Nobuyuki Tsujii Piano Recital. Esplanade Concert Hall. 25 June 2013
Before the rise of Nobuyuki, there have been several
physically disabled musicians who succeeded in the performing world. There was
the ever inspiring Evelyn Glennie who played the percussion with such verve and
vitality, and with such precision that you would never have known that she was
deaf. There was also Benard d’Ascoli whom I had witnessed him play the Schumann
Concerto in London a few decades ago.
So when a friend invited me to attend Nobuyuki’s concert, I
naively asked Nobu-who? His name did not immediately register as the joint
winner of the Van Cliburn International Piano Competition 2009. All I
remembered then was that a young blind Japanese pianist was awarded joint 1st
prize with yet another young Chinese pianist. And with this, I went to
Nobuyuki’s recital with an open mind…
Nobuyuki played an all-Debussy programme in the 1st half of his recital
and he started off with the 2 Arabesques. It started off encouragingly, with
good characterisation of both the Arabesques. He later performed Suite
Bergamasque, Estampes and L’sle Joyeuse. (All of these pieces are standard
repertoire which some of my students have learnt at some point in time)
Nobuyuki’s playing was not only precise, it could have been mistaken as the
playing of an able-bodied pianist. There was also novel use of the sostenuto
(middle) pedal which made Debussy’s pieces a lot clearer in places. Except for a few
querky body jestures, (such as head swaying incessantly from left to right, and
waiting a tad too long for expressive endings) he played with great facility
and ease and he clearly enjoyed the occasion. He had to prepare hundreds of the
hand leaps a little earlier than most ‘normal’ pianists, but he made them sound
easy, and there was no sign of a struggle to execute them. If this is not
technical mastery, I don’t know what is.
An all-Chopin programme occupied the 2nd half of
his recital. We usually associate Chopin’s pieces with lyricism and poise. However,
the works offered were mostly vibrant,
energetic pieces: Waltz in E flat “Grand Valse Brillante” Op.18; Scherzo No.2
in B-flat minor Op.31; Polonaise-Fantaisie in A flat Op.61; Polonaise-Heroique
in A flat Op.53. With such a vast output of compositions, I would have loved a
more varied offering. However, that said, all the pieces were performed with
confidence and he really made good, vibrant chords ring out. There were some
occasions when the sound became a little too percussive but I sensed that he
was aware of the limitations of that particular Steinway piano, and he later made
apt adjustments to the sound.
The audience, made up of mostly Japanese community in
Singapore, was very appreciative of his playing. He thus played numerous
encores. The 1st encore being
Liszt’s la Campanella! Followed by a Japanese-song inspired piece, then Chopin
Revolutionary Study, Verdi-Liszt
Rigolleto. ( I may have missed out one encore piece which I cannot seem to
recall..)
It is without doubt
that Nobuyuki has been well-trained, with a very formidable technique and an
amiable platform manner. His bowing was probably the most humble I have ever
witnessed (I believe the Japanese bow the lowest if he is of the lowest rank,
and he bowed the lowest) and his hand-waving was so endearing. As a twenty-year old, he may be forgiven for having
an affinity for energetic, virtuosic pieces. (Unfortunately, most pianists his
age tend to share his affinity). It is
hoped that in years to come, as he matures and experience more in life, he will
not only learn to appreciate and offer more spiritually uplifting, soulfully
searching pieces but also to communicate these types of pieces with more
sensitivity and heartfelt emotion. I wish him the best.
Classical Heritage 10th Anniversary Concert
This concert was performed by students of Classical Heritage. They consist of young children and working adults from beginner students to advanced diploma level. It was evident that the younger ones were more carefree and were able to play with little/no nerves, whilst most of the older ones struggled with nerves. Some adults were even unwilling/unable to participate in the concert despite them preparing for a diploma in the near future. My advice to them is that they should try to participate because it helps with the diploma preparation, and it certainly helps them to find ways to cope with their nerves. Don't think for a second that the school's reputation will be tarnished just from the bad performances. (A school's reputation is not built on one occasion alone. It is a culmination of years and years of hard work). Besides these are the occasions that you can make as many mistakes as you wish. I would rather you make them now than to make a mess during your exams. I always remind performers to do their best; Aim for perfection but do not expect perfection. And do not imagine that this is the most important event in your life! Treat it with a normal attitude.
Nonetheless, it was certainly a good experience for them! I shall organise more of such events in future.
Jipson-Octaviani Piano Duo Recital 12Dec 2011: Review
I had the pleasure of attending the Jipson-Octaviani Piano Duo Recital at the University Cultural Centre last Monday on 12 Dec 2011. The Duo comprises Jipson Quah (son of the renowned Josephine Koh) and Christine OCtaviani (Alumni of Classical Heritage). When Christine first announced that she will be performing in a Duo Recital, I must admit that I was not too impressed. At the back of my mind, I was thinking: “not another shoddily put up Duo” as I had witnessed many times in Singapore in the past.
But boy was I surprised! The recital went totally beyond my expectation. The Duo started with Bach’s keyboard concerto in D minor BWV 1052. The first surprise came when they both appeared in period costumes with matching red and gold colours. Very authentic( but I am pretty sure she didn’t wear a corset!) Ensemble work was 95% spot on, slightly marred by some over-enthusiastic nervous energy. Each movement was given thoughtful, stylistic interpretation. Jipson portrayed a youthful and confident performer.
The first half of the recital ended with a duet entitled ‘Badinages’ by Philip Lane, offering three of the four movements. The changes in moods within the movements were swift and seamless and were aptly conveyed culminating to a dramatic ending. However, the ‘nocturne’ second movement. should have been included in the programme. Imagine playing only the first, third and fourth movements of a Bach Partita. (Do not underestimate the audience’s attention span. Do something to the piece and make the audience listen.)
In the second half, the performers had a wardrobe change, and changed into a more conventional western attire. The programme included Mendelssohn Piano Concerto No. 1 where Christine was the soloist. The double octave start was powerful. Amazing, given that her hands can just comfortably stretch slightly over an octave. Her finger work was remarkably agile and running notes were executed brilliantly, with little effort. The lyrical second subject was beautifully shaped, coaxing a sensitive sound out of the percussion instrument.
And the recital ended with a transcription by Ruthardt of Grieg’s Wedding Day at Troldhaugen. I sensed it was a subtle, hidden message for the performers’ relatives and friends. Yes, the performers are now husband and wife! Many congratulations!
I am filled with awe as I watch them grow as musicians. Both of them have an improved sense of freedom and are naturally more communicative and involved with the music. ( I last heard Jipson in the preliminary round of one of the National Violin and Piano Competition yonks ago!) And knowing how busy their lives are, it is with utter amazement that they were able to pull this off to such a high standard, and with a good entertainment value to boot. In time to come, as they know each other even better, their ensemble will undoubtedly become second nature to them.
Of course, the recital was not without errors: I couldn’t help chuckling in my head when I read that Mendelssohn premiered the concerto in 1931. That would mean that he was then 122 years old!
And I must say, the page turner blended in so well with the background!
Well done Christine and Jipson!
Informal Concert 22April 2011
Graded student performers:
Diploma student performers:
Grades 5-8 (2011-2012) Piano Seminar
The seminars were conducted on the 19th & 26th Oct 2010 for G5-6 & G7-8 respectively.
Look out for future seminars in 'Coming Events' link.
