Wednesday, May 27, 2015

"Passion Classique" avec Olivier Bellamy le 27 Mai 2015 : Interview en direct !

J'ai été l'invité d'Olivier Bellamy dans "Passion Classique" mercredi 27 Mai de 18 à 19:00 sur la station française Radio Classique !

Sunday, May 10, 2015

Intelligente Chopin-Interpretationen

Another great review of my Chopin album in the Pizzicato online magazine. 
"Kotaro Fukumas Spiel ist extrem klar und transparent, so dass man mehr Noten hört als bei vielen andern Pianisten. Gottseidank kommt dabei weder der Eindruck von Technizität noch der von Showmusizieren auf, weil Fukuma die Musik tief in seinem Innern aufsteigen lässt, weil er mit einer phänomenalen Technik und viel Gestaltungsintelligenz den Gefühlsausdruck genau dosiert und ihn mit Spontanität zu unmittelbarer Wirkung bringt. Diese Kongruenz von Manuellem, Geistigem und Seelischen zeichnet ihn als ernsthaften und hochkarätigen Interpreten aus."(♪♪♪♪♪)

Friday, May 1, 2015

A review of my album "Dumka"

Japanese pianist Kotaro Fukuma keeps getting better and better. Turning 33 years old later this year, he landed on the scene in 2005 with a very good Schumann recital on Naxos, and then surveyed Toru Takemitsu’s piano music for the same label. Fukuma moved on to Denon and Editions Hortus, with a couple albums I haven’t heard, before appearing on MusicWeb International’s radar in 2013 with a fantastic Debussy recital.

It’s a joy to watch a young artist elevate his artistry with every new release. This Russian album is yet another step upward. It has some very big names (Mussorgsky’s PicturesIslamey) mixed in with little-known works that deserve the same headline treatment. In memory of his teacher Busoni, Guido Agosti took the three final sections from theFirebird Suite and compressed them for piano. It’s a series of fireworks, especially the Infernal Dance, and Fukuma plays it to the hilt. He’s got virtuosity and panache in spades; if you’re going to listen to the Firebird on piano, it doesn’t get better. I wonder what Fukuma sounds like doing the piano version of La valse.

At the opposite end of the expressive spectrum, we have Tchaikovsky’s Dumka, probably my favourite piano piece by that composer. It’s a longer, more drawn-out and fully developed piece than the dumka dances by Dvorák, and the anguished tone forbids the possibility of Tchaikovsky using one of his trademark balletic melodies. Fukuma shapes his performance beautifully. He does a sensitive job, too, with a lyrical transcription of a Glinka song.
If Kotaro Fukuma isn’t already on your shortlist of young pianists to follow closely, it’s time you added him. If you don’t think that Stravinsky’s Firebird could work on the piano, then you have another think coming.

Brian Reinhart