early days, but by the time I turned three, I had already declared that I wanted to become a violinist!
The most enjoyable moment for me is when I finish a performance and hear the applause and cheers from the audience. I also love the excitement of learning and playing new pieces.
―How many hours do you practice the violin each day? How do you overcome difficult times?
On weekdays, I practice for about three to four hours, and on weekends, I practice all day—sometimes around seven to nine hours. Right now, I genuinely love practicing but before coming to the Menuhin School, I did not enjoy it as much and often dragged my feet. However, since joining this school, I have been exposed to so much incredible music and surrounded by inspiring musicians. That has helped me discover my own goals, making practice naturally enjoyable.
―When practicing, do you sometimes come up with your own techniques or interpretations without direct guidance from your teacher?
There are fundamental ways to play pieces based on the composer and era. For example, Mozart has a particular style and Mendelssohn has his own. I start with these basics then work on technical aspects like intonation and phrasing. When I experiment with different fingerings or bowing techniques and find something that improves my playing, it is incredibly rewarding—especially when my teacher notices and praises my approach.
―How is life at the Yehudi Menuhin school in the United Kingdom (UK)and in the dorms? What do you do for fun? Have you encountered anything surprising?
The Menuhin school is amazing! My fellow students are all incredibly talented and inspiring. I am also close with my friends—we practice together, study together, and always have a great time. One of the biggest surprises since coming to the UK is that, at least at this school, we call our teachers by their first names! Even the headmaster and my violin teacher—at first, I was completely shocked.
Collaboration with the Vancouver Metropolitan Orchestra, British Columbia.
―Are there any violinists you admire or aspire to belike?
There’s someone my age with incredible technical skill—they never miss a note! I really respect them. I also look up to my senior classmates at school. Christian Li has been my role model for years, and I was amazed to find myself attending the same school and studying under the same teacher.
At the end of last year, I performed Vivaldi’s Winter with the Seattle Symphony, and Christian even gave me some tips on how to play it. I also greatly admire Augustin Hadelich for his flawless intonation and deeply emotional performances, and María Dueñas for her passionate playing and undeniable stage presence.
―Do you ever take days off from practicing? What do you like to do in your free time?
I don’t really take days off from the violin. They say that skipping one day of practice sets you back three days! Playing the violin is as natural to me as eating—it is just a part of my daily routine. During breaks, I love swinging on the playground swings with my friends at school. Swinging high up in the air is a great stress reliever! On weekends, we also enjoy trips to the local supermarket for snacks or ordering bubble tea on Uber Eats.
―The piece you will be performing at the March 8-9 concert is Felix Mendelssohn’s Violin Concerto. How would you describe the piece and what aspects do you focus on when playing it?
This piece has a paradoxical challenge—it embodies both the passion of the Romantic era and the balance of the Classical era. For example, even when the score indicates to play “passionately,” it does not mean playing loudly and forcefully. Instead, many parts require a delicate tone to convey inner emotion. Normally, when you see “passionate” in the sheet music, you would naturally want to play with strong emotions. But in this concerto, it is the opposite. That’s something I am particularly conscious of while playing.
―Finally, do you have a message for those attending the concert?
Thank you so much for coming to the concert! I truly love this piece, and I hope you will, too.
