Kohaku Matsumoto, who built the CATHERINA Early Musical Instruments Workshop, passed

away suddenly in 2018 at the age of 69. It may sound harsh, but I truly felt “betrayed” at that

moment. After all the long years we had spent together, sharing both joy and hardship, with

unfinished work and unfinished instruments, and an early music concert scheduled for five days

later... What were we supposed to do?

No one suggested canceling the concert scheduled five days later. We somehow managed to

pull through by doubling our efforts. Posters were put up, and we also performed the concert

scheduled for a month later.

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Now, looking back, I can say that sometime later, the family gathered solemnly and divided up

the debts rather than the assets. Another story was added to our family's collection of tales that

are neither funny nor sad, yet again different from the norm. 　

When each of us had the option to walk a new path, we all quietly began to archive our

memories in our hearts. Seven years have passed since then.

Currently, the CATHERINA Early Musical Instruments Workshop is headed by Mirai Matsumoto

as the second-generation director, who also serves as the representative of CATHERINA

Woods the General Incorporated Association. And before I knew it, I had become the elder of

this place. Perhaps it is time to unravel a little of the history that has been woven together with

the knowledge of impermanence. For the beautiful sake of understanding one’s heart.

Now, let us talk about the CATHERINAWorkshop from half a century ago. The U.S. military

housing in Fussa, near Yokota Air Base in Tokyo, was known as “the House,” where many

artists, writers, and musicians lived in detached houses with gardens. It was completely different

from the image depicted in Ryu Murakami's debut novel, “Almost Transparent Blue,” and was

the residence and workshop of Kohaku Matsumoto. 　

From the moment I visited here, the second chapter of my life began. Having specialized in

fashion after graduating from Bunka Fashion College, I was deeply immersed in the world of

fashion. When I first visited Fussa, I was wearing red stiletto heels. It didn't take long for me to

realize that I was dressed inappropriately for the occasion.

As soon as you open the wooden door at the entrance, you find yourself in the living room,

which doubles as a workshop, with a dog lying in the center. Lily, who had listened to the

sounds of early musical instruments and the music they produced, was a clever dog who could

guide visitors to the nearest station, Ushihama Station. “We've had them for generations, and

her mother's name was Catherina,” Kohaku said. At that moment, the sight of Lily, all white,

picking up my red shoes with curiosity was like a painting, and I can still vividly recall that scene.

　

When asked, “What kind of instruments do you play? What kind of music do you like to listen

to?” I replied, "Piano. I used to like Beethoven, but I also like the Beatles and the Stones... I

have a black-and-white photo of Keith Jarrett on the ceiling of my room, but now I like McCoy

Tyner...“ I answered aimlessly, and the conversation continued endlessly. “Good music is good,

regardless of genre. After all, genres are just something added later..." His freedom, depth of

character, casual manner that didn't make others feel tense, and unpretentious way of speaking

were the traits that defined him when meeting someone for the first time.

The nearly completed harpsichord is placed in the center of the room, and on the walls are

instruments and tools that I have never seen before. The numerous tools scattered

around—from small chisels and curved chisels to chisels, scales, and pins—were all things I

had never seen before. Even the phonograph serving as a table was unusual, and I kept asking

questions one after another, but he answered everything patiently without showing any signs of

annoyance. Perhaps at the time, he was so focused on instrument making that he simply

missed human interaction... During our conversation, I mentioned that I had a friend from Iran,

and he expressed a passionate interest in ethnic instruments, saying, “I would like to hear more

about the oud, so please introduce me.” As a result, we met several times afterward, and

eventually, Kohaku Matsumoto and I got married. It was through the connection between people

that we encountered objects, and it was as if energy moved people and drew them together. I

think it was a time when people were truly proactive.

I cannot speak about his focus on instrument making prior to meeting me, so I would like to

quote from a music magazine interview that vividly and accurately describes his obsession with

early instruments at the time.

---

In Japan, an island nation in the East, there is a young man who is passionate about restoring

early musical instruments from Europe, specifically those from the Renaissance and Middle

Ages. Despite being in a country with completely different history and traditions, he seemed

unfazed by the difficulties in obtaining materials and data, displaying a refreshing passion.

​

〜Excerpt omitted〜

According to Matsumoto, as for the Renaissance, and even more so the Middle Ages, there are

no reliable records left in Europe either, so he believes the conditions are the same. This way of

thinking is reassuring. Japan remains unable to escape the mindset of Europe being the “true

home” of classical music. At least Matsumoto is in a place unrelated to Japan's current situation.

It may seem eccentric at first glance. A humble wooden house that doubles as an instrument

workshop, completely unrelated to the rapid economic growth. Despite knowing it won't pay off,

he dedicates himself to restoring early musical instruments with no hope of selling them, doesn't

spend money on leisure activities, and instead enjoys the natural surroundings along the Ome

Line and fishing. Most of his meager income is likely spent on seeking high-quality wood for

instruments and collecting books and other materials. ~Excerpt omitted~

Matsumoto has achieved results that surpass those of the original masters through his own research and

efforts, and the methodology he has developed as a result. His goal is not simply to restore early

instruments. Even if instruments from hundreds of years ago, which can only be seen in paintings, were to

be revived in form alone, they would still be dead objects. He seeks to breathe new life into early

instruments and revive them in the modern era. Rather than merely pursuing fidelity to shape and

dimensions, he aims to restore what modern music has lost through early instruments—not bound by

tradition, but with the freedom of spirit to pursue sound and music. Rather than yearning for the history

and tradition of European music—something that will never be granted to us—it is more important for

Japan today to leverage the strength of not being bound by such traditions.

​

“Music Today” Vol. 7, No. 8 (August 1977) “Engaging with Sound” by Kohaku Matsumoto (Early Instrument Maker) “A Free

Spirit Unbound by Tradition”　

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This is a story from about six or seven years after he started making early musical instruments, when he

formed the CATHERINA Early Music Ensemble and was engaged in performing and making early

musical instruments.　

At the time, Aizawa Shōhachirō was both a music critic and a talented producer at CBS Sony, and later

released the LP record “The Sounds of Early Music” through CBS Sony. This album by the CATHERINA

Early Music Ensemble features arrangements and compositions strongly influenced by Kohaku

Matsumoto, and it remains a timeless and captivating recording. Among its highlights is the beautiful

sound and performance of his brother's soprano recorder, which I myself tried to imitate on numerous

occasions. At that time, the CATHERINA Early Music Ensemble was praised by Tatsuo Minagawa and

others as a “rare group that restores and plays early musical instruments themselves.” The fact that the

person who strongly desired to maintain that style later left the ensemble is a regret that may only I know.

　

In the latter half of the interview mentioned earlier, “Music Today” Vol. 7, No. 8, “A Free Spirit Unbound by

Tradition,” pp. 164-165, Aizawa Shōhachirō (Interviewer)

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While delving into early musical instruments as a new medium of expression, he also discussed the

importance of understanding ethnic instruments and the necessity of researching domestically produced

wood suitable for Japan's climate. As someone who knows Matsumoto’s history of research and practical

applications since then, I am once again moved by the fact that he had such a vision even back then. A

single thread connects to the present day, half a century later, suggesting a path from that time to the

present.

In Europe, the dawn of the early music revival began in the mid-20th century, following the Arts and

Crafts movement in Britain in the late 19th century. This revival was both a reexamination of the

authority of classical music and a rebellious declaration of independence, questioning the essence of

musical instruments and sound. It was a challenge to seek the warm, human-like tones that these

instruments originally possessed. “Early music revival” is not about performing past music in a modern

way, but rather about the challenge of re-listening to it with “the ears of the past.” Therefore, it was only

natural that there was a focus on the instruments used to perform early music, and efforts were made to

restore and recreate them in an environment that was as close to the original as possible.

In any case, as far as I know, a movement to fundamentally reexamine musical instruments arose almost

simultaneously around the world, particularly in France, the Netherlands, the United States, various parts

of Europe, and here in Japan, an island nation in the East. Although this was a movement among a very

small minority, it is fascinating to note that it occurred at the same time despite the changing times and

different historical contexts around the world. However, I did not have such an awareness at the time. 　

Looking around at everything in our lives today, we can see that everything except what naturally exists

in the natural world is made by humans. Creating form from chaos. Creating what does not exist. Creating

because it does not exist. Not limited to musical instruments, objects have been created from nothing into

something since the dawn of history. 　

Because it is both a natural human endeavor and a desire, the creation of things is rooted in an

understanding of the natural world, and the creator's sensibilities are projected onto it, even reflecting

their way of life. This is something I have come to realize by observing the process of creation alongside

someone since his youth.

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Belief flows like a river, tracing a single path while its waters constantly change and never cease. When I

think of the days that continue into the present, the phrase “Panta Rhei” (everything flows) echoes in my

mind. The end is the beginning, and the story continues onward.

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