About
Masaki Morishita expressed his desire to learn the violin at the age of three, and his parents fulfilled his wish a year later by giving him his first instrument. He studied with Yumino Toyoda at the Toho Gakuen High School of Music before being quickly accepted into the Paris Conservatory, where he joined Olivier Charlier’s class. He is currently enrolled in the institution’s third-cycle program in performance.
His sincere approach to music, his focus on inner singing – a key element of interpretation – and his solid technique are highly appreciated by leading violinists such as Pierre Fouchenneret and Julien Szulman. As a soloist, he already performs actively in France, Japan, and beyond, and takes part in numerous festivals, notably the Festival Radio France Occitanie Montpellier.
In 2024, he joined the Académie Jaroussky, studying under Nemanja Radulović, whose guidance has had a decisive influence on his understanding of the soloist’s role and on the freedom and richness of his sound palette – an inspiration clearly reflected in his playing today.
He appears as a soloist with orchestras such as the Orchestre de la Garde Républicaine, and is also active in chamber music. With accordionist Maylis Arrat (duo Akané), he explores new sonic colors by pairing the classical repertoire with an instrument of the modern era, revealing unexpected facets of these works. He also performs in the Tri’Oxymore trio, formed with cellist Shicong Li and pianist Madoka Okada; together, they are enrolled in a master’s program at the Paris Conservatory and at ProQuartet, the European Center for Chamber Music, and explore many rarely performed pieces, including works by Chausson and Tansman.
Morishita’s artistic curiosity knows no bounds. Since 2022, he has also developed an interest in period instruments. From Baroque to Brahms, he explores the instruments and performance techniques specific to each era to offer audiences new sound worlds. He has already performed on period instruments at various venues across France, including the Château de Fontainebleau, and is currently an academician with the Insula orchestra in Paris. His work is recognized both in France and abroad, and he is supported by several foundations, including the Banque Populaire Foundation, the Safran Foundation, and the Or du Rhin Foundation.
He currently performs on a 1698 violin by Giovanni Grancino, generously loaned to him by the Paris Conservatory.
