Shimmering Water

Project "Shimmering Water"

2012-01-22T15:10:00.001+01:00

Here I would like to introduce my recital & recording project, which I will present after the Summer 2012.

CD Series:

1. « Reflet dans l’eau » (Recording in March 2012 in Japan)
C.Debussy/ Deux Arabesques, Images I&II, Estampes, Ondine, La Cathédrale engloutie, Clair de Lune, L’Isle Joyeuse

2. « Jeux d’eau »
Liszt/ Au Lac de Wallenstadt, Au bord d’une Source, Les Jeux d’eau à la Villa d’Este
Ravel/ Jeux d’eau
Griffes / The Fountains of Acqua Paola, The Lake at Evening
Kaski / Die Quellennymphe
Berio/ Wasserklavier
Ichiyanagi/ Inexhaustible Fountain
etc.

3. « Auf dem Wasser zu singen »
Bizet/ Chants du Rhin
Schubert=Liszt/ Liebesbotschaft, Forelle, Wohin, Auf dem Wasser zu singen
Chopin / Barcarolle Op.60
Liadov / Barcarolle Op.44
Fauré / Barcarolle No.1
Mendelssohn/ The Brook, Venezianisches Gondellied II, On the seashore from Lieder ohne Worte
Kaski / Night by the Sea
J.Straus=Schulz-Evler/ Concert Arabesques „An der schönen blauen Donau“
etc.

4. « Suggestions »
Schubert/ Impromptu Op.90 No.3
Ravel/ Sonatine
Scriabin/ Sonate No.2 « Fantasie »
Lutslawski/ Sonata
Rachmaninoff/ Prelude Op.32-5
etc.

The following pieces that I have already recorded commercially may be substitutions in concerts:
Albeniz/ El Puerto, Almeria from Iberia 2nd book
Takemitsu/ Rain Tree Sketch I & II

The following composers have confirmed that they will write a new piece for this project:

Christopher Si (Canada, 1982~)
Francesco Milita (Italy, 1967~)
Thierry Huillet (France, 1961~)
Peter Klatzow (South Africa, 1945~)

These will be added to the project as they become available.

Concept:
Human beings cannot live without water and light and we consume both of these every day as a matter of course. When water shimmers in sunshine, in moonlight or in other kinds of light, it turns into a fantastic phenomenon, which captures human hearts and has inspired many composers to create beautiful music. Interestingly, much of this “watery music” has been written for the solo piano.

The first Chinese character in my first name, “ko＝洸”, suggests light on water. I am much attached to shimmering water and I consider this theme important in my identity. I want to record and perform this program, “Shimmering Water”, in various countries and cities, preferably near water or beside water.

Collaboration, Supports:
I also would like to collaborate with other artists on this theme, such as involving a stage artist, light artist, photographer, painter and others. I hope to keep this project growing through further recordings of other pieces on the same theme, including chamber music.

As I proceed with this project, I will appreciate contacts from others who may be interested in participating, including concert organizers, international CD distributors, sponsors and collaborators. In addition, I will be happy to receive any suggestions or ideas for this project by email here.

Radio Broadcast (Radio Nacional de España)

2012-01-09T23:02:00.000+01:00

Radio Nacional de España (Radio Clásica) has broadcast my premiere performance of "Die Fackel im Ohr" by Francesco Milita (concert on August 21st, 2010 in Santander), which you can hear in the link here.

I have a very special memory of this concert, because I had to prepare this huge work (98 pages, 53 minutes long) within 6 weeks!! But it was a great challenge for me, as the composition has an interesting conception and is full of dramas and poetic moments, suggesting the story of Elias Canetti. You can read the conception in the link here.

The music starts at 17'00, and my favorite is the fourth piece "Berceuse" (21'06-25'00). Hope you'll enjoy listening to it!

Before the New Year arrives...

2011-12-29T02:09:00.002+01:00

Hi everyone. I'm sorry I haven't updated my blog for a long time!

I had quite busy schedule from the beginning of October until middle December.
Well, I had so many wonderful experiences in each venue and would have loved to share them here, but I didn't have enough time and energy. (when it comes to write something, i'm quite slow...(-_-;))
After I came back home 10 days ago, I've been just lazy, and now I feel so guilty, so I will try to write my important experiences of the last three months one by one, maybe a month by an article. Please be patient!

Also I would like to apologize that there was a major problem with my official website early this month that some people couldn't access at all. My web master put the state back to the previous one, even before I updated many sections of the site. So it shows some old information and many things should be updated again. We will try to do it as soon as possible.

In Japan (maybe as many other countries), we have a tradition to clean the whole house before the end of the year in order to welcome the pleasant new year. Although I'm living in Germany, I try to follow the Japanese tradition as well.

In the meantime, I wish you all happy holidays and a wonderful new year 2012, may it be peaceful, successful and full of beautiful music and love! d(^_^d)

yours,
Kotaro

P.S. Here are some new video clips of my piano playing on youtube. Enjoy!
(extracts of my recital "Etudes Li..." on November 16th at the Hamarikyu Asahi Hall in Tokyo)

Liszt : La Campanella
Liszt : La Leggierezza
Liszt : Waldesrauschen
Liszt : Feux Follets
Liapounov : Rondo des Sylphes

24 hours in Ishinomaki

2011-11-24T20:07:00.001+01:00

On November 17^th, the day after my recital in Tokyo, I visited Ishinomaki, where the Tsunami occurred last March. My former teacher at the high school in Tokyo, Mr.Matsuda, was helping the victims in Ishinomaki as a volunteer, and got involved with the Minato primary school, which was used as a place of refuge for several months. Because the school was occupied by refugees and needed some repairs, the school rented some rooms in a junior high school of the same town and reopened. Many of the children and the teachers lost their relatives, friends or their houses, so they needed good mental care. Mr. Matsuda founded an organization to support the school and the children until they move back to its original place.

As he loves music, he asked me to come over to perform for the school children and particiapte in the school for a whole day.

When I arrived in Ishinomaki about 4pm, it was still slightly light. The area around the station seemed pretty much recovered, and I could barely tell that the Tsunami had reached there. However, when Mr.Matsuda took me to the harbour area, the view turned miserable and sad. According to Mr.Matsuda some of the houses still remain completely broken, because all the family members died after the Tsunami, and there is no successor. Many of the factories were also untouched or under the reconstruction. I froze speechless when I saw the beautiful sunset on the harbour and the mountains of tiles, stones and broken cars along the coast.

On the way to the apartment, where I was supposed to sleep, we saw a music store and dropped by. They had also had big damage from the Tsunami and had reopened in August. When Mr.Matsuda told the owner that I was a pianist, he welcomed me warmly and showed me the piano, which was reconstructed after being completely covered by the dirt of the Tsunami. As he insisted, I played on it. („Liebestraum (Love's dream)“ by Liszt) Surprisingly the piano had a good action and a beautiful deep sound! While I was playing, I felt the solid vitality and the soul of the instrument (as if the piano was talking to me...), so tears came into my eyes. In fact all those present were crying at the end.

Then the owner showed me the photos of the piano since Tsunami. More than 20 people (coming from various places of Japan) volunteered for the reconstruction, and it took 6 months to finish it. When it's done, they did a concert with the piano in the Minato primary school, and apparently it became the center of interest in the town, and some media (including TV) reported it. Mr.Matsuda also told me lots of beautiful stories about pianos. When he found a piano under the supplies boxes in the Minato school, he rescued the instrument and played it after the work. The refugees often gathered around piano and enjoyed playing and listening to piano music. Then people from outside also came to play on the piano, as their pianos were not in good shape. Also Mr. Matsuda saw some upright pianos standing on the street in the stricken area short after the Tsunami, while the houses and most of the furniture were destroyed. (Indeed, the frame of piano is quite strong!) So „piano“ has been a special meaning to the local people in Ishinomaki.

The next day, I got up at 6:30 am and had a breakfast with instant bread and coffee. There was no warm water, so I heated cold water and wiped my body. Then we went to Minato primary school and met some children, who were getting on the bus.

I usually like children and enjoy talking and playing with them, but this time, I didn't know how I could behave with them, so I was just quiet in the bus. But a boy of the senior class (12 years old) came and sat next to me. And he looked at my name tag and asked me „are you from Tokyo?“, then we started chatting. I told him that I was going to play piano at the 4^th period, he said „I can also play piano.“ then he continued „I like Rhapsody in Blue, which was used in the „Nodame Cantabile“ (very popular manga -TV drama series-film in Japan, worth checking out!), and practicing for a while, but the music score was carried away by Tsunami...“ Then I lost my words for a second... if I had the same situation when I was 12 years old and lost all my music, I could have been as sad as I lost my relatives and friends. But the boy continued talking calmly.

After we arrived the school, Mr.Matsuda showed me around in the building, and we attended the morning meeting in the gymnasium. There were about 20 people in each Grade, and I was told to attend the senior class, so I was sitting at the end of the line. After the principal introduced me, some children talked to me in a friendly way, then I soon opened up to them. At the end of the meeting, they had a traditional event and did skipping rope and competed between Grades. Believe it or not, I did it, too! (as I belonged to the athletic club in the High school, I have confidence in my legs ;o)) We (6th Grade) lost to the 5^th Grade, but I didn't let down my team when my turn came and had much fun!

The classes were held normally. Mr.Matsuda told me that my job was to support children who don't follow the lesson well. I tried to do my best, but it turned out toward the end that I was just talking with a few children on various subjects! But there were things I learnt from that moment as well.

None of the children told me about their sad background, stories of Tsunami. They were very curious about my life in Germany and as a pianist. Later on Mr.Matsuda said „they just don't want to talk about sad things. It means that their wound is that deep...“.

After rehearsing one hour I gave a small concert in the music room. Although I had given a program to Mr. Matsuda, I changed it while I was rehearsing. So I started with by Bach as a prayer to the victims of Tsunami and the peace, then Chopin's , Liszt , Mizokami , Poulenc , and played short version of by Gershwin, as the story of the boy gave me a strong impression and I wanted to give him a little present.

I talked about the composers, the pieces, my episodes, etc, and had warm applause and gratitude from the audience. It was so cute when the kids went out the room, doing „high five“ with me and said „bye bye“ with a big smile!

I had a lunch with the first Grade kids, and had a joyful conversation with them. I was asked my age and said „guess how old I am.“, then received the answers between „20“ and „38“!!

After attending two classes in the afternoon, I saw the children off in front of the school and accomplished my „mission“. All the teachers thanked me cordially, and I left Ishinomaki around 5pm.

In contrast to the night before, I had rather much positive emotion on that day. I really appreciated all the efforts of the teachers and the support members gave. I shall never forget the cheerful laughter and the twinkling eyes of the children and wish them all the best for their life.

To the 200th anniversary of F.Liszt

2011-10-31T22:50:00.002+01:00

This month I devoted myself to playing Liszt’s music and thinking of him as he was born in October, 200 years ago. I was glad to perform in France and Germany, where Liszt lived at various times and achieved so much as a musician.

It was so nice to be back in Angoulême, where I played in 2005 and 2006. The official pianos of the festival have been provided and maintained by Mr.Gérard Fauvin. He looks and talks like a comedian (what a joyful character he's got!), and it's been always a pleasure to work with him. He kindly wrote an article about me and my recital in his blog (in French).

I was also honored to play at the Hungarian Institut in Paris on the occasion of the Liszt anniversary, and even more honored to replace Mr.Georg Sava (a

Romanian pianist and professor at the Berlin Hans Eisler Music School) for the special concert on the birthday of Liszt in the Schloss Ribbeck!

Ribbeck is about 50km away from Berlin, and the concert was scheduled at 4pm, so I decided to make a day trip with a couple of friends by car. It was a lovely weather, and we enjoyed being in the beautiful and peaceful place!


Schloss Ribbeck


a tree colored by the sunshine, in front of the castle

On the 27th, I visited one of the most important cities for Liszt, Weimar, for the first time. I arrived Weimar at 1pm and took a train at 9:30 pm, so it was quite hectic but meaningful to me.

First I went to VillaAltenburg, where Liszt and Carolyne von Wittgenstein lived together between 1848 and 1860, and Liszt composed a number of his major works. It is also the place, where the « unreasonable agreement » was made between Carolyne and her husband, Russian officier, Prince Nicolas von Wittgenstein in 1852. (In my opinion, this occurrence must have provoked Liszt to compose « Ab Irato »)

It was inspiring to be in the room, where Liszt used to work and play the piano. They were also exhibiting some valuable documents about Liszt such as manuscripts of his sketches. The Villa was open until 31^st of October, so I was lucky to be there in time!

Then I visited Schlossmuseum, Schiller-Museum and Liszt Haus. The Shlossmuseum had an exhibition of antique pianos from 18th, 19th century) and the Schiller Museum had a wonderful exhibition of Liszt. I thought that by visiting this exhibition anyone could understand Liszt's life and appreciate how great he was . I was specially fascinated to see all the gifts that Liszt was offered after giving concerts. As I had read the stories in his biography, I recognized some of them (medals, jewelry, often sculptures of Liszt's face!).


Taken in front of the Schlossmuseum

Liszt house was a revelation to me; the size is even less than half of Altenburg, and apparently he used only the upper floor (he lived partly between 1869 and 1886). Everything seemed so simple and it confirmed that Liszt was a humble man. There was his piano (Bechstein), and they do occasionally concerts, but sadly I was not allowed to play on it.

I then ran to the Musikhochschule to hear the second round of the Liszt Piano Competition. I heard three pianists who played different programs and showed individual interpretation of works by Liszt, Haydn and Michael Jarrell (commissioned piece).

I was fulfilled with my day and took the train, then I realized I made a big mistake...

I left the big poster of Liszt portrait in a Turkish fast food restaurant!

(- -') sigh...

10 years after...

2011-09-11T23:31:00.003+02:00

Today is the 10th anniversary since the September 11th attacks, and I would like to express my sincere sympathy for the victims of the tragedy with the following performance.

At that time I didn't have many friends in New York nor even in the USA, but the terrible images shown on TV broke my heart and frightened me for many days. I still remember clearly that time, because it was a week after I started living in Paris.

I had just turned 19 and was totally inexperienced and ignorant in terms of "living alone" in addition to not being fluent in French, but I had to find an apartment, open a bank account, get a visa, register at the Conservatoire, all by myself. As I had so many difficulties in everything, I thought my life was going to collapse at some point!

Actually, before I left Japan, my father had told me the following:
"if you can't achieve any success on your piano within the next two years, you will have to give up your dream to be a professional pianist and come back to Japan to study something else!"

I don't think I gave a clear answer to it, because I really didn't want to give up my dream, but I often remembered his words in my head, so I forced myself to go forward whatever the problems were and gave all my energy to studying the music and absorbing all that I learned and experienced in my new surroundings.

And at the end of the "two years", I went to the Cleveland Competition -it was my second experience of entering in a big international piano competition- and I won the 1st Prize...to my great surprise!

Suddenly my life changed completely and I started a concert career, remaining a student at the Paris Conservatoire. I confronted some difficulties at the beginning (frequent traveling, different manners and conditions of concert organisation, the vast repertoire I had to learn, concert reviews, etc), but the beautiful encounters and the emotional moments that I had in each place became my good fortune and encouraged me a lot.

When I think of these last 10 years, I can't help but feel very lucky and happy, and say how grateful I am to all people who have supported me and inspired me.

I will keep giving my efforts to make beautiful and magical moments with the music and going on my way with the motto
"一期一会(Ichi-go ichi-e)".

Thank you.
Kotaro Fukuma

Reviews of the concert in Annecy

2011-09-07T13:48:00.003+02:00

Voici les critiques sur mon concert à Annecy.
(English translation below)

Concert Classic

... le Japonais Kotaro Fukuma (29 ans) est une boule de feu qui enflamme le public dans un programme Liszt abouti. Outre une vélocité à bousculer les montagnes (La Chasse, Ronde des Lutins), il fait preuve d’un sens musical sans faille (La Campanella, Un Sospiro) et d’une fluidité sonore accordée à l’esprit des œuvres.
- Michel Le Naour

ConcertoNet.com

... Le pianiste nippon dévoile une sincérité et une délicatesse certaines. Les tableaux se juxtaposent en une fresque pastel. La démonstration technique se mêle à l’inspiration poétique dans les Trois Etudes S 144. La Grande Etude de perfectionnement «Ab irato» se caractérise par une carrure frôlant la rudesse. Fukuma réserve les miroitements de lumière aux Deux Etudes S 145, avant de faire éclater la pyrotechnie de deux des Grandes Etudes de Paganini. Le public est conquis par sa sensibilité.
- Gilles Charlassier

...Japanese pianist Kotaro Fukuma (29 years of age) played a thoroughly accomplished Liszt programme with an inner fire which enthused his audience. Besides his astounding virtuosity (La chasse, Ronde des Lutins) he proved to be a flawless musician (La Campanella, Un Sospiro), always choosing from a vast range of colours the best suited to each piece.

...The Japanese pianist played with utter sincerity and delicacy of feeling. The [Liszt] pieces followed each other as so many juxtaposed scenes in a pastel fresco. Technical virtuosity went hand in hand with poetic inspiration in the three Etudes S 144. The Grande Etude de Perfectionnement Ab irato was rendered with pianistic might appropriately tinged with the roughness of anger. Fukuma suffused the two Etudes S 145 with shimmering light, before projecting a display of pyrotechnics in the two Grandes Etudes de Paganini. His musical sensitivity totally won over the public.

Annecy Classic Festival

2011-09-01T22:20:00.008+02:00

I just came back home from Annecy, where I had a lot of wonderful and beautiful experiences!

On August 29th, I played in the concert "Nuit du Piano" at the Annecy Classic Festival, which featured 4 young pianists -Khatia Buniatishvili, Ingolf Wunder, Hyo-Joo Lee and me. It was a great honor for me to share the concert with them and to play in the Imperial Palace again, which is just by the beautiful lake! The last time was back in the Summer 2003, a week after winning the Cleveland Competition. That was a quite special concert for me, but this time was even more special, because it was my 29th birthday and the last concert before the 10th anniversary of my life in Europe! (I arrived in Paris on September 3rd, 2001)

You can watch the performance here after the free registration (name, email address, the place you are).

I stayed until the end of the festival and enjoyed the environment, making excursions to the lake and to the Mont Blanc - Chamonix with some friends. As the weather was just perfect, the shimmering water and the magnificent Alps enchanted me the whole time!

The last two concerts of the festival were held in the Église Sainte Bernadette and featured the St.Petersbourg Philharmonic Orchestra with Maestro Yuri Temirkanov. Their performance of the Tschaikovsky 5th Symphony was absolutely one of my most profound musical experiences and the climax of my Summer 2011!!

Bravo to all the artists & thank you to the Annecy Classic Festival and its enthusiastic audience!

Broadcast of my performances

2011-08-19T02:01:00.001+02:00

Today I would like to inform the upcoming broadcast of my live perforamances.

1. Deutschland Kultur Radio
WHEN: Monday August 22nd at 8:03p.m.
WHAT: Young Euro Classic Festival (Konzerthaus Berlin)
PROGRAM: Bach/ Piano Concerto in A major with Youth Orchestra of Americas & the conductor Felipe Hildargo
HOW: Go to this page and select one of the streaming systems (Flash, WMP, OGG, MP3) in the right side of the page. The broadcast will automatically start when the file is opened properly.

2. Medici.TV
WHEN: Monday August 29th at 7:30p.m.
WHAT: A piano evening with Khatia Buniatishvili, Ingolf Wunder, Hyo-Joo Lee at the Annecy Music Festival
PROGRAM: Buniatishvili (Liszt), Wunder (Chopin), Lee (Chopin, Ravel), Fukuma (Liszt - Trois Études de Concert, Ab Irato, Deux Études de Concert, La Chasse, La Campanella)
HOW: Go to this page and subscribe either Classic+ or Classic. Go to the page "Live" at the time of the broadcast schedule, then you can watch the entire concert in live!

Kritik vom Konzert in Berlin (Bach Klavierkonzert)

2011-08-18T11:01:00.004+02:00

Hier sind die Auszüge der Kritiken über das Konzert vom 16.08.im Konzerthaus Berlin, in dem ich das Bach Klavierkonzert mit dem YOA Orchester gespielt habe.

...Bachs Klavierkonzert A-Dur BWV 1055, gespielt von dem fabelhaften jungen Japaner Kotaro Fukuma, der sich am Ende dann noch mit einer Franz-Liszt-Zugabe selbst übertraf.
- Berliner Morgenpost (18.08)

...Der Chilene Felipe Hidalgo erweist sich als partnerschaftlicher Begleiter des Japaners Kotaro Fukuma, ChopinPreisträger von 2003, der seine Schule der Geläufigkeit in den Allegros des Klavierkonzerts BWV 1055 von Bach tanzen lässt.
- Der Tagesspiegel (19.08)

The FIFA Women's World Cup

2011-07-20T12:45:00.001+02:00

The last Sunday,　the final match of the FIFA Women's World Cup was held in Frankfurt. I watched it on TV with about 15 friends (including 10 Japanese) in a cafe in Berlin, and we all cheered the Japanese team. Each time the chance and the pinch came, we screamed so loud that the other customers and the waiters were frightened and even the cooks came out of the kitchen!

During the last PK, we held hands each other, forming a circle around the table and sending our spiritual energy... And our wish came true!!

It was the greatest and most emotional football match I had ever seen, and I was fascinated to see how the Japanese team held their toughness and natural self until the last moment of the match. Actually the members saw the video of the Japanese disaster the before the final match and agreed to fight for the victims. So this victory has a lot of meaning to us Japanese.

I would like to thank the Japanese female football team for their wonderful play and their strong and humble attitude throughout the whole event!

Review of my Liszt CD

2011-07-09T12:46:00.000+02:00

Here is the review of my Liszt CD in Musical Opinion.

Mostly these have been recorded before, including by some great pianists, but Fukuma, winner of several international prizes, adds an extreme rarity, Ab Irato. Its impetuous, almost violent staccato triplets sound as angry as the Latin title implies and it was written for the 1840 Fétis and Moscheles Méthode de Méthodes - to which Chopin contributed his Trois Nouv- elles Etudes. But Liszt, as so very often, revised and in this case slightly expanded, and it is the 1852 version, with its hint of Les Préludes, that Fukuma gives us, playing with exactly the right degree of unconquerable fervour.

He is equally though differently impressive in another comparative rarity, ll Lamento, first of the Trois Etudes. This starts like a duo for soprano and tenor voices, then soprano alone, then two sopranos; then it is just the keyboard and Liszt's pianistic ingenuity and nobility of expression here make the item's neglect inexcusable. It is indeed more dramatic and varied than its two companion pieces, La Leggierezza and Un Sospiro, although Fukuma shapes these with the most sensitive rubato.

He does equally well amid the woodland spells of Waldesrauschen and the fantastic legerdemain of Gnomenreigen, which leaves us mainly with the Paganini Etudes, of which he plays the 1851 revision, not the over-elaborated 1838 originals. These in fact open the programme and the beautiful evenness of the tremolos in all registers of the G minor piece suggests the quality of pianism we are going to hear. No.2 is as immaculate as any reading I have heard, delivered with all necessary force when needed and with verve throughout. Perhaps Fukuma does not make the perdendosi of the final bars of No.5 quite so affecting as Kentner did in his 1949 recording (Pearl GEM0148) yet the grace and scintillating delicacy of La Campanella are extraordinary.

Rapsodie espagnole is another transcendental essay yet seems an anticlimax after the high concentration of all the etudes. Also it is somewhat over-extended for its thematic material, there being a degree of virtuoso inflation on Liszt's part here. Yet this is another heroic performance by Fukuma.

By Max Harrison

The Arthur Rubinstein International Master Piano Competition

2011-05-28T17:03:00.002+02:00

This month I took part in the Arthur Rubinstein International Master Piano Competition in Tel Aviv and won the 6th Prize as well as the Prize for the best performer of the Israeli composition! I enjoyed all the stages, encounters and experiences during the competition. I was especially delighted to perform the Brahms 2nd concerto with the Israel Philharmonic Orchestra and Maestro Asher Fisch at the final stage.

You can watch all the performances of the competition here.
(Select the stage -the name of the performer -the piece) or on Youtube.

You can also see many photos of the competition on facebook.

I would like to thank all the people who supported me and listened to my performances during the competition. It was one of the most wonderful experiences in my life!

Charity Concert for the Japan disaster relief

2011-03-22T22:03:00.001+01:00

Last night, I gave a solo recital in Berlin as a charity for the Japan disaster relief. The idea came up from my elder sister, who has been staying in Berlin for five weeks with her children, and recently decided to stay another month in Europe because of the situation in Japan. Some other friends of mine also sent me kind messages, so I was much encouraged and motivated to do such a thing.

On Wednesday night (16th), I sent an email to the owner of the Piano Salon Christophori, Christoph Schreiber, asking if he could organize a charity concert. He called me the next morning and immediately said “We must do it! I've already talked to a few people who could help us for the organization. Send me your program as soon as possible!” So we decided the date and the program, making the advertisement and sent out the information by email, putting information in various websites on the same day (Thursday).

Although we had only 4 days to advertise, many people helped for the advertisement, and I was very touched by the quick and kind reaction of people during the course of preparation.

The Piano Salon Christophori is a piano atelier in Berlin-Wedding (it moved from Prenzlauerberg last year), which has a concert series of piano recital and chamber music, using their antique pianos. I had already played in the Salon about 5 times, and enjoy its casual atmosphere, the unusual and charming pianos (for me) and the public's attention.

When I played the last time (May 29th on the occasion of the both Albeniz's birth- and Balakirev's death anniversary), there were about 120 people. So I was hoping to have about 100 people this time.

Then, I had a great surprise at the concert. There were about 170 people in the audience! I played the works by Bach, Chopin, Liszt and Takemitsu. At the end of the last piece of my program, Litany by Takemitsu, there was a perfect silence lasted more than 30 seconds...it was a very intense and peaceful moment.

As an ancore, I offered the public a "surprise". I accompanied my sister and her children singing a Japanese song “Furusato (hometown)” along with my friend of Bariton singer, Vitaly Yushmanov. Apparently the public enjoyed so much that they gave us a standing ovation and didn't stop clapping for a while. I think it was an emotional moment for all the people who were there.

Even after offering such a nice present to the audience, the children didn't finish their job. They had to collect the donation from the audience and give them a famous “crane origami” made by themselves.

Finaly we were all surprised by the total amount of donation, which was far beyond our expectation! The amount was 3330 EUR (plus a few Turkish coins...it would make it maybe 3333!). I added 50 EUR from my CD sale to it, so I will send the amount of 3380 EUR to the German Red Cross. I will put the certificate on this page later on.

I would like to thank all the people who supported the charity concert and donated generously for Japan. I really hope it will help some people who are still suffering and in great need of help.

Vielen herzlichen Dank für Ihre Unterstützung für Japan! Ich hoffe sehr, dass es einigen Leuten in meinem Heimatland hilft, die immer noch leiden und große Hilfe zum leben brauchen.

Benefizkonzert für die Katastrophenhilfe in Japan

2011-03-17T23:05:00.005+01:00

Die schlimmen Ereignisse in letzter Zeit in Japan bereiten mir sehr große Sorge, und ich habe Mitleid mit den Menschen, die unter dieser Katastrophe leiden.

Seit einigen Tagen habe ich nach Möglichkeiten gesucht, wie ich ein wenig Hilfe leisten kann und habe mich entschieden ein Benefizkonzert in Berlin zu veranstalten. Gestern Abend habe ich Christoph Schreiber, Inhaber des Salons Christopheri, gefragt, ob es möglich wäre. Innerhalb kürzester Zeit haben wir einen Termin für dieses Konzert gefunden.

Wir möchten Sie herzlich zu diesem Klavierabend einladen und hoffen auf Ihre großzügige Unterstützung.

Die Konzertdetails:

Benefizkonzert für die Katastrophenhilfe in Japan
Kotaro Fukuma – Klavierabend ＜Gebet für Japan＞

東日本大地震チャリティーコンサート　
福間洸太朗　ピアノリサイタル　＜被災地への祈りをこめて＞

Datum: Montag 21.03.2011 um 20.30Uhr
Ort: Der Piano Salon Christophori, Uferhallen, Uferstr.8, Remise, 13357 Berlin
(U8 Pankstr., Osloer Str., U9 Nauener Platz)
Christoph Schreiber, 0176 – 3900 7753, www.konzertfluegel.com

Das Programm:
Johann Sebastian Bach
- 1.Contrapunctus aus der Kunst der Fuge BWV 1080
Toru Takemitsu
- Pieces for Children (1. Breeze, 2.Clouds) (1979), Litany II (1989)
Frédéric Chopin
- Nocturne Nr.13 c-moll op.48-1, Ballade Nr.4 f-moll op.52
Franz Liszt
- Il Lamento, La Leggierezza, Un Sospiro, La Campanella, Liebestraum Nr.3

Der Spendenerlös dieses Abends wird durch das Rote Kreuz nach Japan geschickt. Ich wäre sehr dankbar, wenn Sie recht zahlreich an diesem Benefizkonzert teilnehmen und mein Heimatland unterstützen würden!
　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　
皆様からいただく義援金は、ドイツ赤十字を介して日本へお送りさせていただきます。
沢山の方のご来場と、被災者への温かい支援を受け賜りますよう、お願い申し上げます。

Articles in British magazines

2011-03-10T01:13:00.002+01:00

Here are a couple of other reviews on my recital at Wigmore Hall.

Musical Opinion

International Piano (Quarterly)

Carnegie Debut Recital in December!

2011-03-03T17:25:00.004+01:00

The New York Concert Artists & Associates selected me to perform in the Carnegie Hall (Weill Recital Hall) this December, after auditioning about 70 pianists in New York City, Paris and Seoul.

It is a great pleasure and honor for me to perform in New York 8 years after my debut at Lincoln Center (Alice Tully Hall) and at the Carnegie Hall for the first time!

On this honorable occasion, I will play some Bach's art of fugue, Beethoven Op.110, and some fantastic Etudes by Liszt, Ligeti and Lyapunov to celebrate the 200th anniversary of Liszt.

Crítica de Zaragoza

2011-02-18T23:18:00.001+01:00

Aquí la critica de mi ultimo concierto en Zaragoza (5 estrellas!)

Un joven con mucha edad (Heraldo de Aragón, 11 de febrero)

Klavierabend zum 150.Jubiläum der deutsch-japanischen Freundschaft

2011-01-29T00:58:00.003+01:00

Heute möchte ich mein nächstes Konzert in Berlin ankündigen.

Anlässlich des 150-jährigen Jubiläums der Freundschaft zwischen Deutschland und Japan führe ich einen Klavierabend mit deutschen und japanischen Werken auf. Es ist mir eine große Ehre und Freude, wieder im Konzerthaus auftreten zu können. Für diese Gelegenheit habe ich berühmte und wichtige Komponisten beider Länder ausgewählt und ein besonderes Programm zusammengestellt. Jedes dieser Werke eröffnet sowohl einen tiefen Einblick in die unterschiedlichen Schönheiten der Musik beider Länder, als auch in die Seelen und Charaktere dieser Komponisten.

Konzertdetails:
Datum: Samstag, 12. Februar 2011, 20Uhr
Ort: Konzerthaus Berlin Kleiner Saal (Gendarmenmarkt, 10117 Berlin)
Programm :
Robert Schumann / Novelletten Op.21 Nr.1, 2, und 8
Ludwig van Beethoven / Sonate Nr.31 As-dur Op.110
Pause
Joji Yuasa (1929-) / Subliminal Hey J. (1990, Deutsche Uraufführung)
Toru Takemitsu (1930-1996) / For Away (1973)
Toshio Hosokawa (1955-) / Nacht Klänge (1968)
Mutsuo Shishido (1929-2007) / Suite pour le Clavier (1968)

Ticket : 20 Euro / 14 Euro, 10% Ermäßigung für Berechtigte
Tickets an allen bekannten VVK-Stellen,
unter www.konzerthaus.de und unter 030-203 09 21 01

Zum Programm:
Im Alter von 21 Jahren habe ich meine erste kommerzielle CD eingespielt - Schumanns „Novelletten“. Wie der Titel suggeriert, handelt es sich um "kleine Geschichten", mit denen Schumann seiner Geliebten Clara auf romantische Art und Weise vom Alltag erzählt.

Beethovens Sonate Op.110 ist meine Lieblings- und vielleicht seine schönste Klaviersonate. Während man im gesamten Verlauf des Werkes viele Aspekte der Menschlichkeit und Heiligkeit erlebt, nimmt uns das grandiose Finale mit in eine andere Dimension.

Yuasa war ein Kollege von Takemitsu im Kreis der japanischen Musikavantgarde Jikken-Kobo.
"Subliminal Hey J." wurde komponiert für das Aufnahmeprojekt der japanischen Pianistin Aki Takahashi. Sie ließ elf avantgardistische Komponistenfreunde - einschließlich Toru Takemitsu, John Cage, Frederic Rzewski - Beatleslieder aus dem Lennon-McCartney Songbook auf experimentelle Weise bearbeiten.
Yuasa hat das Lied "Hey Jude" ausgewählt und den Titel auf witzige Weise mit seinem eigenen Vornamen (Joji) kombiniert.

Takemitsu ist der berühmteste japanische Komponist des 20. Jahrhunderts. Er selbst hat Musik studiert und wurde durch viele verschiedene musikalische Stile beeinflusst, unter anderem Wiener Klassik, die französische Schule, japanische traditionelle Musik, Jazz und Filmmusik. "For Away" schrieb er kurz nach seiner Reise durch Indonesien, wo er zum ersten Mal die balinesische Gamelan-Musik gehört hatte. Von ihrer Schönheit und ihrem philosophischen Konzept war er sofort begeistert.

Der Name Hosokawa ist heutzutage in der Musikwelt so häufig anzutreffen, wie der Takemitsus, da er von wichtigen Festivals als Gast-Komponist eingeladen wird und Werke für erstklassige Musiker und Orchester schreibt. Seine Musik ist im Wesentlichen von japanischer traditioneller Kunst beeinflusst. Obwohl der Titel "Nacht Klänge" eine ruhige Musik erwarten lässt, erlebt man spannungsgeladene, ungewöhnliche Klänge, welche teilweise auf eine sehr extravagante Art und Weise im Korpus-Inneren des Flügels erzeugt werden, eingebettet in unerwartete, rhythmisch-freie Pausen.

Shishido hat in Paris mit Olivier Messiaen und André Jolivet studiert. Die "Suite pour le clavier" hat eine ungewöhnliche Struktur (Toccata-Adagio-Toccata II), aber zeigt so besonders eindringlich die japanische Seele, ihren Rhythmus und Virtuosität. Als ich dieses Werk bei meinem Debüt-Recital im Lincoln Center gespielt habe, beschrieb es die New York Times anschließend als "a real treat".

Ich würde mich sehr freuen, wenn Sie recht zahlreich an meinem Sonderkonzert in Berlin teilhaben!

Review of my recital in the Wigmore Hall

2011-01-20T01:41:00.002+01:00

The Independent gave me 5 STARS for my Wigmore Hall recital!
Here is the review, which appeared on the 18th of January.

The guru principle holds good in Western classical music as it does in the music of the East. Kotaro Fukuma's programme note suggests he's collected a whole gallery of gurus: if he's drawn the key element from each, he should have crossed Leon Fleisher's Teutonic power with Aldo Ciccolini's Italian finesse, and Richard Goode's serene classicism with Maria Joao Pires's bold Romanticism; Mitsuko Uchida's fastidious intensity with Leslie Howard's virtuosity.

He opened his Wigmore recital with three of Schumann's Novelletten - pieces exploring the piano's texture, and pervaded by a curiously inward mood. Working on a large canvas, and with oils rather than watercolours, he gave each a vivid characterisation. His touch ranged from cantabile sweetness to sinewy muscularity, but there was no forcing of the music's fugitive emotions.

With Chopin's grandest Nocturne (in C minor) followed by his most majestic Ballade (in F minor), Fukuma then took things onto a more exalted plane. The opening of the Nocturne had an imperial spaciousness, with the arpeggiated chords being caressed rather than struck. The Ballade had a nobly singing tone, and its variations finally wound to a blaze of virtuoso magnificence. Perfectly judged and immaculate, this was playing such as one rarely encounters. Fukuma's physical relaxaion was reflected in his consistently beautiful sound.

Then, after using a silk handkerchief to wipe the sweat off the keys, he launched into Liszt, and into the empyrean. First came two concert studies, "Waldesrauschen" and "Gnomenreigen", and I have never heard the latter played with such velvet-pawed brilliance. Then came "Grande Etude de Perfectionnement" and six "Grandes Etudes de Paganini". These electrified Fukuma's packed audience much as Liszt and Paganini must have done theirs. As one finger-breaker followed another, and with his crossed hands moving like humming birds, he delivered this demonic music as though nothing could have been more natural. Everything had an airy lightness, and a bewitching beauty.

Then came three encores, by Liszt, Albeniz, and Chopin: the first and third exquisite, the second full of gutsy southern warmth.
A fabulous artist, and at 28 a prince among peers.

by Michael Church

My worst new year ever!?

2011-01-17T02:02:00.040+01:00

I am sorry I have not updated my blog for some time.

I was very busy at the end of my stay in Japan, but I had a good time there with friends and family. I traveled in Kansai (Western Japan) and visited many beautiful and spiritual places. It was a precious experience for me. I wish I could have stayed for the New Year (正月 sho-gatsu) with my family in Japan, but I had to return to Europe to prepare for my recital in London.

As the Japanese proverb says: a misfortune happens when you least expect it...I encountered several unexpected misfortunes when I returned to Europe.
When I arrived home in Berlin on Dec. 27th, I found water had been leaking from the ceiling of my apartment because of heavy snow! I had to spend time shifting buckets, moving furniture and drying the floor until late night. The next day, someone came to repair the roof, but did not do a good job and the leaking started again after a couple of days break. In the meantime I came down with a cold and couldn't practice for three days.

The worst day was January 1st. I woke up at 7am (after about 4 hours sleep) because of the sound of a "waterfall" and found a stream in the living room...a nightmare!! I called some emergency numbers, but I could reach only the fire department. A fireman came and saw the miserable situation, then told me he could do nothing except to advise turning off the electricity and heating for safety. The roof was finally repaired properly in the late afternoon, but I couldn't stay at home without electricity and heating, so I moved to a friend's home, carrying valuable things. Fortunately the water leaking stopped the next day. You can not imagine how physically and mentally down I felt during this time.

I pulled myself together and flew to London on January 5th and my feelings immediately turned positive when I met some friends and finally could concentrate on my music and not on my series of Berlin disasters.

However, one more accident was to occur just before my performance. One of the hammers of the piano came off as the technician was regulating the voice (sound quality)! That happened at 6:55 pm, just 5 minutes before the doors were to open for the public! The technician and the hall managers ran downstairs, were able to get a hammer from another piano and repaired the concert piano within 15 minutes. The doors were opened at 7:18 pm while I was quickly checking the instrument!

If anyone wonders why I seemed happy on the stage during my performance even after that accident, it was because I was simply happy to perform in Wigmore Hall for the second time and to have such a big audience (nearly a full house!) and also because I had survived the series of misfortunes in Berlin before coming to London. After those experiences, nothing could give me any fear or stress. I was only motivated to enjoy the intense moment of the great music.

I want to thank everyone who supported me for this special concert. I hope to perform in London again in the near future!

New album -Liszt/ Ab Irato-

2010-12-06T09:58:00.002+01:00

I am pleased to announce that my new album has been released in Japan and got a favorable review in the Nikkei News Paper.

Contents:
Grandes Etudes de Paganini
Trois Etudes de Concert
Etude de Perfectionnement "Ab Irato"
Zwei Konzertetueden
Rhapsodie Espagnole
Liebestraum No.3

Description:
Liszt is one of my heroes, and I wanted to make a recording with his piano works prior to his 200th birth anniversary. This CD features fantastic and virtuosic etudes that Liszt wrote for concerts, including Grande Etude de Perfectionnement "Ab Irato", which is fascinating but seldom played. It also has a very interesting background!

Price:
20 EUR + Shipment (Payment by Pay Pal)

You can order the CD here.

I hope many people will enjoy listening to the CD!

Kritik aus Leipziger Volkszeitung

2010-11-27T23:48:00.001+01:00

Ich bekam eine schöne Kritik in Leipziger Volkszeitung über mein Konzert im Gewandhaus Mendelssohnsaal.

„... am überzeugendsten ist der Pianist auch gerade dann, wenn Virtuosität und technische Brillanz im Vordergrund stehen -kraftvoll lässt er es perlen, souverän arbeitet er sich durch kniffligen Kontrapunkt. ...Das Publikum liebt den bescheidenen Virtuosen. Und der hat es verdient.“

Hier ist die ganze Kritik.

My performances in Latin America

2010-11-02T22:05:00.002+01:00

Last month, I had wonderful experiences in Latin America.

On October 14th, I performed the Liszt Piano Concerto No.1 with the YOA Orchestra of the Americas and Maestro Carlos Miguel Prieto in Santo Domingo. This Orchestra consists of young talented musician from North-Middle-South America, and it was so inspiring to perform with them!

From October 21st to 30th, I participated in the BNDES International Piano Competition in Rio De Janeiro. It was my first visit not only in Brazil, but in South America! I enjoyed playing the various music in front of enthusiastic public and was delighted to advance to the final round and perform the Liszt Piano Concerto No.2 with the Orquestra Sinfonica Brasileira and Maestro Joseph Giunta in the gorgeous Theatro Municipal! Finally I had an honor to receive the 2nd Prize.

Both places are so beautiful (especially the ocean!), and I was happy to make good friends. I really hope to go back to Latin America to perform in the future!

If anyone in the Middle-South America has interest to invite me, my agent in Argentina would be happy to be in contact with you.

Ana Maria Gutnisky Sercovich - Representante Artístico
Arenales 1148 - 4 to. Piso “B” Tel/Fax (5411) 4814-0397
(C1061AAJ) Buenos Aires, Argentina
Email:anamarmusik@hotmail.com

Mein Klavierabend im Gewandhaus zu Leipzig

2010-10-19T23:19:00.001+02:00

Heute möchte ich für mein nächstes Konzert in Deutschland Werbung machen.

Es wird mein Debüt im Gewandhaus zu Leipzig sein!

Dies sind die Details:

Datum: Samstag, 20. November 2010, 20 Uhr
Ort: Gewandhaus zu Leipzig, Mendelssohn Saal (Augustusplatz 8, 04109 Leipzig)

Programm:
Johann Sebastian Bach

aus "Kunst der Fuge" BWV 1080

Contrapunctus 1, 2, 7 und 9

Robert Schumann
     Variations sur un theme d'ABEGG OP.1,
     Novelletten Op.21, Nr.1,2 und 8
Frédéric Chopin
     Ballade Nr.1 g-moll Op.23,
     Waltz No.3 a-moll Op.34-2,
     Ballade Nr.2 F-dur Op.38,
     Andante Spianato et Grande Polonaise Brillante Op.22

Eintritt: 15 EUR, 10 EUR (ermäßigt)

Tickets: an allen bekannten VVK-Stellen, unter http://www.gewandhaus.de/ und unter 0341-1270-280

Ich habe die besondere, große Freude und Ehre, dort Bach und Schumann zu spielen, weil sie beide in Leipzig gelebt und große Leistungen vollbracht haben. Daneben wurden beide Werke, die Kunst der Fuge und Novelletten, in Leipzig geschrieben!

Hier können Sie über die Beziehung beider Komponisten zur Stadt lesen. Informationen über diese Stücke finden Sie auf folgenden Seiten:
Kunst der Fuge
Novelletten

Chopin hatte mit Leipzig wenig zu tun, aber große Achtung vor J. S. Bach, insbesondere für seine wunderbare kontrapunktische Musik, und war mit Schumann gut befreundet, obwohl ihre Musik gegensätzlich ist. Chopins Ballade Nr.1 war das Lieblingsstück von Schumann, Chopin wiederum hat die 2. Ballade Schumann gewidmet.

Ich würde mich sehr freuen, wenn Sie recht zahlreich an meinem Debüt im Mendelssohn Saal des Leipziger Gewandhauses teilhaben!

Critique sur mon concert à Aubergenville

2010-10-18T00:25:00.000+02:00

Voici la critique sur mon récital à Aubergenville, qui est apparue dans le Courrier de Mantes au 13 octobre.

Reseña y criticas sobre mi concierto en Santander

2010-09-27T00:40:00.001+02:00

Estos son las reseña y criticas sobre mi concierto en Santander, donde he estrenado la obra de Francesco Milita el 21 de agosto.

Reviews of my recital at the Berlin Konzerthaus

2010-09-24T03:16:00.002+02:00

Here are two reviews of my recital at the Berlin Konzerthaus (August 15th).

Mundo Clasico　(Español)

モーストリークラシック　(Japanese)

Die Fackel im Ohr (The World Première)

2010-08-18T02:49:00.008+02:00

I'm now preparing for the concert in the Festival Internacional de Santander this coming Saturday. Since I will premiere a work by Mr.Francesco Milita, the 1st Prize winner of the Concurso Internacional de Composición Pianística "Manuel Valcárcel", I would like to introduce its interesting concept here.

(The following text is written by the composer.)

Die Fackel im Ohr
24 Wiener Klavierstücke
composed by Francesco Milita

Titles:
1. In flation und Ohnmacht, 2. Der Ausbruch, 3. Die Rechtfertigung, 4. Pension Charlotte (Berceuse), 5. Der Gemmenschneider, 6. Veza (Etude Sentimental), 7. Praterstraße 22, 8. Ecce Homo, 9. Frühe Ehre des Intellekts, 10. Die Herausforderung, 11. Enge, 12. Einladung ins Leere, 13. Fehltritte, 14. Der Pavillon der Irren, 15. Die Schule des Hörens, 16. Das ewige Antliz, 17. Die Briefe im Baum, 18. Das Geschenk, 19. The Raven (Hommage an Edgar Allan Poe), 20. "Le Plaidozer d'un fou", 21. Sturm und Zwang, 22. Flucht (Fuga, Hommage an Felix Mendelssohn), 23. Kant fängt Feuer, 24. Die Frucht des Feuers (Hommage an Frank Zappa)

Concept:
Composed après une lecture de... Elias Canetti, "Die Fackel im Ohr", includes 24 Wiener Klavierstücke, in homage to the Viennese school.
12 of these pieces are composed on a twelve-tone series, with reminiscences of expressionist colour, alternate with the other 12, built on fragments of the same series and subsequent permutations, however characterized by softer harmonic relations.

The emotional intensity that resonates on some pages is a composer's tribute to the great masters of the composition. Pensionne Charlotte, for example, where he transfiguring the Chopin style, or Veza, real romantic studio set on a particular piano technique; Flucht, is the homage to the refined contrapuntal technique of Felix Mendelssohn and die Frucht des Feuers, dedicated to Frank Zappa, was conceived as consequence, indeed, of the Bartok percussive furor, which emerges from the depths of the keyboard.

But the glow of another fire pervades the whole work, so that in each of these 24 preludes, as well as in Canetti's book, we find variations of the same disquiet background: the CHAOS, perpetual threat and valuable nourishment of our inspiration.

It's quite a challenge for me to prepare this monumental work within two months (there are nearly 100 pages, it takes about 55 minutes!), but I've been learning many things and was glad to discover the wonderful literature of Elias Canetti.
¡Naturalmente me alegro mucho también de trabajar con el compositor y de tocar pronto en Santander de nuevo!

My recital in the Konzerthaus Berlin

2010-07-26T12:38:00.008+02:00

Today I would like to do a little publicity for my next concert in Berlin. So I write in German from the next paragraph.

Am Sonntag, 15. August um 15uhr, spiele ich im Konzerthaus Kleiner Saal im Rahmen von Young Euro Classic Klavierfestival. Es ist mir eine große Ehre und Freude, zum ersten Mal im berühmten Konzerthaus spielen zu können.
Zu meinem Programm möchte ich hier einige kurze Erläuterungen geben.

Johann Sebastian Bach – Contrapunctus 1, 2, 7 und 9
aus „Kunst der Fuge“ BWV 1080 (1750)
Jōji Yuasa – Cosmos Haptic (1957)
Tōru Takemitsu – Rain Tree Sketch (1982)
Frédéric Chopin – Ballade Nr. 3 As-Dur op. 47 (1841),
Nocturne Nr. 13 c-Moll op. 48 Nr. 1 (1841),
Ballade Nr. 4 f-Moll op. 52 (1842)

Die Kunst der Fuge ist eine der letzten Kompositionen von Bach und sehr rätselhaft, weil er das Werk (die letzte Fuge) nicht vollendet hat. Man weiß nicht, für welches Instrument er geschrieben hat. Es ist tatsächlich eine große, schwierige Aufgabe, dieses kontrapunktische Werk auf dem modernen Flügel zu spielen. Das ist eine Herausforderung, durch die ich sehr viel lerne, und ich freue mich darauf, ein Konzert mit dieser heiligen, schönen Musik zu beginnen.

Danach spiele ich zwei japanische Stücke. Toru Takemitsu ist vielleicht der bekannteste japanische Komponist im 20. Jahrhundert, aber Joji Yuasa ist auch ein sehr großer Komponist. Er war ein Kollege von Takemitsu, mit dem er oft in der Workshop - Gruppe für die avantgardistische Kunst kurz nach dem 2.Weltkrieg zusammen gearbeitet hat.
Die Kombination dieser beiden Stücke mag ich sehr, weil sie die Beziehung von Kosmos und Natur musikalisch beschreiben und verschiedene Schönheiten von japanischer Kultur zeigen.

Cosmos Haptic von Yuasa wurde nach der Inspiration vom Nō-Teather komponiert, und hat einen schönen Kontrast zwischen den angespannten Akkorden und den zärtlichen Melodien, sowie den systematischen Takten, welche Kosmos und Menschen charakterisieren.

„Rain Tree“ ist ein Titel eines Romans von Kenzaburo Oe, ein bekannter japanischer Schriftsteller. Rain Tree ist ein imaginärer Baum, der die Regentropfen auf den Blättern behält und sie langsam zur Wurzel fallen lässt, so dass der Baum bis zum nächsten Tagen nicht trocken wird. Diese Idee hat Takemitsu so gefallen, dass er 3 Stücke nach dieser Inspiration komponierte. Im Gegenteil von Cosmos Haptic, hat dieses Stück eine entspannende und sinnliche Atmosphäre, aber doch beinhaltet es ein chaotisches Drama.

Zum Abschluss spiele ich drei Werke von Chopin, um sein Jubiläum zu feiern. Sie können mein Tagebuch vom 1.März in diesem Blog nachlesen und bestimmt verstehen, warum ich diese Werke ausgewählt habe.

Ich würde mich sehr freuen, wenn Sie recht zahlreich an meinem Debüt im Konzerthaus teilhaben!

Auf dieser Seite können Sie die Tickets bestellen.

My second recital at the Wigmore Hall

2010-07-09T00:11:00.005+02:00

I am pleased to announce that the date for my second recital at the Wigmore Hall (London) has been confirmed! I will perform the following programme on Tuesday 11th of January, 2011.

R.Schumann/ from the Novelletten Op.21 No.1,2,8
F.Chopin/ Nocturne No.13 in C-minor Op.48-1, Ballade No.4 in F-minor Op.52
F.Liszt/ Zwei Konzertetüden S.145, Ab Irato (Étude de Perfectionnement) S.143, Grandes Études de Paganini S.140

It is a huge honour for me to play short after the New Year in such a prestigious hall, and to celebrate F.Liszt for his 200th birth anniversary as well as the two other composers for their "201st" anniversary!

Radio Broadcast: Schumann Piano Concerto

2010-07-07T18:44:00.005+02:00

The Classical 89 will broadcast my performance of Schumann Piano Concerto with the Utah Symphony and Maestro Lawrence L.Smith tomorrow, Thursday July 8th at 10a.m. and 3p.m. in Utah time (12p.m. & 5p.m. in NY, 6p.m.&11p.m. in Germany, 1a.m.&6a.m. in Japan)

You can listen to the broadcast by clicking here.

There will be my short talk before and after the performance.

Études ''Li...''

2010-07-07T01:21:00.009+02:00

Today, I would like to introduce one of my recital projects for the year 2011 in memory of 200th birth anniversary of Franz Liszt.

Programme: Études "Li..."
Liszt:
-Trois Études de Concert
1.Il Lamento, 2.La Leggerezza, 3.Un Sospiro
-Étude de Perfectionement -Ab irato
-Zwei Konzertetüden
1.Waldesrauschen, 2.Gnomenreigen
-from the Études d'exécution transcendante
3.Paysage, 5.Feux Follets
-from the Grandes Etudes de Paganini
3.La Campanella
Ligeti: -from the Etudes 1st book
1.Touches bloquées, 4.Fanfares, 5.Arc-en-ciel, 6.Automne à Varsovie
Liapunov (Lyapunov):
-from the Etudes d'exécution transcendante
1.Berceuse, 11.Rondo des Sylphes, 12.Elégie en Mémoire de François Liszt

The concept:
These pieces are all etudes that have subtitles and fantastic content (it's not just "studies"to improve one's pianistic skill). I think Liszt is one of the first composers who attempted to create a new horizen of "Etude"to make them played in concerts, and the Etudes of Ligeti and Liapunov were much influenced by Liszt. Putting those etudes together in a program, I accidentaly found a common point of these three composers; their names begin with "Li"!!
I wonder if this is the key to the fantastic concert etudes...

I hope to present this program in many different countries and cities next year!

Contact my general management: Konzertdirektion Lee

Concert Reviews updated

2010-07-07T00:57:00.006+02:00

“Kotaro Fukuma’s performance of Schumann’s Concerto in A was an exercise in elegance and beauty.”
-Salt Lake Tribune, Salt Lake City, July, 10

“Having Fukuma in the final round is a treat. Everything is in his favor, and he’s a real power right now.”
-Deseret News, Salt Lake City, July, 10

“La poésia de la claridad y del color”
-Diario de Sevilla, Sevilla, June, 10

“Fuerza expresiva”
-Heraldo de Aragón, Zaragoza, March, 10

“Fantástico Fukuma”
-La Nueva España, Oviedo, April, 10

“Kotaro Fukuma präsentierte Poesie am Klavier”
-Wilhelmshaven Zeitung, Wilhelmshaven, January, 10

“真のピアノ教養と非凡な技術。満ち満ちたスペイン色、舞曲の微妙なリズムの取り方、マドリッドの下町気分の醸成といったものは、スペイン音楽に関する万巻の書を読破しても表出できるものではないし、メシアンの『幼子イエスに注ぐ２０のまなざし』の演奏における、敬虔なカトリック信仰に根ざした愛の究極の表現など、作品の根幹を理解して初め得て可能なワザだ。そして、そこに高い技術が伴っているところが彼の非凡なところで、その技術が単に指の技術にとどまらず、楽器を芯から鳴らすというベーシックな技術であることに頼もしさ一入だった。“
-月刊ショパン、Tokyo, February, 09

„これはまた闊達な技巧を持つ若手だが、しかしその「凄さ」は「凄み」とは異なる様相を演奏にもたらした。癖も粘りもない清潔さにも結び付いた所以だ。“
-音楽現代、Tokyo, December, 08

„過去に知るどのタイプのピアニストとも異なる逸材。全身の筋肉を無駄なく使った打鍵から高速オクターブもらくらくと弾かれる一方、パッセージは真珠色を帯びる。プリペイドの手法を鮮やかに成功させたユイレ作品の日本初演も忘れ難かった。“
-音楽の友、Tokyo, December, 08

“con un estupendo concierto K.488 traducido con claridad de concepto y espléndidos recursos interpretativos que alcanzaron su mejor momento en el adagio en el que puso bellos acentos expresivos.”
-El Diario Montañés, Santander, August, 08

“Fukuma combines the technical virtuosity with a superb musical sensibility and sensitivity that brings the emotional impact of the works to the surface. The music scene nowadays is overwhelmed with talent and virtuosity but nothing to compare with this young man.”
-The Churchill Society, London, June, 08

“Exceptional pianist offers dash and nuance.”
-Herald Tribune, Sarasota FL, April, 08

“Fukuma is in the first place a man of sound, imperturbable in his pursuit of sonority.”
Thys Odedaal, Hilton, February, 08

“The pianist displayed a faultless technique and musicality of the highest quality throughout.”
-Die Burger, Cape Town, March, 08

“Japanese pianist left an insightful impression of well-considered musical integrity.”
-Volksblad, Pretoria, March, 08

“多彩なタッチを使い分ける、絶妙なバランス感覚が注目された。技巧面で余裕があるうえに、ピュアな美しさが漂っている。”
-音楽の友、Tokyo, February, 08

“武満の作品に影響を与えたドビュッシー、メシアン、ケージの小品が交えられ、その人生が語られてゆく。鋭く美しい音の下に、その神秘さを失うことなく明らかにされてゆき、魅力的に響いた。”
-音楽現代、Paris, September, 07

“Le jeune Kotaro Fukuma compose un programme raffiné, présente chaque oeuvre avec passion, sincérité et humour et joue le tout avec un instinct poétique supérieur.”
-Le Monde de la Musique, Toulouse, September, 07

“Impression soleil levant... ”
-Classic Toulouse, Toulouse, September, 07

“Magico Fukuma”
-Corriere della Maremma, Monte Argentario, August, 07

“第一音がなった瞬間、彼の作り出す音楽のすべてが聴こえた気がした。”
-月刊ショパン、Tokyo, May, 07

“Standing Ovation for brilliant young pianist with extrovert flair”
-Port Elizabeth Herald, Port Elizabeth, September, 06

“In detail and overall architecture, this was an exceedingly fine performance, one which led directly to a desire to hear more from this winsome young pianist.”
-Northeast Wisconsin Music Review, Green Lake WI, July, 06

“An extraordinary Pianist”
-Sanibel Review, Sanibel FL, February, 06

“Just as strong an offering was the young Fukuma’s rendition of the Beethoven third concerto”
-Port Lincoln Journal Star, Lincoln NE, March, 06

“Perhaps the orchestra musicians were a bit inspired by the brilliant playing of the piano soloist Kotaro Fukuma. He seemed totally at ease in Bartok’s Concerto No.2. Fukuma played with great conviction the never slackened.”
-The Post-Star, Glens Falls NY, March, 05

“Japanese pianist impresses audience- His technique was impeccable, and he showed himself to be a gifted lyricist as well.”
-Canton Repository, Canton OH, December, 04

“Young pianist triumphs over program’s challenges. There are times when I really, I mean really, love this job. We’re all going to hear a lot more about him in coming years, or at least we all should.”
-Courier Journal, Louisville KY, November, 04

“Such a fine performance comes only a few times in anyone’s life, even if the person devotes his life to attending concerts.”
-The Post Journal, Jamestown NY, November, 04

“Kotaro Fukuma has already established himself as a concert pianist with a burgeoning international career.”
-The Plain Dealer, Cleveland OH, February, 04

“Kotaro Fukuma has the solid technique one expects of a competition winner. More crucially, he has found a way to avoid the pressure toward interpretive cautiousness that has made the competition circuit so deadly. His performance of the Brahms Sonata No.3 in F minor went farther in the regard of tone palette. In the outer movements and in the Scherzo he played with a weight, articulation and coloristic flexibility that touched on an often overlooked aspect of Brahmsian sensibility, a sense of grandeur couched in terms of sober modesty. And he painted the two Andante movements with a gently seductive tone, complete clarity of texture, and the kind of dynamic gradation that creates the illusion that a work is a breathing organism.”
-The New York Times, New York City, November, 03

Gina Bachauer International Artists Piano Competition

2010-06-27T20:45:00.004+02:00

When I was 14 years old, I took part in the Gina Bachauer Young Artists Competition in Salt Lake City. It was the very first time for me to fly to the USA and perform in an "international" piano competition. I was much inspired and encouraged by the other competitors as well as the jury members throughout the competition.

At that time, I had a passion for music and piano, but I was doing many other things (baseball, track and field, student council and of course, playing with other kids and watching TV!). And my family lived in a condo, where I could play piano until 9p.m.. So the time I spent for the piano practicing was about 2 hours per day, even before coming to the competition.

On the first day of the competition, I was shocked to know that the other contestants (age 14 to 18) were going to play something extremely difficult like Ravel's Gaspard de la Nuit, Liszt's Dante Sonata, Mephist Waltz, Dutilleux's Sonata, Barber's Sonata, etc. And everything I was going to play was shorter than 10 minutes like Liszt/ Waldesrauschen, Schumann/ Aufschwung, Debussy/ Reflet dans l'eau...I even played Poulenc's Novelette No.1, which is a 3 minutes-long easy pretty piece!

So, I immediately thought "I should not have come here!" and didn't even think that I could advance to the final. But I did miracles! I was selected as one of the 12 finalists, and even awarded the 6th prize.

It was so hard for me and my mother to believe this result that we needed to ask each member of juror, why I could win the prize! One of the jury members said "I loved your Poulenc, it was purely beautiful. I also enjoyed the joy of playing music you showed us through your performance!".
Since then the Poulenc's Novelette No.1 has been my favorite and very important piece, and I've never forgotten the importance of the "joy of playing music" at every performance. Also, I started seriously thinking of becoming a professional pianist and working harder. So, it was a very important exprience in my life.

Now I came back to Salt Lake City to take part in the Gina Bachauer Artists Piano Competition (age 19 to 32), and have just been selected as one of the 6 finalists last night!

I'm going to perform the Schumann Piano Concerto on Wednesday June 30th (approx.7:40p.m.in SLC time) with the Utah Symphony and Maestro Lawrence L. Smith, with whom I played Beethoven 3rd in Oregon in the Summer 2004. I realized that this is a perfect opportunity to celebrate the 200th birth anniversary of Schumann, since it's still in the month of his birthday (June 8th)!

What an honor and how exciting!!!

Happy 200th Birthday, R.Schumann!

2010-06-09T16:32:00.016+02:00

June 8th is Robert Schumann's birthday, so there were some special events in Berlin yesterday. But I had to work hard and was too tired to go out afterwards, so I stayed home and celebrated it modestly, listening to one of my favorite CDs of Schumann piano music, which is the recording of my former teacher in Paris, Mr.Bruno Rigutto.

I discovered this CD soon after I started studying with him at the Paris Conservatoire. At that time I was a teanager and had difficulty adjusting myself to the life in Paris because of the lack of my language ability and general knowledge about the life. When I listened to this CD, my heart was so profoundly touched by the emotional playing and the rich and warm sound of Mr.Rigutto that I couldn't help but cry... At the next lesson, I brought him the CD and asked for his autograph. Unexpectedly, he wrote me such a encouraging word; "Pour Kotaro, Magnifique pianiste, très Artiste!" (To Kotaro, magnificent pianist, very artist!) So, this CD has been really one of my treasures!

Bruno Riguto, Schumann, Lyrinx label

(Harmonia mundi distribution)

Schumann/ Variations sur un thème de Clara Wieck Op.14, Fantasie Op.17, Arabesque Op.18, Scène d'enfants Op.15, two transcriptions of his Lieder; Frühlingsnacht and Liebeslied (arranged by Franz Liszt).

further information

I especially like his programming and his way of transitioning from one piece to another. It's really fantastic!

Bravo and thank you very much, Mr.Rigutto and Mr. Schumann!

Crítica en Sevilla 2

2010-06-07T17:08:00.003+02:00

Aquí una otra crítica del concierto en Sevilla.

Gran abanico
(ABC de Sevilla, el 4 de Junio)

Crítica en Sevilla

2010-06-02T22:37:00.005+02:00

Aquí la crítica de mi concierto del Festival de Juventudes Musicales de Sevilla.

La poésia de la claridad y del color
(Diario de Sevilla, el 2 de Junio)

¡Me ha encantado muchísimo, lo que el crítico ha escrito!

Schumann Haus and Bach Museum in Leipzig

2010-05-09T23:39:00.003+02:00

I'm sorry for being lazy to update my blog. I came back to Berlin on May 7th after the concert in Helsinki. I do like travelling around, but coming back home always makes me feel good :-)

Today, I visited a friend in Leipzig and spent a wonderful time. We went to the Schumann Haus and the Bach Museum. As I'm currently working on pieces by these two composers, they were so inspiring to me.

There are at least 6 Schumann Hauses in Germany (Zwickau, Düsseldorf, Bonn, Trier, Metz and Leipzig), but this house in Leipzig is quite important to me, because this is where Robert and Clara lived together after their marriage and Robert wrote his amazing song cycle and his piano concerto for Clara, although he dedicated them to other people (supposedly for friendship?).

I enjoyed discovering the background of the composition of the Piano Concerto and seeing the manuscript of the Fantasy for piano and orchestra, which became the first movement of the Piano Concerto later on.

There were many quotes of R.Schumann, but I especially liked the following, which he wrote in a letter to his former teacher, Mr.Johann Gottfried Kuntsch, in 1832.

"Die Fugen selbst hab'ich der Reihe nach bis in ihre feinsten Zweigen zergeliedert; der Nutzen davon ist groß und wie von einer moralisch-stärkenden Wirkung auf den ganzen Menschen, denn Bach war ein Mann -durch und durch; bei ihm gibt's nichts Halbes, Krankes, ist alles wie für ewige Zeiten geschrieben."

("I have dissected Fugues (by Bach) themselves, one by one, up to their finest branches. The value is great, like a morally fortifying effect on the entire person, because Bach was a man, through and through; with him there's nothing halfway or sick, everything is written as if for eternity.")

The Bach Museum opened this March in front of the St.Thomas Church, where Bach was working as Cantor and Music Director for many years. The building looks symple, but the inside is full of modern technology. It is the most modernized museum of a classical composer I've ever seen! (Well, La Maison Erik Satie in Honfleur was also quite amusing with modern technology.)

I especially enjoyed the special exhibition "Meisterwerke im Wochentakt" (Masterpieces on a weekly basis"), where I could see some parts of his manuscript of cantatas, listen to its recordings with a headphone and read of course its conception and background. I was also amazed to see the family tree of Bach, even though I knew that he had many children (20 in total, but only 10 survived infancy!) . There was a room where you can sit on a comfortable sofa and listen to any work of Bach with headphone, searching by the BWV catalogue or title or instruments. But be careful, it is so relaxing that you can easily forget the time!

Anyway, the visit of those two museums fortified my motivation to work on their music (the Schumann's piano concerto and the Bach's Art of Fugue) enormously!

Criticas de mi gira en España

2010-04-25T10:56:00.006+02:00

Estos son las criticas sobre mi gira artística por España el ultimo mes.

Fuerza expresiva
(Herardo de Aragón, Zaragoza, el 23 de marzo)
Fantástico Fukuma
(La Nueva España, Oviedo, el 1 de abril)
Dominio técnico y perspectiva internacional
(La Nueva España, Gijón, el 2 de abril)

Parece que volveré a tocar en algunas ciudades el próximo febrero.
¡Estoy tan contento!

My general management

2010-04-03T08:45:00.007+02:00

I am pleased to tell you that the Konzertdirektion Lee has become my general management and will present me worldwide (except Japan, South Africa and South America).

Video letter por el público español

2010-03-03T01:52:00.007+01:00

I have a concert tour in Spain from 13th to the end of this month. I'm going to preform in 10 cities, where I've never played before (except Santander!), so I made this video letter to introduce myself and my program to the Spanish public.

Tengo una gira artística por España entre el 13 y el 31 de marzo. Voy a tocar en 10 ciudades, donde jamás he tocado antes (excepto Santander!), por eso he hecho este video letter por presentarme y mi programa al público español. (Lo siento por mi mala pronunciación!)

BGM: My playing of the Eritaña from the Iberia by Albéniz.

Happy 200th birthday, Chopin!

2010-03-01T20:51:00.004+01:00

Hello. I'm sorry that I didn't update my blog more than a month.
I was in Paris last week to work with a couple of teachers and visit friends.

On the last day of my stay, I decided to visit the grave of Chopin in the Pere Lachaise cemetery before going to the last appointment prior to my departure. When I came out from the metro station, it had started raining. So I had to walk in the shower, along the rough stony paths to the grave, without an umbrella but with a suitcase, a backpack and another bag.

As I was approaching the Chopin's grave, the rain got even heavier, as if I was not welcome(!?).
There were some people around the grave, but they soon went away because of the heavy rain. Then I had the privilege to be alone in front of the grave for more than 10 minutes (well, without umbrella...) While my personal praying, the C-minor Nocturne Op.48-1 sounded on my mind, and it seemed to me a perfect situation to hear such profound and grievous music. After the last chord of C-minor followed the beginning of the F-minor Ballade Op.52, which starts calmly with a C-major chord. And then, the rain storm gradually abated... it was absolutely a miracle transition of music and nature!

Here are a couple of photos that I took:

(strangely it doesn't look like it was heavily raining!)

Anyway, I would like to express my deepest respect and gratitude to my favorite Polish composer on his 200th anniversary.

Bon anniversaire et merci beaucoup pour votre grande contribution musicale au monde, Chopin!

New video clips of my performance on Youtube

2010-01-19T17:13:00.002+01:00

PTNA (Japanese Piano Teachers National Association) has put some video clips from my recital at the Saitama Arts Theater on November 28th last year.

Here are the details and its links.
Bach/ Art of the Fugue -Contrapuncti 1,2
Bach/ Art of the Fugue -Contrapuncti 7,8,9
Scriabin/ 2 Poems Op.63
Scriabin/ 7th Sonata Op.64
Glinka=Balakirev/ Skylark
Balakirev/ Islamey

I hope you'll enjoy watching them!

Happy New Year 2010!

2010-01-01T19:02:00.000+01:00

I wish you everyone a wonderful new year with peace, good health, happiness and prosperity!

I visited St.Petersburg between December 18th and 23rd (First time in Russia!), and spent the Christmas and New Year's Eve with some friends in snowy Berlin.

Now I'm working on the program of my first recital this year (Jan.9th in North Germany) which features the anniversary composers this year -Schumann (200th birth), Chopin (200th birth), Albeniz (150 birth), Balakirev (100 death) . I feel like celebrating those composers everyday by practicing their pieces!

My new album

2009-12-11T17:29:00.002+01:00

My new album has released in Japan this October. This is the live recording of my recital at the Toppan Hall on April 26th, 2008, where I played Haydn Sonata No.39, Schumann Carnaval, Faure 2 Nocturnes, Scriabin Sonata No.3, and Schumann=Liszt/ Frühlingsnacht (as an encore). You can purchase it through my website. Here is the detail.

My new blog opened!

2009-12-08T13:59:00.007+01:00

Hello. I have created a blog of my own, in which I will mainly bring you news about my concerts and myself. Basically, I use English here but when the message is addressed to the people in a specific country, I will try to write it in their language (only if I can!). I will also put some photos and short videos occasionally.
I hope you will enjoy my new blog. Thank you!

Kotaro Fukuma