Thursday, November 24, 2011

24 hours in Ishinomaki

On November 17th, 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 4th 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 5th 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.

Sunday, September 11, 2011

10 years after...

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

Saturday, May 28, 2011

The Arthur Rubinstein International Master Piano Competition

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!

Thursday, March 3, 2011

Carnegie Debut Recital in December!

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.

Friday, February 18, 2011

Crítica de Zaragoza

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

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

Saturday, January 29, 2011

Klavierabend zum 150.Jubiläum der deutsch-japanischen Freundschaft

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!

Thursday, January 20, 2011

Review of my recital in the Wigmore Hall

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