Interview with Hozumi for Sarasate Magazine, 2019
There are next to no interviews with Hozumi, so when I heard about this magazine having one I immediately bought it. Finally got around to translating it, and while it doesn't really talk about much, it's better than nothing! I formatted it to fit the original magazine, but there is also a text transcript as well.
Download the interview in PDF form (or read the transcript below) (I was also really pleased to get my headcannons confirmed XD)
WHO IS SOLLIMA?
Hozumi’s “My Giovanni” was inspired by the piece Violoncelles, Vibrez!
In the story, the main character Tetsuo Tezuka idolizes a cellist named Giovanni Bazzoni, who is modeled after Sollima, and the piece that inspires him is Call of the Cello, which is of course based on Violoncelles, Vibrez!
Giovanni Sollima * Composer, Cellist
Born in 1962 in Palermo, Sicily, Italy, he studied cello with Giovanni Perriera and composition with his father Eliodoro Sollima at the Conservatorio di Musica di Palermo. After graduating with honors, he continued his studies on cello with Antonio Janigro and composition with Milko Kelemen at the University of Music in Stuttgart and the Universität Mozarteum in Salzburg. In 1997, he founded the Giovanni Sollima Band in New York City, a group made up of musicians who were already active as soloists and chamber musicians, with such luminaries as Claudio Abbado, Martha Argerich, and Philip Glass. His compositions are often said to be strongly influenced by minimalist music, but he has established his own style by freely incorporating a variety of genres, including classical, rock, jazz, bop, and ethnic music from the Middle East, the Mediterranean, and Africa.
His most widely recognized work is a ballad for two cellos and string orchestra, titled Violoncelles, Vibrez! (1993), which was dedicated to his close friend Mario Brunello, a fellow student of Janigro. It has been performed by many cello ensembles in Japan, including in an arrangement for eight cellos. His other solo cello piece, Lamantatio (1998), which requires the cellist to sing as well as play, is also frequently performed. He also has written a work for shamisen and orchestra, which was commissioned in Japan. He currently teaches at the Conservatorio di Santa Cecilia in Rome, and the instrument he performs on is a Francesco Ruggeri made in 1679. His first visit to Japan was in 2004 for the “Summer in Tokyo,” where he performed Violoncelles, Vibrez! amongst other pieces.
A Must-Read Comic for Cellists
“Boku no Giovanni”
Writer/Yumi Kogo
Characters
The cast of the comic
Tetsuo Tezuka
A boy who loves the cello. After looking for a fellow cellist to play with, he ends up having mixed feelings about Ikumi’s cello talent. He later goes to study with Yuriko Soga in Italy. After returning to Japan, he enters a competition.
Ikumi Tachibana
The other protagonist of the story. The only survivor of a marine accident, he is taken in by Tetsuo’s family and is introduced to the cello. He grows up to become a emerging cellist in the classical music world.
Tetsuro Tezuka
Tetsuo’s older brother and good friend. He used to play the cello, but became jealous of his brother’s ability and stopped playing. Later he becomes a ‘mental trainer’ for musicians.
Yuriko Soga
A cellist living in Italy, Tetsuo initially refers to her as the ‘witch.’ She has a carefree personality, but she is an internationally famous cellist. She later becomes Tetsuo’s teacher.
Yukari Narita
A student in the piano department in a Music High School. She becomes Tetsuo’s accompanist, introduced to him by Yuriko. She likes his free style of playing and they become fast friends. She brings out the best in Tetsuo.
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“Boku no Giovanni” is a popular music-themed manga serialized in “Monthly Flowers,” a manga magazine for women published by Shogakukan. There have already been four tankoubon released. The manga depicts the lives of two boys who choose to dedicate their lives to the cello, and it’s become popular not only with women but men as well. The story is different from the usual type that follow music students living happily while competing with each other, instead delicately portraying the struggles of a boy who aspires to find his place in the world of music. It is in this setting that the character modeled after Giovanni Sollima appears, and they play an important role in the story.
The Beginning
Tetsuo Tezuka, an elementary school student who plays the cello in a small port town, feels lonely because his older brother Tetsuro, his only cello-playing friend, has stopped playing. Tetsuro had begun to feel inferior to Tetsuo’s rapid improvement, so decides to distance himself from the cello so he wouldn’t end up hating his younger brother. Unaware of his feelings, Tetsuo repeatedly asks him to play ‘Giovanni Bazzoni’s’ work for two cellos, Call of the Cello with him.
At the same time, a large passenger ship sinks on a stormy sea off the coast of their island; a faint voice in the distance is heard. Ikumi Tachibana, who followed to voice to the beach, loses his mother — his only living relative — in the accident, and is taken in by Tetsuo’s family. There, Ikumi learns that the voice he heard was actually Tetsuo’s cello playing.
World-renowned cellists Sollima and Yo-Yo Ma as models
Tetsuo starts playing the cello at age six. He always asks his older brother to play together with him.
It all started when he saw a video of Call of the Cello by Giovanni Bazzoni, which his father gave him. The character of Bazzoni — who has a great influence on Tetsuo — is modeled on Giovanni Sollima, the cellist and composer, and Call of the Cello is reminiscent of one of Sollima’s masterworks, Violoncelles, Vibrez! The other cellist in the panel, Lesser Curtis, is modeled after Yo-Yo Ma. Tetsuo was fascinated by the ‘shadow dancing’ between the two world-famous cellists and became enraptured with the cello.
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Ikumi finds out that Tetsuo wants somebody to play cello with, so he can play Call of the Cello with them, so he asks Tetsuo to teach him how to play. Both boys start out lonely, but day by day they grow closer through their connection with the cello, and vow to remain lifelong friends.
The world-famous cello “Witch”
Another person who stands out in this story is the character of Yuriko Soga, a world-famous Japanese cellist living in Italy. Every summer she visits Tetsuo’s house to relax. She has a carefree personality, but her playing is of the highest level. Through Yuriko, Tetsuo realizes how difficult the life of a professional cellist is, but also thinks that he has no talent. As if to fight against this reality, he refers to Yuriko as a “witch” and rejects her as an outsider in his world.
One day, Tetsuo spends a week at his grandfather’s house, and when he returns home he finds that Ikumi has effortlessly learned how to play the Dvorak Cello Concerto, which he is unable to play yet. He becomes angry and jealous of Ikumi’s talent and his ability to play with the ideal sound that he wants for himself, and there are many scenes after this that make the reader turn the pages with a heavy heart; only in comics can you see the mood and atmosphere of a person’s feelings at a glance.
As if to escape from Ikumi, Tetsuo goes to study abroad in Sicily, Italy, where Yuriko lives. Five years later, he returns to Japan only to find that Ikumi’s talent has blossomed. Tetsuo pursues his own unique way of making music, but struggles to find a pianist to accompany him in a competition due to his strange way of playing. Through his connection with Yuriko, Tetsuo is introduced to Yukari Narita, a high school pianist who prefers a free style of playing, and this inspires Tetsuo to search for his own style in earnest. It will be interesting to see how his relationship with Ikumi and his future as a cellist develops in future chapters...
(Caption beneath image: Monthly Flowers March 2019 / featured cover illustration)
Interview with the Author of “My Giovanni”
- Hozumi-san - Discovering Sollima and the Fascination with the Cello
Hozumi-san, the creator of “My Giovanni,” debuted in 2010 with her work The Wedding-Eve, which won the Silver Flower Award at the Monthly Flowers comic audition. She made her published book debut with the same work, which is a collection of short stories of which the title is one. The book won the 4th Pukurog Grand Prix in the manga category, and also placed second in the “Staff Choice: This Manga is Amazing!” It also placed second In the ladies’ comics category. Subsequent works include Sayonara Sorcier, which depicts the life of Vincent Van Gough, and Usemono no Yado.
My Giovanni was inspired by a performance of Sollima’s Violoncelles, Vibrez! The series began in 2016 and is still ongoing. We asked Hozumi-san to talk about her encounter with the cello, its appeal, and how My Giovanni was born.
She first fell in love with the cello through 2CELLOS.
Q: I understand that you have always liked minimalist music. How exactly did you come to know about Sollima?
A: My first exposure to minimalist music was with Michael Nyman’s The Heart Asks Pleasure First, but one day I got hooked on 2CELLOS. I had a CD of cellist and composer Siegen Tokuzawa, but I had never watched a proper cello performance before. When I started listening to 2CELLOS, I became more and more fascinated with the sound of the cello and started listening to serious classical music. That’s when I came across Sollima’s Violoncelles, Vibrez! From that point on, I started buying Sollima’s recordings and playing them while working on manuscripts (laughs). After that, I listened to recordings of Joe Hisaishi, Ryuuchi Sakamoto, and others that had a bit of minimalist elements, but I still find it difficult to listen to completely minimalist music. I prefer works that mix minimalist elements with folk and other styles.
Q: I heard that your encounter with Sollima’s works is what led you to create My Giovanni. What was it about Sollima’s music that appealed to you?
A: More than anything, it’s the drama! Of course there’s a strong element of repetition since it’s minimalist, but after listening to a song I feel a sense of fulfillment, as if I’d watched an entire movie. When I heard it for the first time, I remember being impressed and thinking, “Wow, I’ve found such an amazing piece of music!” I was so impressed. It seemed like all of human life experience was depicted in it, and I racked my brain wondering if and how I could draw a manga like that. I started to draw it, but it still didn’t reach the ideal I have, and I’m still struggling with it (laughs).
Q: Do you have any specific cellists that you modeled the characters of Tetsuo, Ikumi, and Yuriko Soga after?
A: I don’t have anybody specific in mind, because I think the way they perform is related to their personalities, so I wouldn’t want to attach them to a specific cellist. I’m not sure it’s a good idea to use anybody in particular as a model because, for the sake of the story progression, I sometimes have to push through the performance scenes with a more comic-like style…
But I have a feeling that there is a bit of Sollima in all of them. Actually, learning to play the cello has made me realize that more.
Q: Hozumi—san, your drawings of cellists are natural and beautiful. Is there anything you pay attention to when you draw them, or anything you are very particular about?
A: I really appreciate you saying so. But I don’t think I’m quite there yet. I actually started cello classes and tried to play the cello myself, but it’s really difficult to draw not only the instrument itself but also the playing position — and not only for cellists. I will continue to work hard to draw the flow of the skeleton and muscles as realistically as I can.
Q: You said you’re learning to play the cello. What was your impression of the cello when you started playing it?
A: This might not be something to talk about in a classical magazine, but I was in a band for a while when I was in school, so I had a little bit of experience with the electric bass. So, when I started cello, I had the faint hope that I would be a little better than an amateur because it was a string instrument… but (of course) it was completely different. Unlike electric bass and guitar there are no frets, and even just holding the bow is very difficult. It was a struggle for me to make a single note sound good. Since then, when I hear cellists play — which I used to listen to without much thought — now I am in awe of them. When I draw the characters in my work I think, “It’s amazing, they can all play so well.” (Laughs)
Q: What is the appeal of the cello for you?
A: It has a wide range, with high notes that pull at your heartstrings but also deep bass notes. I think it’s great that they can play everything from melody to bass lines, and since I used to play the bass I think it’s really cool to be able to do that! As a manga artist, my motivation for drawing them is to find a way to express the sexiness that cellists exude when playing cello.
Q: What are your favorite songs, both to play and to listen to?
A: I haven’t gotten very far with my playing because I’m too busy with the manuscript, but I often listen to the song Rain by Ryuichi Sakamoto. It’s a trio for piano, violin and cello, and I imagined this song when I was drawing the live performance scene for the same ensemble in the comic. I also like Piazzolla in general, but in particular I often play Duo de Amor when I’m drawing.
I really like to hear the cello played by my teacher.
Q: How much time do you spend practicing the cello? What do you find most difficult when you practice?
A: Actually, I haven’t been able to attend classes since I had a health scare last year, and I’m not able to play as much as I used to. Really, all practicing is difficult, but if I had to pick one thing I’d say that even though my left hand fingering is good, I can’t keep up with the bowing… sorry for being such a beginner…
Q: Is there a moment that made you glad you started playing the cello?
A: I’m really only a novice, so just being able to play a single note with a tight, deep sound is a great feeling. “Amazing! I can make the cello sound like a cello!” That alone makes me very happy. Also, it was really helpful for me to understand how to hold the bow and use proper tilted posture as a reference for drawing, it was really great! I’m also happy just listening to the teacher play so skillfully in front of me.
Q: What color is your case?
A: I haven’t bought a case yet because I’m still at the stage where I’m renting my cello, but I like white ones and the deep red Bordeaux-like color, and in the comic Tetsuo’s case is white and Ikumi’s is Bordeaux.
Q: Like My Giovanni, many of your works feature gentlemen, siblings and their home environments. Are those things you consciously decide to focus on?
A: When I create my stories, I often adapt and build on my own experiences as a teenager, so that might have an influence on my work. However, I think the best part of a story is to leave things to the imagination of the reader rather than explaining everything about how the story came to be. Although there are fragments of my personal memories in some parts, it is undoubtedly the original story of the characters, and I hope you will enjoy reading it until the end.
