Nobuyuki Tsujii International Fans

Nobuyuki Tsujii is on tour with Orchestre Philharmonique de Strasbourg in Feb 2017
One of the six performances took place on February 12 20:0 at the Graf-Zeppelin-Huas Friedrichshafen, Germany
Concert information

The following article was posted by the German regional newspaper Südkurier on February 13. The English translation was generated by Google, touched up slightly by me in the paragraphs relevant to Nobu's performance.
The original article can be read here:
http://www.suedkurier.de/region/bodenseekreis-oberschwaben/friedrichshafen/Japanischer-Pianist-Nobu-Tsujii-brilliert-in-Friedrichshafen;art372474,9129222

Japanese pianist Nobu Tsujii Brilliant in Friedrichshafen
The Japanese pianist cannot see the light of day. This does not detract from his close collaboration with the Orchester philharmonique de Strasbourg at the GZH. Conductor Marko Letonja does not give the orchestra any reins, but leaves the musicians a lot of space to interpret.

With the program of its last subscription concert, the Orchester philharmonique de Strasbourg started a small tour through Germany and Switzerland, stopping in Friedrichshafen on Sunday evening.
With fast, rising Fortissimo violin strings, answered by hectic woodwind syncopations, the first bars of the concerto "Le Corsaire" captured the listeners. In the music of the Frenchman Berlioz, which goes back to a story by Lord Byron, the musicians from Strasbourg shone with a deeply impressive homogeneity. Only with small movements did chief-officer Marko Letonja form the mood of the whipping sea-storms, but also the soul-storms of the corsaries internally interspersed with sensitive depth and combative determination. After the agogically uniform string adagio, many changes in dynamics and accent shifts, radiantly bright sheet metal with the main theme, a powerful tutticlang in the Coda led to the crowning conclusion.

With a powerful, full-grip crash over six octaves, Nobu Tsujii began the concerto for piano and orchestra in A minor by Edvard Grieg. The winds were replaced by the catchy, punctured main theme. The string of the orchestra received him sonorously, and after an increase to the piano, the assignment was prepared for the soloist. He took the lead in a calm flow, changed to a vocal character, interpreted the side theme cheerful and playful. In the performance, the main lyric theme was played by delicate piano orchestras. Beautiful dialogues with the Soloblazers followed.

After a Fortissimo outburst of the otherwise sensitive orchestra one marveled at the virtuosity in the octave-rich cadence. Until here nothing unusual for a master concert. But Nobu Tsujii, born in Tokyo in 1988, is blind from birth. Working with the orchestra is no problem for him. "I feel the conductor breathing, I do not have to be able to see the baton to get the assignment." Thus the interplay in the second movement between the muted strings and the fine-tuned ornaments in the piano treble was all the more fascinating. With skillful articulation and sharp accents, the orchestra and soloist succeeded in bringing the Norwegian color to flower in the dancer's third movement. Intense strings, high wind chords, blazing brass fanfares and intoxicating piano scales in the Coda led to the never-ending applause. Thus, after the first movement of the "moonlight sonata," Nobu Tsujii gave Chopin's "revolutionary drama" as a second encore in bravura.

The Symphony No. 3 in E flat major by Robert Schumann, with the nickname "Rheinische", combines a volksnahes color with classical gestaltungsmitteln and romantic Gestus. The orchestra, with its French elegance, gave the life-affirming theme in the opening sentence, which had already been written with "Lebhaft". Humorous, far from the raging Scherzo of a Beethoven, the rural-like second sentence. Great praise to the excellent horn quartet in the lyric composition! The clarinets and bassoons, with a dreamy intensity, described the mood in the third movement "Not fast".
A homophonic brass choral opening opened the fourth movement "ceremonial". The recurring, now figurated chorale, after fugue-like sections. Great the return in the gloomy fading Coda.
In the fifth set, the return in full tutti to the serene basic mood succeeded with great playfulness. After a repeated recourse to the preceding chorale of the fourth movement, a grandiose, fast-paced coda decided the symphony. A lot of applause for a memorable performance under the conductor Marko Letonja, who gave his musicians a wide space for free interpretation.

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The German text of the original article is preserved below- for archival.
Japanischer Pianist Nobu Tsujii brilliert in Friedrichshafen

Dem japanischen Pianist fehlt das Augenlicht. Das tut seinem engen Zusammenspiel mit dem Orchestre philharmonique de Strasbourg im GZH aber keinen Abbruch. Dirigent Marko Letonja legt dem Orchester zudem keine Zügel an, sondern lässt den Musikern viel Raum zur Gestaltung.

Mit dem Programm ihres letzten Abonnementkonzerts startete das Orchestre philharmonique de Strasbourg eine kleine Tournee durch Deutschland und die Schweiz in Friedrichshafen am Sonntagabend.

Mit schnellen, aufsteigenden Fortissimo-Violinläufen, beantwortet von hektischen Holzbläser-Synkopen, packten die ersten Takte der Konzertouvertüre "Le Corsaire" die Zuhörer. In der Musik des Franzosen Berlioz, die auf eine Erzählung Lord Byrons zurückgeht, glänzten die Musiker aus Strasbourg mit einer tief beeindruckenden Homogenität. Nur mit kleinen Bewegungen formte Chefdirigent Marko Letonja die Stimmung der peitschenden Meeresstürme, aber auch die Seelenstürme des innerlich zwischen empfindsamer Tiefe und kämpferischer Entschlossenheit gespaltenen Korsaren. Nach agogisch einheitlichem Streicheradagio, vielen Wechseln in der Dynamik und Akzentverschiebungen, strahlend hellem Blech mit dem gedehnten Hauptthema, führte ein kräftiger Tuttiklang in der Coda zum krönenden Abschluss.

Mit einem kraftvollen, vollgriffigem Absturz über sechs Oktaven begann Nobu Tsujii das Konzert für Klavier und Orchester a-Moll von Edvard Grieg. Zurückgenommen stellten die Bläser das eingängige, punktierte Hauptthema vor. Von den Streichern sonor aufgenommen, nach einer Steigerung ins Piano zurückgeführt, wurde der Einsatz für den Solisten vorbereitet. Dieser übernahm in ruhigem Fluss die Stimmführung, wechselte zu gesanglichem Charakter, gestaltete das Seitenthema heiter und verspielt. In der Durchführung wurde das nun lyrische Hauptthema von zarten Klaviergirlanden umspielt. Schöne Dialoge mit den Solobläsern folgten.

Nach einem Fortissimo-Ausbruch des sonst feinfühlig begleitenden Orchesters bestaunte man die Virtuosität in der oktavenreichen Kadenz. Bis hierhin nichts Ungewöhnliches für ein Meisterkonzert. Aber der in Tokio 1988 geborene Nobu Tsujii ist von Geburt an blind. Die Arbeit mit dem Orchester ist für ihn eigentlich kein Problem. "Ich spüre, wie der Dirigent atmet, ich muss den Taktstock nicht sehen können, um den Einsatz zu bekommen." So faszinierte das Zusammenspiel im zweiten Satz zwischen den gedämpften Streichern und den feingliedrigen Verzierungen im Klavier-Diskant umso mehr. Mit gekonnter Artikulation und scharfen Akzenten gelang es Orchester und Solist, die norwegische Farbe in dem tänzerischen dritten Satz zum Blühen zu bringen. Intensive Streichertremoli, hohe Bläserakkorde, schmetternde Blechbläser-Fanfaren und berauschende Klavierskalen in der Coda führten zum nicht enden wollenden Applaus. So gab Nobu Tsujii nach dem ersten Satz der "Mondscheinsonate" in bravourösem Spiel die "Revolutionsetüde" von Chopin noch als zweite Zugabe.

Die Sinfonie Nr. 3 Es-Dur von Robert Schumann, mit dem Beinamen "Rheinische" verbindet volksnahes Kolorit mit klassischen Gestaltungsmitteln und romantischem Gestus. Schon im mit "Lebhaft"überschriebenen Eröffnungssatz vermittelte das Orchester mit französischer Eleganz das lebensbejahende Hauptthema. Humorvoll, weit weg vom tobenden Scherzo eines Beethoven, der ländlerartige zweite Satz. Großes Lob dem hervorragenden Hornquartett im lyrischen Mittelsatz! Sehr schlicht und beschaulich schilderten die Klarinetten und Fagotte mit verträumter Intensität die Stimmung im dritten Satz "Nicht schnell".

Ein homophoner Blechbläserchoral eröffnete in großem Bogen den vierten Satz "Feierlich". Nach fugenähnlichen Abschnitten der wiederkehrende, jetzt figurierte Choral. Großartig die Rücknahme in der düster verklingenden Coda.

Mit großer Spielfreude gelang im fünften Satz die Rückkehr in vollem Tutti zur heiteren Grundstimmung. Nach nochmaligem Rückgriff auf den vorangegangen Choral des vierten Satzes beschloss eine grandiose, schneller werdende Coda die Sinfonie. Viel Applaus für einen im Gedächtnis bleibenden Auftritt unter dem Dirigenten Marko Letonja, der seinen Musikerinnen und Musikern breiten Raum zur freien Gestaltung gab.

The following article was posted on http://www.schwaebische.de/ on February 13. The English translation was generated by Google, touched up slightly by me in the paragraphs relevant to Nobu's performance.
The original article can be read here:
http://www.schwaebische.de/panorama/kultur_artikel,-Das-Orchestre-Philharmonique-de-Strasbourg-zu-Gast-am-See-_arid,10614256.html
Schwäbische.de
CULTURE
13.02.2017 von Katharina von Glasenapp
Orchester Philharmonique de Strasbourg guests at the lake

Photo caption: Here are other senses: the blind pianist Nobu Tsujii relies entirely on his hearing. (Photo: Imago)

Friedrichshafen sz
The blind pianist Nobu Tsujii and the orchestra inspire with their intimate interplay in Friedrichshafen.

Numberous young musicians, a warm dark orchestral sound, a thrifty but effective choral conductor and, above all, a touching soloist: these are, in short, the characteristics of the concert of the Orchester Philharmonique de Strasbourg in the Graf Zeppelin House. The Slovenian conductor Marko Letonja , the Alsatian orchestra and the Japanese blind pianist Nobu Tsujii, who was born blind, forged an extraordinary symbiosis.

Great romantic music was on the agenda: at the beginning, the concertoure "Le Corsaire" by Hector Berlioz, the French master of the instrumentation, roused roaring swirls of strings and winds. The reading of Lord Byron's verses over a wild pirate, outlawed by the company, had excited Berlioz to this storm-whipped music.

No Need for Words
Then conductor Marko Letonja led the pianist Nobuyuki Tsujii to the piano: as soon as the 28-year-old sat on the piano stool, he gauged the width of the keyboard, swung to the pulse of the orchestral prelude. Then he himself becomes the music, the sound; plunges into the orchestra, listens, senses the breath of the musicians and the conductor, relies on other vibrations.
Much of it is incomprehensible anyway: How did he learn this by means of a few musical scores in braille and special recordings, in which the left and the right hand were recorded separately? The astonishment grows when listening to romantic music such as the piano concerto by Grieg with all its emotional turmoil and rubati. Nobu Tsujii takes advantage of all the possibilities, plays in the choral passages with bright chiselled sound and strong bass, displays the finest pianissimo, as he becomes part of the orchestra. In the slow movement he expresses himself in an intimate intercourse with the strings. In the finale he is the leader in a cheerful vibrant dance, which brings many pianists to their limits.
Soloist, conductor, orchestra are one, all the antennas are aligned, the pulse and the breath are flowing. The artist gives his enthusiastic audience two encores: He shows wonderful nuances in Beethoven's "Moonlight Sonata", in the "Revolution" of Chopin the sound of a volcano breaks out.

A few kilometers downstream, the Strasbourg musicians and their sympathetic chief-conductor Marko Letonja go with Schumann's 3rd symphony. Schumann composed her during his early days as a city music director in Düsseldorf, but she still has a dark background in all the blossoming melodies.
Letonja emphasizes this still by the seating arrangement, the celli and violas placed in the middle and the contrabasses behind the first violins. The large strings, the moving woodwinds, the solemn horns, trombones and trumpets form a compact, warm, yet radiant sound body. The 55-year-old conductor from Slovenia, who also works in Australia , leads his orchestra unobtrusively, but without a clear structure, and in the finale, revives Rhenish cheerfulness.
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The German text of the original article is preserved below- for archival.

Das Orchestre Philharmonique de Strasbourg zu Gast am See
Schwäbische.de
Kultur
13.02.2017

Hier zählen andere Sinne: der blinde Pianist NobuTsujii verlässt sich ganz auf sein Gehör. imago
Friedrichshafen sz Der blinde Pianist Nobu Tsujii und das Orchester begeistern mit ihrem innigen Zusammenspiel in Friedrichshafen.

Viele junge Musikerinnen und Musiker, ein warm dunkler Orchesterklang, ein sparsam und doch effektiv agierender Dirigent und vor allem ein berührender Solist: Das sind, kurz skizziert, die Charakteristika im Konzert des Orchestre Philharmonique de Strasbourg im Graf-Zeppelin-Haus. Der slowenische Dirigent Marko Letonja, das elsässische Orchester und der japanische, von Geburt an blinde Pianist Nobu Tsujii gingen eine außergewöhnliche Symbiose ein.

Große romantische Musik stand auf dem Programm: Zu Beginn erweckte die Konzertouvertüre „Le Corsaire“ von Hector Berlioz, dem französischen Meister der Instrumentation, brausenden Wirbel von Streichern und Bläsern. Die Lektüre von Lord Byrons Versepos über einen wilden, von der Gesellschaft geächteten Piraten hatte Berlioz zu dieser sturmgepeitschten Musik angeregt.

Inniges Zwiegespräch

Dann führte Dirigent Marko Letonja den Pianisten Nobuyuki Tsujii zum Flügel: Seine Blindheit wird nebensächlich, sobald der 28-Jährige auf dem Klavierhocker sitzt, den Abstand zur Klaviatur ausgerichtet hat, sich im Puls des Orchestervorspiels eingeschwungen hat. Dann wird er selbst zu Musik, zu Klang, taucht ein ins Orchester, lauscht, nimmt den Atem der Musiker und des Dirigenten wahr, verlässt sich auf andere Schwingungen.

Vieles ist ohnehin unbegreiflich: Wie hat er das gelernt anhand weniger Notenausgaben in Brailleschrift und spezieller Tonbandaufnahmen, in denen die linke und die rechte Hand getrennt aufgenommen wurden? Das Staunen darüber wächst, wenn man ihn romantische Musik wie das Klavierkonzert von Grieg mit all ihren emotionalen Aufwallungen und Rubati spielen hört. Nobu Tsujii schöpft alle Möglichkeiten aus, spielt in den Akkordpassagen mit hellem gemeißeltem Klang und starken Bässen, findet ebenso ins feinste Pianissimo, wenn er gleichsam Teil des Orchesters wird. Im langsamen Satz verströmt er sich im innigen Zwiegesang mit den Streichern, im Finale ist er der Anführer in einem heiteren Springtanz, der schon sehende Pianisten an ihre Grenzen bringt.

Solist, Dirigent, Orchester sind eins, alle Antennen sind aufeinander ausgerichtet, Puls und Atem fließen. Zwei Zugaben schenkt der Künstler seinem begeisterten Publikum: Wunderbare Anschlagskultur zeigt er in Beethovens „Mondscheinsonate“, in der „Revolutionsetüde“ von Chopin bricht ein klingender Vulkan aus.

Ein paar Kilometer flussabwärts begeben sich die Straßburger Musiker und ihr sympathischer Chefdirigent Marko Letonja mit Schumanns 3. Symphonie. Schumann hat sie während seiner anfangs noch glücklichen Zeit als Städtischer Musikdirektor in Düsseldorf komponiert, trotzdem hat sie bei allen blühenden Melodien einen dunklen Grundklang.

Letonja betont dies noch durch die Sitzordnung, die die Celli und Bratschen in der Mitte postiert und die Kontrabässe hinter den ersten Geigen. Die große Streichergruppe, die beweglichen Holzbläser, die feierlichen Hörner, Posaunen und Trompeten bilden so einen kompakten, warmen, gleichwohl strahlenden Klangkörper. Der 55-jährige Dirigent aus Slowenien, der parallel viel in Australien wirkt, führt sein Orchester unaufdringlich und doch ungemein klar strukturierend und lässt im Finale die rheinische Fröhlichkeit aufleben.

This summer, Nobu will once again perform in a Premium Recital series in Japan. Unlike his regular recital tours, these premium recitals are held in smaller venues renowned for their acoustics and designed for a more intimate atmosphere between the artist and the audience.

Nobu's previous Premium recitals:
2015 Chopin/Liszt Premium Recital Tour
2014 Ravel Chopin Premium Recital

The schedule of the 2017 premium recital performances has not been revealed, but one performance -- in Nagoya on July 19 -- has been announced and in fact tickets for it have already sold out by now. Thanks to the announcement of that performance, we know what's on the recital's program. This page explores the works on that program.

As you can see, these works are not for the faint-hearted. I am happy that even with his full schedule, Nobu continues to expand his repertoire to include these super-challenging pieces, but, honestly, this program make me blanch ... I cannot imagine keeping all those notes in my head, let alone playing them non-stop!

♪ January 27 "Premium Recital" program revealed
http://tokai-tv.com/events/sp2017tsujii/

辻井伸行　プレミアム・リサイタル
ドビュッシー：映像第1集
（水に映る影／ラモーをたたえて／動き）
ドビュッシー：喜びの島
リスト：超絶技巧練習曲集より
第5曲鬼火
第11曲夕べの調べ
第4曲マゼッパ
ベートーヴェン：ピアノ・ソナタ第8番《悲愴》
ベートーヴェン：ピアノソナタ第30番
Debussy: The First Image Book (Shadow reflected in water / Hommage to Rameau / Movement); Island of Joy
Liszt: From the Transcendental Etudes (The 5th etude Wizard; 11th etude Evening Study; 4th etude Mazeppa)
Beethoven: Piano · Beethoven: Piano Sonata No. 30
The Liszt etudes and Beethoven sonata no. 30 are new to Nobu's repertoire.

Debussy

The First Image Book

Nobu performed Debussy's The First Image Book at the 2009 Cliburn Competition. But he has not performed these pieces again since.

Island of Joy
This was on Nobu's 2012 recital program and also on his 2013 Nobuyuki Tsujii plays Debussy album.

Liszt: Transcendental Etudes

Anything written by Liszt is a technical challenge, but the transcendental etudes are considered among the most so. In 2016, pianist Deniil Trifonov recorded the entirety of these twelve etudes (and more) in a critically acclaimed album. Here, Nobu has chosen to perform three of them, including the No. 4 and No. 5 -- considered among the most difficult.

Étude No. 5 (Feux follets) in B-flat major

Étude No. 11 (Harmonies du soir) in D-flat major

Étude No. 4 (Mazeppa) in D minor

BEETHOVEN

Sonata No. 8 "Pathetique" This work was on a recital program of Nobu in the past, and part of his performance has been shown on Japan TV, such as on the"Untitled Concert" TV show aired in Japan on March 27, 2016.

Sonata No. 30
This sonata is new to Nobu's repertoire. It is the third to the last compositions written by Beethoven. "This sonata seduces the listener with its intimate, less dramatic character and distinguishes itself by its special lyricism, 'melodic and harmonic beauties' and ornaments and arabesques hinting at Chopin" -- wikipedia

Nobu's premium recitals are highly popular in Japan. Sadly, those of us elsewhere may not get to hear this program live, but let's hope footage of some performance may be seen on video. Please stay tuned.

The following article, "le pianiste Nobuyuki Tsujii triomphe dans le concerto de Grieg," appeared on February 14 in "Alsace Latest News." on the news portal http://www.dna.fr/
The original article is in French and can be read here:
http://www.dna.fr/edition-de-strasbourg/2017/02/14/le-pianiste-nobuyuki-tsuji-triomphe-dans-le-concerto-de-grieg
Below is an English translation of the text.

View - STRASBOURG - With the Philharmonic

The pianist Nobuyuki Tsuji triumphs in the Grieg concerto

Image by Yuji Hori

Romantic music last week at the Strasbourg Philharmonic: Schumann's Rhineland Symphony announced the orchestra's tour in Switzerland and Germany. And the Japanese pianist Nobuyuki Tsuji triumphed in Grieg's concerto.
The opening of Berlioz's Corsair introduced the program of the mid 19th century. The start in galloping speed is followed by gentle themes that characterize female figures, which explains the contrasts that the French composer did not try to erase.

OPS to tour soon

The second part features the 3rd symphony of Schumann, written in 1850 when the musician moved from Leipzig to Düsseldorf. The work is a reference to the river near which he moved. Two movements make a precise allusion to it: The second would have been entitled "one morning on the Rhine," and the fourth, the penultimate, had a solemn ceremonial. Some have seen in its theme a figuration of the Gothic arrow of the Cathedral of Cologne.

But even the movements of rapid movements call for fluidity. From Friedrichshafen to Basel and from Düsseldorf to Mannheim, after Strasbourg, the orchestra will do well, judging by its interpretation of the Rhineland.

Grieg's piano concerto in A minor was written when the Norwegian musician was 25 years old. He had worked in Leipzig with Clara Schumann and we found in the first measures a kinship with Schumann's concerto of the same tone. However, Grieg was able to emancipate himself by introducing into his work specific characteristics of the music of his Nordic country.

Prodigy

The evening's interpreter, the Japanese pianist Nobuyuki Tsujii, blind, astonished on his first visit to Strasbourg. Marko Letonja led him in thoughtful gestures towards his place, in front of the keyboard. Nobuyuki is the first Asian to have won the Van Cliburn contest eight years ago in the United States, crowning the best of the best.

In the concerto, his interpretation does not lack in power and is also completely identified with the lyrical aspects of the content. On Thursday, the public and the orchestra applauded it, and they were thanked by two encores, the Fir of Sibelius and the famous La Campanella of Liszt. The pianist will also be an asset on the orchestra's Rhine tour.
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(This review is now included in a collection of Critic's Reviews)

The following article appeared on Feb 16 2017, and the text is preserved here for archival. The original article, in English, can be read here:
http://the-japan-news.com/news/article/0003512227

‘Untitled Concert’ to reach 2,500th installment

Japan News, Yomiuri Shimbun

10:30 am, February 16, 2017

By Yukiko Kishinami / Japan News Staff Writer“Daimei no Nai Ongakukai” (Untitled Concert), a popular classical music TV show, will reach its 2,500th installment on March 5.
Ahead of the milestone, the program will celebrate the achievement with two broadcasts of a concert performance filled with youthful exuberance, to be aired on Feb. 19 and 26.
The 30-minute program is broadcast on the TV Asahi network from 9 a.m. to 9:30 a.m. every Sunday and repeated from 11 p.m. to 11:30 p.m. the following Sunday on BS Asahi.
The weekly show was first aired in August 1964. In 2009, it was acknowledged by the Guinness World Records as the world’s longest-running classical music TV program.
The show has introduced classical music to a wider audience thanks largely to the friendly and inclusive manner of its hosts. Presented by composer Toshiro Mayuzumi in its first 33 years, subsequent hosts have included illustrious musicians, including composer Kentaro Haneda and conductor Yutaka Sado, and other well-known TV personalities.

The current host, violinist Ryu Goto, is the youngest person to present the show — he replaced Sado in 2015 when he was 27. Goto is the younger brother of violinist Midori Goto, the equally gifted musician known internationally simply by her first name. Compared to previous presenters, who were all eloquent hosts, Goto is soft-spoken but has added youthfulness and a fresh perspective to the show. TV Asahi announcer Yumiko Matsuo serves as Goto’s copresenter.
The performances for the two specials were recorded on Feb. 2 at Suntory Hall in Minato Ward, Tokyo, and featured some of classical music’s budding stars. The packed audience included classical music lovers who won tickets for the event. The theme of the concert was “update.”

Organist Masato Suzuki opened the Feb. 19 program, setting the festive mood by playing Bach’s Prelude for organ in E-flat major from the Clavier-Ubung III on the venue’s pipe organ.
Andrea Battistoni, the young chief conductor of the Tokyo Philharmonic Orchestra, took the baton for the fourth movement from Beethoven’s Symophony No. 9 “Choral.” The four soloists, soprano Ai Ichihara, mezzo-soprano Kasumi Shimizu, tenor Satoshi Nishimura and baritone Kei Yonashiro, were joined by the New National Theatre Chorus.
Pioneering projection mapping artist Bart Kresa added visual glamour to the symphony’s performance, with colorful, ever-changing images displayed on the pipe organ above the stage.
Up-and-coming soloists

The second half of the concert, which will be broadcast on Feb. 26, featured a dozen up-and-coming classical music stars. The young Japanese instrumentalists are all prize-winners of prestigious music competitions and are steadily developing their careers as soloists. Among them are pianist Nobuyuki Tsujii, who won the 13th Van Cliburn International Piano Competition in 2009, violinist Shion Minami, the second-prize winner in the Long-Thibaud Competition in 2005, and cellist Dai Miyata, the winner of the ninth Rostropovich Cello Competition in 2009. Most of the performers are also recipients of the Idemitsu Music Award, an annual award given to promising young musicians by Idemitsu Kosan Co., the sole sponsor of the TV show.
The second half of the performance included fitting pieces for the youthful musicians: the fourth movement from the String Octet by Mendelssohn, written when the composer was 16, and the sprightly third movement from Chopin’s Piano Concerto No. 1, written when he was 20. The Mendelssohn octet was a rare treat for the audience, as it is not often performed due to its need for two string quartets.
Switching his mic for his instrument, Goto joined the violin section for the Chopin concerto with Tsujii as soloist. It was the first-ever joint performance by Goto and Tsujii, both aged 28 and two of the country’s most beloved classical musicians from the younger generation. The conductor was Kentaro Kawase.
The orchestral part of the concerto was arranged for a string ensemble by Hideaki Hagimori. It was refreshing to hear the famous piano concerto with a chamber music arrangement.
“There’s never been an opportunity like this for this group of members to perform together,” Goto said of the ensemble. “They’re building their careers as soloists but I think it’s great that this time they’re all supporting Mr. Tsujii.”
Tsujii said: “I’m glad I could play with people from my generation. From the rehearsal [to the performance] they have been wonderful — youthful and energetic.”
At the end of the concert, the audience was entertained by a lively encore by Goto and Tsujii playing Gershwin’s Prelude No. 1 in an arrangement for piano and violin.
The celebratory performance by the young musicians assured music fans that classical music will be in safe hands for years to come.
Visit www.tv-asahi.co.jp/daimei/ for more information on the show.
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RELATED ARTICLE
Nobuyuki Tsujii on Feb 26 2017 "Untitled Concert" TV show

On the heels of a successful tour February 9-16 with Orchestre Philharmonique de Strasbourg and conductor Marco Letonja, Noyuki Tsujii goes on a recital tour in Germany. The recital program is the same as for his ongoing Bach/Mozart/Beethoven Japan Recital Tour, which he will resume in March.

In Germany, four recitals (Fürth , Munich, Stuttgart, Berlin) will be held. This page collects news, photos and comments about these performances.

♪ February 16 Nobu's recital in Germany is getting some promotion
http://www.curt.de/nbg/termine/84/termin/107442/

(Translated from German)

NOBU TSUJII
WEDNESDAY, 22.02.2017 / 19.30 HRS
STADTTHEATER Fürth
Almost like a pop star, the 26-year-old pianist, blind from his birth, is celebrated in his native Japan.
Press Release: Listening

In Japan the name Nobu Tsujii is heard often. Almost like a pop star, the 26-year-old pianist, blind from his birth, is celebrated in his homeland. Since he won the prestigious Van Cliburn piano competition in 2009, he has appeared in interviews and concerts from all over the world -- Tsujii has since succeeded without a break in the European and American concert halls. Two years later, his debut in New York's Carnegie Hall followed, opening for him all the doors for a world career. In his Munich debut it was clear that one would not want to do without him again: Nobu's playing compels you to listen, ignites incredulous amazement and leaves behind a moved audience. Every tone, every note is deeply touching. The piano keys are his familiar playing field since early childhood; Nobu learns new works exclusively by hearing. Perhaps it is this detachment from the written notes,that gives him the freedom that others do not have. What has been heard of him so far gives rise to the greatest hope for the future.

"I want to play what I love," says Nobu Tsujii. "I connect a lot with a work. And I want to show the audience how I see it. "

Johann Sebastian Bach: Italian Concerto in F major BWV 971
Wolfgang Amadeus Mozart: Piano Sonata No. 17 in B flat major KV 570th
Ludwig van Beethoven: Piano Sonata No. 14 in C sharp minor, Op.. 27 No.2 "Moonlight Sonata"
Ludwig van Beethoven: Piano Sonata No. 23 in F minor op. 57 "Appassionata"

♪ February 22 Wednesday 19:30
Stadttheater Fürth (Bavaria, Germany. )
Bach-Mozart-Beethoven recital
Concert Information

Stadttheater Fürth , exterior-- Image source wikipedia/

Image source: http://www.internationale-gluck-opern-festspiele.de/

♪ February 24 20:00 Prinzregententheater, Munich
Bach-Mozart-Beethoven recital
Concert & Ticket Information

PHOTO source: Wikipedia

♪ Saturday February 25 20:00 Liederhalle Stuttgart, Mozart-Saal
Concert Information

Sunday February 26, 20:00
Kammermusiksaal Philharmonie (Berlin Phiharmonic Chamber Concert Hall)
Bach-Mozart-Beethoven recital
Concert Information

This will be Nobu's third performance in the Kammermusiksaal Philharmonie.

For more about the works performed in this recital, please visit => Nobuyuki Tsujii's daring 2017 recital: Bach, Mozart, Beethoven

MORE TO COME, PLEASE CHECK BACK.

RELATED ARTICLE:
Nobuyuki Tsujii in Europe, Winter 2017
Nobuyuki Tsujii & Orchestre Philharmonique de Strasbourg
Nobuyuki Tsujii's daring 2017 recital: Bach, Mozart, Beethoven

Nobuyuki Tsujii was on tour with Orchestre Philharmonique de Strasbourg in Feb 2017
One of their six performances took place on February 15 20:0 in Tonhalle Düsseldorf (2500 seats)

The following article on that performance was found online on Feb 16. The English translation was generated by Google, touched up slightly by me.

The original article, in German, can be read here:
http://www.rp-online.de/nrw/staedte/duesseldorf/kultur/franzoesisches-orchester-begeistert-aid-1.6612355

This review is now included in a collection of Critic's Reviews on performances of Nobuyuki Tsujii

French Orchestra Thrills

Dusseldorf, Germany
By Gert Holtmeyer
17 February 2017| 00.00 hrs
Source: RP

Dusseldorf, Germany. It was time for the Orchester Philharmonique de Strasbourg to play some not so simple works on the stage of the Tonhalle with their strings. The French guests started with the Berlioz overture "Le Corsaire." This particularly requires breathtakingly fast passages from the violinists. Their conductor, Marko Letonya, saw no reason to go into overdrive. Effortless, bouncy and sparkling -- it was an astonishing start.

The organizer Heinersdorff invited as soloist 28-year-old pianist Nobuyuki Tsujii. The Japanese must cope with a hard fate: he has been blind since birth. But thanks to a fabulous hearing, he was able to play everything that he heard on the piano as a child. And endowed with an energetic will, he set for himself high goals for the pianoforte playing and made the long and hard way into the international soloist rank.

Guided by the conductor to the piano, the pianist thrilled his audience in the almost sold-out concert hall, with a tight performance of the Piano Concerto in A minor by Edvard Grieg. He mastered the virtuosic requirements, including the cadenzas. With calm and articulation, almost in the form of a narrative, he presented the slow movement.

With elan and easy interplay with the orchestra, he was convincing also in the third movement. Tsujii thanked the audience for their enthusiastic applause with two encores: after the slow movement from Beethoven's sonatas Pathetique, he demonstrated his virtuosity once again, impressing with a piano adaptation by Liszt of Paganini's "La campanella".

Schumann's third symphony, the "Rheinische", gave the strings as well as the winds the opportunity to showcase their quality. Letonja convinced with his equally spirited and relevant manner of conducting. He emphasized the cheerfulness of the work, the smooth flow of the music and the balance

---- The original German text is preserved below for archival ---
17. Februar 2017 | 00.00 Uhr
Düsseldorf
Französisches Orchester begeistert
Düsseldorf. Zeit, sich auf der Bühne der Tonhalle mit einfachen Stücken erst einzuspielen, blieb den Streichern des Orchestre Philharmonique de Strasbourg nicht. Die französischen Gäste starteten mit der Berlioz-Ouvertüre "Le Corsaire". Die fordert vor allem den Geigern atemberaubend schnelle Passagen ab. Ihr Dirigent Marko Letonja sah keinen Grund, den Schongang einzulegen; mühelos, federnd und spritzig gelang ein mitreißender Auftakt. Von Gert Holtmeyer

Als Solisten hatte der Veranstalter Heinersdorff den 28-jährigen Pianisten Nobuyuki Tsujii eingeladen. Der Japaner muss mit einem harten Schicksal fertig werden: er ist seit seiner Geburt blind. Aber dank eines fabelhaften Gehörs konnte er schon als Kind alles, was er hörte, auf dem Klavier nachspielen. Und mit einem energischen Willen ausgestattet, setzte er sich fürs Klavierspiel hohe Ziele und schaffte den weiten und harten Weg in die internationale Solistenklasse.

Vom Dirigenten an den Flügel geführt, begeisterte der Pianist seine Zuhörer in der fast ausverkauften Tonhalle mit einer schlackenlosen Wiedergabe des Klavierkonzerts a-moll von Edvard Grieg. Souverän beherrschte er die virtuosen Anforderungen einschließlich der Kadenzen. Mit Ruhe und Artikulation, fast in Form einer Erzählung, trug er den langsamen Satz vor.

Mit Elan und problemlosem Zusammenspiel mit dem Orchester überzeugte er auch im dritten Satz. Für den begeisterten Beifall des Publikums bedankte sich Tsujii mit zwei Zugaben: Nach dem langsamen Satz aus Beethovens Sonate Pathetique stellte er noch ein weiteres Mal seine Virtuosität unter Beweis und beeindruckte mit einer Klavier-Bearbeitung von Paganinis "La campanella".

Schumanns dritte Sinfonie, die "Rheinische", bot Streichern ebenso wie Bläsern die Gelegenheit, Qualität zu zeigen. Letonja überzeugte währenddessen mit seiner gleichermaßen temperamentvollen wie sachbezogenen Art des Dirigierens. Er legte vor allem Wert auf das Fröhliche im Werk, auf das gleichmäßige Fließen der Musik und auf Ausgeglichenheit.
Quelle: RP

Nobuyuki Tsujii was on tour with Orchestre Philharmonique de Strasbourg in Feb 2017
One of their six performances took place on February 15 20:0 in Tonhalle Düsseldorf (2500 seats)

The following article on that performance appeared on Feb 17. The rough English translation was generated by me, with help from Google Translate.

The original article is in German and does not appear to be available online.
This review is now included in a collection of Critic's Reviews on performances of Nobuyuki Tsujii

Button-hunting in a fast-paced blind flight

REVIEW
Pianist Nobuyuki Tsujii and the Orcheste Philharmonique de Strasbourg were in the Tonhalle under Marko Letonja
by Lars Wallerang
("Dr. Lars Wallerang, born in Düsseldorf, studied musicology, sociology and philology at the University of Cologne. He is on the faculty for musicology at the Anton Rubinstein international music academy" - Source: http://www.rubinstein-akademie.de/teacher/lars-wallerang/)
WZ (Westdeutsche News)
Friday Feb 17 2017

One could say that the Japanese Nobuyuki Tsujii has eyes like a falcon, so quick and accurate the 28th year lets his hands fly over the keys. But the pianist is blind, from birth. His musical talent was evident in his early childhood. At age two he was able to play "Jingle Bell" on a toy piano. The first piano lesson followed at age four, and, at the age of ten, the debut with an orchestra -- a miracle child.

Today, Tsujii is an adult and one of the most brilliant virtuosos in the world. This was impressively demonstrated in the Tonhalle with the piano concerto in A minor by Edvard Grieg and two solo encores. Tsujii had to be led to the river [piano]. [That task fell to] Marko Letonja, chief conductor of the Philharmonic Orchestra of Strasbourg since last August, who has had a number of concerts in Dusseldorf.

To Tsujii, everything is about Touch and Pace

To Tsujii, everything is about Touch and Pace. He quickly makes sure that the exact sitting position has been reached by touching the right end of the keyboard with his right hand. The hand is already placed in the position of the first A minor chord, and after the introductory chime vertebra -- he takes off in a fast-paced blind flight. Now, piano playing without visual control is generally nothing extraordinary. Pianists with eyesight must rely largely on muscle memory in concert. In major works such as [the Grieg concerto], the entire hands and actually almost the whole body movements are engaged over a long period, as in sport. There is no other way.

Nevertheless: it does pose a big challenge to a musician to learn a repertoire without being able to read the music score. Now, Tsujii does not have to be given bonus points for his art due to his blindness, because his playing is absolutely perfect, technical, but also musical. He does not play like an automaton, but as a great artist, exquisite even in the slow movement. The two encores to the strong applause show once again the pianist's ability: Tsujii played the movement of Beethoven's Pathetique with touching, lyrical quality; and the pianist's virtuosity exploded in the high bravado of Liszt-Etude "la Campanella" based on a theme of Paganini. Cheering applause for flawless piano playing.

However, Tsujii was not the only star of the evening: the Strasbourg orchestra also delivered a glowing performance ...

---------------
The original German text is preserved below -- minus the appropriate accents

Tasten-Jagd im rasanten Blindflug Button-hunting in a fast-paced blind flight

WZ (Westdeutsche Zeitung)
freitag 17, Februar 2017 (Friday Feb 17 2017)

KRITIK
Pianist Nobuyuki Tsujii und das Orcheste Philharmonique de Strasbourg gastierten under Marko Letonja in der Tonhalle
Vons Lars Wallerang
Man konnte meinen, der Japaner Nobuyuki Tsujii habe Augen wie ein Falke, so flink und treffsicher lasst der 28Jahrige seine Hande uber die Tasten fliegen. Doch der Pianist ist blind, von Geburt an.   Seine miusickalische Begabung zeigte sich in fruhester Kindheit. Auf einem kinderpiano konnte er schon als Zweijahriger den Song Jingle Bells nach Gehor spielen.

Heute ist Tsuii erwachsen und einer der brillantesten Virtuosen der Welt. Das zeigte sich nun eindrucksvoll in der Tonhalle mit dem Klavierkonzert a-Moll von Edvard Groeg und zwei Solo-Zugaben.   An den Flugel musste Tsujii gefuhrt werden. Diese Auggab e ubernahm Marko Letonja, Chiefdirigent des traditionsreichen Orchestre Philhamonique de Strasbourg, die num in Dusseldorf gastierten.

Bei Tsujii läuft alles über Tastsinn und Gehör
To Tsujii, everything is about Touch and Pace.
Bei Tsujii läuft alles über Tastsinn und Gehör. Kurz vergewissert er sich der exakten Sitzposition, indem er mit der rechten Hand das rechte Ende der Tastatur beruhrt, legt die Hande schon mal in Position des ersten a-Moll-Akkords, unde nach dem einleitenden Paukenwirbel geht es los -- im rasanten Blindflug.   Nun ist das Klavierspielen ohne visuelle Kontrolle generell nichts. Auch Pianisten mit Sehkraft mussen sich im Konzert groBtenteils auf das manuelle Gedachtnis verlassen. In groBem Werken wie schlagen werden mussen, absolvieren die Hande und eigentlich fast der ganze Korper Bewegungen, die wie beim Sport unber einen langeren Zeitraum eingeubt wurden. Anders geht es nicht.

Dennoch: Das Einstudieren des Repertoires onhe den Notentext mit den Augen lesen zu konnen, stellt einen Musiker schon vor groBe Herausforderungen. Nun muss Tsujii kein Blinden-Bonus eingeraumt werden, um   seine Kunst zu wurdigen, denn sein Spiel ist absolut perfekt, technisch,aber auch musikalisch.     Er spielt nicht wie ein Automat, sondern wie ein groBer kunstler, feinsinnig auch im langsamen Satz.    Die beiden Zugaben fur den starken Beifall lassen einmal mehr das konnen des Pianisten erkennen: Tsujii spielte den Mittelsatz aus Beethovens Pathetique mit beruhrendem, Sinn furs Liedartige,und in der hochst bravourosen Liszt-Etude "la Campanella" nach einem Thema von Paganini brach sich des Pianisten Virtuosentum Bahn.     Jubelnder Beifall fur makelloses Klavier-spiel.

Tsujii war aber nicht der einzige Star des Abends: Auch das StraBburger Orchester lieferte eine begluckende Leistung ab. ...

This month, February 9-16, Nobuyuki Tsujii went on tour with Orchestre Philharmonique de Strasbourg and conductor Marco Letonja, on a program titled "Romantiques" (BERLIOZ Overture le Corsiare, GRIEG concerto, SCHUMANN Symphony No. 3). Nobu was the soloist for Grieg's Piano Concerto. News, comments and photos about the tour can be found here => Part 1& Part 2

The Nobuyuki Tsujii Official Site posts reports on his overseas performances, including the six performances on this tour. Below are the most recent two reports, with English translation.

The original reports, in Japanese, can be found here => http://www.nobupiano1988.com/concertreports/

2017年2月16日（ドイツ）
マンハイム
February 16, 2017 (Germany)
Mannheim
ストラスブール・フィルとのツアーもいよいよ最終日。マンハイムはモーツァルトを魅了したオーケストラがあったという町。ここで演奏するのは初めてです。コンサート会場のローゼンガルテンは、フリードリヒ広場を囲むようにして建っているピンク色の建物群の一つ。外観は古風ですが、内側は現代的に改装されています。大ホールは「モーツァルトザール」と名づけられています。
This is the last day on tour with Strasbourg Phil. Mannheim is a town where there was an orchestra fascinated by Mozart. It is the first time for me to play here. The concert venue Rosengarten is one of the pink-colored buildings built around Friedrich Square. The exterior is old-fashioned, but the inside is renovated modernly. The big hall is named "Mozart Saal".
リハーサルの最後に指揮者のレトーニャさんが「近いうちに必ず再共演しましょう」と声をかけてくださると、オーケストラのみなさんが長い間拍手を送ってくださり、感動しました。コンサートもオーケストラとの一体感が更に増したように感じました。アンコールの1曲目でドビュッシー：月の光を演奏したところ、会場から手拍子が湧き上がり、お応えしてショパン：革命のエチュードも演奏しました。ここのオーケストラにはコンサートミストレスの本田さんをはじめ、ヴァイオリン・セクションに3人の日本人演奏家がいます。やはり日本の方がいらっしゃると安心ですし、励みにもなります。6回のコンサートがあっという間に終わったと感じました。
At the end of the rehearsal, conductor, Mo. Letonja, said, "I will re-collaborate with you soon," and everyone in the orchestra applauded us for a long time, and I was really impressed. I felt that the feeling of unity with the orchestra further increased. Debussy at the first song of Encore: When I played Claire de Lune, clapping clapping up from the venue, I responded and played the Chopin etude of the revolution. In this orchestra, there are three Japanese musicians in the violin section, including concert mistress Honda-san. It is encouraging. I felt that the six concerts ended in no time.
終演後の夕食場所ではレトーニャさんに再会、更にホテルに戻るとロビーでオーケストラの人たちと再会して夜遅くまで盛り上がりました。
At the dinner place after the show, I met Mr. Letonja again and when I returned to the hotel, I met again with the people of the orchestra in the lobby, and it got exciting late into the night.

2月15日（ドイツ）
デュッセルドルフ
February 15 (Germany)
Düsseldorf
ストラスブール・フィルとのツアー5回目のコンサート。デュッセルドルフのトーンハレ大ホールは、プラネタリウムを改装したホールで、ドームのような丸天井をしています。ここで弾くのは2回目で、オーケストラとの共演は初めてです。
The fifth concert with the Strasbourg Philharmonic. The Tonhalle Great Hall in Düsseldorf is a hall with a planetarium rebuilt, and it has a dome-like vaulted ceiling. It is the second time to play here, the first time with the orchestra.
コンサートでは、ほぼ満席のお客様から盛大な拍手を頂きました。アンコールに演奏したのはベートーヴェンの「悲愴」ソナタの第2楽章と、リストのラ・カンパネラ。カンパネラの後はお客様が総立ちになりました。ドイツでは珍しいことなので驚きました。
At the concert, the nearly full-house customers applauded. I played for encore the second movement of Beethoven's "Pathetique" sonata and Liszt's La Campanella. After the Campanella, the customers stood. I was surprised because it is unusual in Germany.

Previous reports of concerts on this tour have been posted in the following
RELATED ARTICLES
Nobuyuki Tsujii with Orchestre Philharmonique de Strasbourg -- Feb 2017
Nobuyuki Tsujii & Orchestre Philharmonique de Strasbourg -- Part 2

Nobuyuki Tsujii was on tour with Orchestre Philharmonique de Strasbourg in Feb 2017
One of their six performances took place on February 16 20:0 in Rosengarten, Mannheim, Germany.

Rosengarten, Mannheim Image source: wikimedia

The following article on that performance came up on the web on Feb 17 2017. It requires a subscription to read the full article -- I applied for a free trial and "will receive the login information in the next few days"(!) So, please stay tuned

Meanwhile, this is what is available
http://www.rheinpfalz.de/lokal/kaiserslautern/artikel/atemberaubend-1/
Die Rheinpfalz
Samstag, 18. Februar 2017
Kaiserslautern: Kultur Regional

Atemberaubend

Straßburgs Philharmoniker bei Pro Arte in Mannheim
Von Gertie Pohlit
Das gefällige Programm mit Repertoire-Hits von Grieg und Dvorák lud vordergründig zum wohligen Zurücklehnen ein. Tatsächlich aber boten der japanische Pianist Nobuyuki Tsujii und das Orchestre Philharmonique de Strasbourg unter Leitung seines …

The Rheinpfalz
Saturday 18 February 2017
Kaiserslautern: Culture Regional

Breathtaking

Strasbourg's Philharmonic at Pro Arte in Mannheim
By Gertie Pohlit
The pleasing program with repertoire hits by Grieg and Dvorák, on the other hand, invites you to the comfort of your recliner. In fact, the Japanese pianist Nobuyuki Tsujii and the Orchester Philharmonique de Strasbourg, under the direction of ...

TO BE CONTINUED

Nobuyuki Tsujii was on tour with Orchestre Philharmonique de Strasbourg in Feb 2017
One of their six performances took place on February 16 20:0 in Rosengarten, Mannheim, Germany.

Rosengarten, Mannheim Image source: wikimedia

The following article on that performance appeared on the Internet on February 19
http://www.rnz.de/kultur-tipps/kultur-regional_artikel,-Blinder-Pianist-Nobu-Tsujii-im-Mannheimer-Rosengarten-_arid,255931.html

This review is now included in a collection of Critic's Reviews on performances of Nobuyuki Tsujii

Below, the rough English translation of the article is by me with help from Google translate.

Blind pianist Nobu Tsujii in Mannheimer Rosengarte

Together with the Philharmonic Orchestra of Strasbourg, the pianist played works that he learned on his own power

By Simon Scherer
Rhein-Neckar-Zeitung (RNZ e-paper)
Saturday, 18. February 2017

Mannheim, Germany. Learning a highly complex piano work with a variety of voices would seem impossible without the benefit of sight. Nobu Tsujii, born blind, first became acquainted with music scores by means Braille and later developed his own technique, solely by listening. Special recordings of the notes of the left and right hand are only reunited by the Japanese in the second step, after he has first appropriated them separately via mere listening. If you close your eyes, the brilliance of such a process is hardly imaginable, with which Tsujii technically and musically overwhelmed the ProArte audience.

His attack with which he opened Grieg's piano concerto was sound and self-assured. Strengthening initial chords, sensitive continuations. From one moment to the next, he combined his high art of striking with wonderful journeys through various expressive fields, where he alone made the melodies speak. Equipped with a credible life of their own, these motifs gave the Allegro a very personal setting. The absolute dream accompaniment had been found by Tsujii in the Orchester Philharmonique de Strasbourg, where the individual nature of this music in the Tutti could not have been more authentic than a solo performance.

Particularly in the first part, they presented a very balanced Grieg, which was completely at ease with itself and this satisfaction radiated in fact in every emotional situation. In the Adagio, the seemingly absent first entrance of the piano was successful, more interpretive than the outer movements. In the final movement, the soloist was fascinating again with increasingly rebellion, where his breathtaking fingers hammered into the deepest interior. Hisencores were equally captivating: Debussy's "Claire de lune" and Chopin's 10th Etude.

At the opening, a French orchestra of course is in the powerhouse of a countryman. With Hector Berlioz and his concerto "Le Corsair", chief conductor Marko Letonja presented his sound body at its best. Absolute cleanliness and the most sensitive fingertip sensation are a matter of course for the Strasbourg. At the same time, they find themselves completely immobile in all spheres, let their external musical program flow in an adequate manner, but always only in the service of the music, without making a statement in any case. Thus, Letonia was the principal orchestra member to act as the principal coordinator. And nothing really escapes him.

With similar modesty and curiosity, the musicians later devoted themselves to Dvorák's 9th Symphony, as if they were exploring this "New World" for the first time. Precisely the expectation of the winds indicated something very promising. Thoughts were dying in the Largo, from whose twilight state one had not quite awakened in the Scherzo. It was different in the Allegro, whose grandiose masterpiece was the culmination of this impressive evening.

------- Original German text -----
Blinder Pianist Nobu Tsujii im Mannheimer Rosengarten

Zusammen mit der der Philharmonie Straßburg spielte der Pianist Werke, die er allein nach Gehör einstudiert
Voller Konzentration am Flügel: Nobu Tsujii spielt im Rosengarten. Foto: zg

Von Simon Scherer
Rhein-Neckar-Zeitung (RNZ e-paper)
Samstag, 18. Februar 2017

Mannheim. Gerade das Einstudieren eines hochkomplexen Klavierwerkes erscheint bei der Vielfalt an Stimmen ohne Augenlicht eigentlich unmöglich. Hat sich der bereits blind geborene Nobu Tsujii zunächst über Blindenschrift mit den Noten vertraut gemacht, entwickelte er später seine eigene Technik: allein über das Hören. Spezielle Aufnahmen des Parts von linker und rechter Hand werden von dem Japaner erst im zweiten Schritt wieder zusammengeführt, nachdem er sich diese zunächst separat über bloßes Zuhören angeeignet hat. Würde man die Augen schließen, ist solch eine Biografie kaum vorstellbar bei dieser Brillanz, mit der Tsujii technisch wie musikalisch das ProArte-Publikum überwältigte.

Stichhaltig und selbstbewusst war sein Anschlag, mit dem er Griegs Klavierkonzert eröffnete. Kraftstrotzende Anfangsakkorde, empfindsame Fortführungen. Vom einen zum nächsten Augenblick verband er seine hohe Anschlagskunst mit wunderbaren Reisen durch unterschiedlichste Ausdrucksfelder, wo er allein die Melodien sprechen ließ. Ausgestattet mit einem glaubhaften Eigenleben, verliehen diese Motive dem Allegro einen äußerst persönlichen Rahmen. Die absolute Traumbegleitung hatte Tsujii im Orchestre Philharmonique de Strasbourg gefunden, in denen sich das individuelle Naturell dieser Musik im Tutti wie einzelnen Soli nicht authentischer hätte widerspiegeln können.

Besonders im ersten Teil präsentierten sie einen sehr ausgeglichen Grieg, der ganz mit sich im Reinen war und diese Zufriedenheit in tatsächlich jeder Gefühlslage ausstrahlte. Gelungen war im Adagio vor allem der scheinbar geistesabwesende erste Einstieg des Klaviers, wenngleich der Rest interpretatorisch mit den Rahmensätzen weniger mithalten konnte. Im Finalsatz faszinierte der Solist wieder mit zunehmend aufmüpfigerem Rebellieren, wo sich seine atemberaubenden Finger bis ins tiefste Innere hineinhämmerten. Genauso gefesselt haben seine Zugaben: Debussys "Claire de lune" und Chopins 10. Etüde.

Zur Eröffnung hat ein französisches Orchester natürlich einen Landsmann im Gepäck. Mit Hector Berlioz und dessen Konzertouvertüre "Le Corsair" präsentierte Chefdirigent Marko Letonja seinen Klangkörper in Bestform. Absolute Sauberkeit und sensibelstes Fingerspitzengefühl sind eine Selbstverständlichkeit für die Straßburger. Gleichzeitig finden sie sich völlig unaufgesetzt in sämtliche Sphären ein, lassen in adäquater Weise ihr außermusikalisches Programm einfließen, aber immer nur im Dienste der Musik, in deren Aussagewert sie auf keinen Fall reinreden möchten. So agiert auch Letonja wie als oberstes Orchestermitglied zuvorderst als unterstützender Koordinator. Und ihm entgeht wirklich nichts.

Mit ähnlicher Bescheidenheit und gleichzeitiger Neugierde widmeten sich die Musiker später Dvoráks 9. Sinfonie, wie als würden sie zum ersten Mal diese "Neue Welt" erkunden. Gerade die Erwartungshaltung der Bläser deutete etwas überaus Verheißungsvolles an. Gedanken baumeln lassen war im Largo angesagt, aus dessen Dämmerzustand man im Scherzo noch nicht ganz aufgewacht war. Anders im Allegro, dessen herrschaftlich besitzergreifende Hauptthematik die Krönung dieses beeindruckenden Abends war.

Nobuyuki Tsujii was on tour with Orchestre Philharmonique de Strasbourg in Feb 2017
One of their six performances took place on February 16 20:0 in Rosengarten, Mannheim, Germany.

Rosengarten, Mannheim Image source: wikimedia

The following article on that performance appeared on the Internet site http://der-neue-merker.eu/ on February 19.

The original article can be found here:
http://der-neue-merker.eu/mannheim-rosengarten-nobu-tsujii-orch-philh-de-strasbourg-marko-letonja

This review is now included in a collection of Critic's Reviews on performances of Nobuyuki Tsujii

Below, the rough English translation of the article is by me with help from Google translate.

MANNHEIM / Rosengarten: "NOBU TSUJII-ORCH. PHILH. DE STRASBOURG-MARKO LETONJA "
Mannheim: "NOBU TSUJII-ORCH. PHILH. DE STRASBOURG-MARKO LETONJA "- 16.02.2017

Pro Arte invited the Orchester Philharmonique de Strasbourg to the concert at the Rosengarten , and the French guests opened the concert tour across Europe with the overture to "Le Corsaire" (Hector Berlioz). Marko Letonja guided the orchestra without wit and charm by the short themes of the multiple tempi to form charming variants.

With greetings from the cool Nordic, the young pianist Nobu Tsujii recommended the "Piano Concerto" by Edvard Grieg. Already during the first bars of the Allegro moderato the Japanese Nobu, actually Nobuyuki Tsujii, fascinated with an enormous range of colors. From velvety Mezza-Voce sounds to crystallizedfigurations in the treble, his spectrum spans a variety of intermediate notes. Thus the keyboard artist produced tonally nuanced consonances of exquisite beauty. During the repetition of the main theme of the triole (three-instrument interplay) with flute and the clarinet, his tremendously varied cadenza breathed out in a phenomenally controlled pianissimo trill.

Considering that the artist is blind, his achievement deserves very special high significant recognition. The pianist, profoundly self-willed, with smiling transfigured features, learns his scores in Braille: one hand reads the notes while the other play. He senses the notes by means of specially prepared recordings, on which the left and right hands are played separately - until he has stored every single phrase in his or her heart and can reproduce with his fingers. Every day, the artist practices for many hours (note from the Internet biography).

The immensely admired adagio, inspired by a Nordic fairy song, was wonderfully round in tone and perfect legato. In the final "Allegro marcato," Nobu Tsujii gave a dancer's swing and a spherical-like lightness to the spring-rhythmic figurines. Each phrase appeared in the sound and carefully modeled effect of unprecedented perfection, in a carefully emotional sense of relaxation and dramatically well-interpreted, melodic sequences.

In darkly colored orchestral lines, Letonia, with the Orchester Philharmonique, underwent the uninhibited accompaniment without any special sound. The world-class pianist would have liked to have a more elite accompaniment. The audience was relaxed and thanked the soloist for eight minutes with bravos and loud applause. The delightful artist rewarded them with a fantastically intoned "Claire de lune" (Debussy) and, after a renewed Bravo storm, he followed with a brilliantly exquisitely played "Revolutions Etude" (Chopin).

After the break, the musical journey south-east ended with sounds of the Czech composer Antonin Dvorak and his "Ninth Symphony".

With this symphony, the composer created his most popular symphony during his three-year visit to America as director of the National Conservatory of Music. He himself did not comment on the question of having created an American work: ... but the nonsense that I had used Native American or American motifs, leave out because that is a lie. How, then, Dvorak created an opus of splendid fusion of elements and motifs from the New and Old World.

With his Alsatian orchestra, Marko Letonja sounded the introductory Adagio, spreading the multifarious motif of the subject, which quietly breaks the celli and moves to the flute. Miraculously it breaks fortissimo in the string choir, is adopted by timpani and winds in sections. The conductor was an excellent performer in the further development of these themes in their artificial chaining of the structures.

In broad brass chords rises the Largo as a solemn introduction, then the English horn adapts its melancholic manner, which expresses the woodwinds in echoic resonance expressively. In the second part, clarinets, oboe and flute of violins strengthen the glorious (well-known) melody, which in passionate orchestration, but unfortunately culminated in a sound.
The Orchéstre de Strasbourg, on the other hand, miraculously bloody, and the splendid fusion of the Czech elements with those of the "New World" in the short scherzo. Marko Letonja sounded gravely the roll-melody and drew the following mood-rich motifs in unfortunately less sound areas.

After a brief introduction of the excited strings and winds, which culminates in the broad E minor chord, trumpets and woodwinds again flutter the earworm theme and pass it on to the entire orchestra. The way in which musicians perform, as well as the overproportions of the conductor of the Fortissimo-phases in the final Allegro con fuoco, whose triols in the swirling side-theme with precise making music, also revealed the deficits of the mediocre sound body all the more. Bohemian and rhythmic in irresistible dynamics, the thematic ideas of the strange impressions once again resonated, but in a triumphant jubilee of the Slavic homeland, again sounded too undifferentiated and too striking. In the ranking and in the comparison of the French orchestral culture, the Strasbourger should be found in the lower part. Pity!

The public showed themselves more polite than enthusiastic, and thanked the Alsatians with a subdued curative warmth.
Gerhard Hoffmann

--- Below is the original text i n German --
MANNHEIM / Rosengarten: „NOBU TSUJII-ORCH. PHILH. DE STRASBOURG-MARKO LETONJA“

Mannheim: „NOBU TSUJII-ORCH. PHILH. DE STRASBOURG-MARKO LETONJA“ – 16.02.2017

Zum Konzert im Rosengarten hatte Pro Arte das Orchestre Philharmonique de Strasbourg geladen und die französischen Gäste eröffneten die Konzertreise quer durch Europa mit der Ouvertüre zu „Le Corsaire“ (Hector Berlioz). Weniger stilsicher leitete Marko Letonja das ohne Esprit und Charme musizierende Orchester durch die kurzen Themen der mehrfachen Tempi zu reizvollen Varianten.

Mit Grüßen aus dem kühlen Norden empfahl sich der junge Pianist Nobu Tsujii mit dem „Klavierkonzert“ von Edvard Grieg. Bereits während der ersten Takte des Allegro moderato faszinierte der Japaner Nobu, eigentlich Nobuyuki Tsujii mit einer enormen Bandbreite an Farben. Von samtigen Mezza-Voce-Klängen bis hin zu kristallin klirrenden Figurationen im Diskant reicht sein Spektrum mit einer Vielzahl an Zwischentönen. So produzierte der Tastenkünstler klanglich nuancierte Konsonanzen von erlesener Schönheit. Während der Wiederholung des Hauptthemas zur Flöten und Klarinetten-Triole hauchte seine prädominant variierte Kadenz in einem phänomenal kontrollierten Pianissimo-Triller aus.

Bedenkt man, dass der Künstler von Geburt an blind erhält seine Leistung ganz besondere hohe bedeutungsvolle Anerkennung. Der tief in sich gekehrt-musizierende Pianist mit den lächelnd verklärten Zügen lernt seine Partituren in der Braille-Schrift: eine Hand liest die Noten, die andere spielt. Den Tönen spürt er anhand speziell angefertigter Aufnahmen nach, auf den die linke und rechte Hand separat vorgespielt werden – so lange, bis er jede einzelne Phrase in seinem Innern gespeichert hat und mit seinen Fingern wiedergeben kann. Tag für Tag übt der Künstler über viele Stunden (Anm. aus der Internet-Biografie).

Wunderbar rund im Ton und perfektem Legato erklang das prachtvoll ausmusizierte Adagio, inspirativ eines nordischen Feengesangs gleich. Dem finalen Allegro marcato schenkte Nobu Tsujii tänzerischen Tastenschwung und eine sphärisch anmutende Leichtigkeit den federnd-rhythmischen Figurinen. Jede Phrase erschien im klangschön und sorgfältig ausmodellierten Effekt unerhörter Perfektion, in sorgsam emotionellem Gespür für Entspannung und dramaturgisch klug zueinander interpretierten, melodischen Abfolgen.

In dunkel gefärbten orchestralen Couleurs unterstrich Letonja mit dem Orchestre Philharmonique die wenig zündende Begleitung ohne besonderen Klangreiz. Man hätte dem Weltklasse-Pianisten gut und gerne eine elitärere Begleitung gewünscht. Das Publikum war hingerissen und bedankte den Solisten mit Bravos und prasselndem Applaus acht Minuten lang. Der erfreute Künstler ließ nicht lange bitten und revanchierte sich mit dem traumhaft intonierten „Claire de lune“ (Debussy) und nach dem erneuten Bravosturm folgte die brillant-exquisit musizierte „Revolutions Etude“ (Chopin).

Nach der Pause endete die musikalische Reise südöstlich und zwar zu Klängen des tschechischen Komponisten Antonin Dvorak und zwar seiner „Neunten Symphonie“.

Mit dieser Symphonie schuf der Komponist während seines dreijährigen Amerika-Aufenthalts als Direktor des National Conservatory of Music, seine wohl populärste Symphonie. Er selbst äußerte sich zur Frage kein amerikanisches Werk geschaffen zu haben: .. aber den Unsinn, dass ich indianische oder amerikanische Motive verwendet hätte, lassen Sie aus, weil das eine Lüge ist. Wie denn auch sei Dvorak schuf einen Opus von herrlichen Verschmelzung der Elemente und Motiven aus der Neuen und Alten Welt.

Weich ließ Marko Letonja mit seinem elsässischen Orchester das einleitende Adagio erklingen, breitete das vielfältige motivische Thema aus welches den Celli leise aufbricht und zur Flöte wandert. Wunderbar bricht es fortissimo im Streicherchor auf, wird von Pauke und Bläsern in Abschnitten übernommen. Der Dirigent verstand es ausgezeichnet den weiteren Aufbau dieser Themen in ihrer artifiziellen Verkettung der Strukturen, bestens auszurichten und zu präsentieren.

In breiten Blechbläserakkorden erhebt sich das Largo als feierliche Einleitung, sodann stimmt das Englischhorn seine melancholische Weise an, welche die Holzbläser in echohaftem Nachklang ausdrucksvoll wiedergeben. Wunderbar stimmen im zweiten Teil Klarinetten, Oboe und Flöte von Violinen verstärkt die herrliche (altbekannte) Melodie an, welche sich in orchestraler Steigerung leidenschaftlich, doch leider in einem Klangbrei gipfelte.

Wunderbar blutvoll, lebendig intonierte dagegen wiederum das Orchéstre de Strasbourg die herrlichen Verschmelzungen der tschechischen Elemente mit denen der „Neuen Welt“ im kurzen Scherzo. Marko Letonja ließ graziös die Walzermelodie erklingen und lenkte die folgenden stimmungsreichen Motive in leider weniger klangvolle Bereiche.

Nach kurzer Einleitung der erregten Streicher und Bläser welche sich im breiten e-Moll-Akkord gipfelt, schmettern Trompeten und Holzbläser wiederum das Ohrwurm-Thema und geben es dem gesamten Orchester weiter. Die Art des Musizierens, auch die Überproportionen des Dirigenten der Fortissimo-Phasen im finalen Allegro con fuoco dessen Triolen im wirbelnden Seitenthema bei präzisem Musizieren mitreißen, offenbarte jedoch die Defizite des mittelmäßigen Klangkörpers umso mehr. Böhmisch, rhythmisch in unwiderstehlicher Dynamik erklangen nochmals die thematischen Gedanken der fremden Eindrücke, um sich jedoch in sieghaftem Jubelton der slawischen Heimat zu vereinen, wiederum klangmalerisch zu undifferenziert und zu plakativ. In der Rangliste und im Vergleich der französischen Orchesterkultur dürften die Strasbourger im unteren Bereich zu finden sein. Schade!

Das Publikum zeigte sich mehr höflich denn begeistert und bedankte die Elsässer mit gedämpfter kurpfälzischer Herzlichkeit.

Gerhard Hoffmann

February 9-16, winter in Europe. Nobuyuki Tsujii went on tour with Orchestre Philharmonique de Strasbourg and conductor Marco Letonja, on a program titled "Romantiques" (BERLIOZ Overture le Corsiare, GRIEG concerto, SCHUMANN Symphony No. 3). Nobu was the soloist for Grieg's Piano Concerto. Two of the performances took place in Strasbourg, France, follwed by 4 more performances, including a Valentine's Day concert in Basel, Switzerland.

Last year about the same time, Nobu went on a grueling tour in Germany with the Dresden Phil, performing Rachmaninov's Piano Concerto No. 3 in 5 consecutive days. In spite of flying to Germany only a day after completing an Ultimate Concertos" Japan tour with violinist Miura Fumiaki and Yomuira Nippon Orchestra, Nobu somehow earned audience and critical acclaim. The tour was a triumph.

I really did not expect Nobu to do it again this year. But I should have known better. This winter's Europe orchestra tour proved another smash success, arguably even more so. Suffice it to say that I have been kept busy following the news about this tour, a collection of which can be found here => Part 1& Part 2

How good was it?
There was an astonishing number of critic's reviews, and uniformly glowing! Here is a list:

"The pianist Nobuyuki Tsuji triumphs in the Grieg concerto" - Strasbourg 2017
"Soloist, conductor, orchestra are one" -- Schwäbische.de 13.02.2017
"Japanese pianist Nobu Tsujii Brilliant in Friedrichshafen" - Sudkurier 2/13/2017
"French Orchestra Thrills" -- Dusseldorf, Feb 15, RP review
"Button-hunting in a fast-paced blind flight" WZ review Feb17-2017
Nobuyuki Tsujii in Mannheim review -- Online Merker
"Nobu Tsujii in Mannheimer Rosengarte" RNZ review
"Breathtaking" -- Mannheim review 2-18-2017

And it's not just the quantity, but the reviews got better and better as the tour went on. Nobu was "an asset to the tour" in the only review from Strasbourg, where the tour kicked off on Feb 9 & 10. In reviews from Friedrichshafen (Feb 12 performance) Nobu is "brilliant" and "Soloist, conductor, orchestra are one". From Dusseldorf (Feb 15) came these memorable words: " his playing is absolutely perfect, technical, but also musical. He does not play like an automaton, but as a great artist." By the time the tour ends in Mannheim on Feb 16, Nobu is the "world class pianist" who outshone the orchestra and "the audience ... thanked the soloist for eight minutes with bravos and loud applause" (Online Merker).

Moreover, Nobu was a hit with the orchestra as well, judging from postings by the orchestra and Nobu's own concert report.

In a comment on Facebookposted on Feb 15, Antony Ernst, artistic planning manager of the Orchestre Philharmonique de Strasbourg, wrote:

"I have to say that we've been delighted to have him [Nobu] with us. He's a very special guy. He and Marko Letonja get on very well, and the orchestra loves him. I do hope we can work with him again before long."

In Nobu's concert report from Mannheim:

At the end of the rehearsal, conductor, Mo. Letonja, said, "I will re-collaborate with you soon," and everyone in the orchestra applauded us for a long time, and I was really impressed. I felt that the feeling of unity with the orchestra further increased.
... At the dinner place after the show, I met Mr. Letonja again and when I returned to the hotel, I met again with the people of the orchestra in the lobby, and it got exciting late into the night.

On the day after the tour ended, the orchestra posted this group selfie:

To which Japanese Nobu fan Yura made this astute comment: "まるで団員の1人になってます" (It is as if he is one of the group members).

Indeed Nobu looks happy in this and other photos taken on the tour. Then, too, perhaps there was something else for him to be happy about. Mr. Nick Asano (Nobu's manager) wrote in the first days of the tour: "Nobu and I got through major Alsacian food and drink. I can sense it clearly as extra weight around waist."

How sweet the tour must have been. I am so happy for Nobu's smash success in Europe. It couldn't have happened to a more deserving person.

This was hust announced:"The Pianist 2016" on BS-Fuji TV
BSフジ(BS Fuji)
『辻井伸行×加古隆×レ・フレール　THE PIANIST』 2016
3月3日（金）22：00～23：25
"Nobuyuki Tsujii × Takashi Kako × Les Freres THE PIANIST" 2016
March 3(Fri) 22: 00 ~ 23: 25
http://www.bsfuji.tv/tsujii/pub/007.html

Text of the program announcement, in Japanese, is shown below. Please scroll down for an English translation.
3月3日（金）22：00～23：25
番組オフィシャルサイト
　2016年7月、東京・Bunkamura（文化村）オーチャードホールに今を時めくピアニスト達が集結した。辻井伸行、加古隆、レ・フレールだ。その前の年にも開催された『"THE PIANIST"コンポーザーピアニストフェスティバル★2014（2015年ＢＳフジで放映）』が好評につき、多くのファンの切望により実現した至極のコンサートである。ジャンルもスタイルも、使うピアノも異なる3組4人のピアニスト＝作曲家が順番に出演して、オリジナル曲を演奏するステージ。三者三様の個性を持った音楽を聴けるため、音楽ファンには至福の時間を過ごせる大人気のコンサートである。2016年度は、全国9カ所11公演が即日完売した。
　今回の"THE PIANIST"は、各ピアニスト演奏中の背景に印象的な写真や絵画が投影された。そのことで音楽がより味わい深く観客の心に響いた・・・そのユニークな感動をダイレクトに視聴者に届ける為に番組でも演奏に合わせて写真画像などをコラージュする。会場で溢れていた心震える感動を臨場感をもってダイレクトに届けたい。

＜曲目＞
辻井伸行：「美の巨人たち（オープニング・エンディング）」テーマ・「ロックフェラーの天使の羽」・「ジェニーへのオマージュ」
加古隆：「ララバイ・オブ・エヴェレスト」・「映像の世紀組曲」
レ・フレール：「琉球頌歌」・「スペイン舞曲」・「For Kid’s」

※加古隆の「隆」の文字は「生」の上に「一」が入ります。
※辻井伸行の「辻」の文字の正しい表記は、しんにょうは一点、「辶」(三画)の形になります。文字のフォントによっては表記が「辻」になります。

出演者・スタッフ
＜出演者＞
辻井伸行
加古隆
レ・フレール（斎藤守也・斎藤圭土）
※出演順

March 3 (Fri) 22: 00 ~ 23: 25
Program Official Site

　In July 2016, a group of pianists gathered at Bunkamura Orchard Hall in Tokyo. It was Nobuyuki Tsujii, Taskashi Kako, and the Les Freres. "THE PIANIST" Composer Pianist Festival ★ A previous broadcast of the concert held in 2014 (shown on BS Fuji in 2015)" enjoyed great reception from fans. A stage where four genres, styles, and different pianos are employed; and three sets of four pianists-composers who perform in turn and play original works. It is an extremely popular concert where fans may enjoy listening to music from three different personalities. In fiscal 2016, 11 performances nationwide were sold out in one day.

　In this "THE PIANIST", impressive photographs and paintings were projected on the background during each pianist's performance. As a result, the music sounded more palatable to the audience 's mind ... complimenting the performances on the program with unique impressions delivered directly to the viewers. We would like to bring out the trembling feelings overflowing at the venue experienced directly in person.

<Works>
Nobuyuki Tsujii: "Giants of beauty (Opening Ending)" theme music; "angel wings at Rockefeller", "a tribute to Jenny,"
Takashi Kako: "Lullaby Of Everest"; "Century of the video suite "
Les Frère: "Okinobudo "," Spanish dance ", "For Kid's "

Cast and staff
<Performers>
Nobuyuki Tsujii
Takashi Kako
Les Freres (Moriya and Keito Saito)
※ order of appearance

♪ February 20 NTV Broadcast

http://www.nobupiano1988.com/news/

◆「人生が変わる1分間の深イイ話」
日本テレビ　2月20日(月)　21:00
※辻井伸行日本ツアー東京公演の一部が放映されます
※母いつ子さんが出演します
"Deep talk of one minute where life changes"
Nippon TV on February 20 (Mon) 21: 00
※ Footage of Tokyo performance of Nobuyuki Tsujii Japan Tour will be shown
※ Mother Itsuko will appear

The broadcast took place last night in Japan, and there was a flood of comments on it. It is a fast paced show about several mothers who cultivate a child with severe handicaps into prominent artists. Mrs. Itsuko Tsujii is one. In the segment about her, footage is shown of her, Nobu and Nobu's dad, Dr. Takashi Tsujii.
Yura posted three tweets with video clips from the show that give a good idea of what's in the show -- please click on each link to see the clip
https://twitter.com/icoyuraco/status/833692022154285057
波瀾万丈な人生を歩んでも悲壮感が全く感じられないのは、絶望から始まった子育てに比べればどんな悩みも小さな事。くよくよしてても何も状況は変わらない。落ち込んでも1日明るくしても1日なら落ち込むのはつまらないなと。パパは明るいママが息子辻井伸行を明るい子に育ててくれて感謝してますと
In spite of a checkered life Mrs. Tsujii does not feel pathetic at all. Any trouble is small compared with the despair at the beginning of child rearing. There is nothing to do with the situation that we are caught in. Even if she feels depressed she tries to brighten a boring day. The father Takashi says he is thankful that a bright mum raised her son to be a bright child

https://twitter.com/icoyuraco/status/833687425440370688
辻井伸行パパは、いつ子さんの服、くつ、バックの量が凄くてちょい不満👗👜👠でも女子力高めの奥さんの方が絶対いい✨息子もその方が嬉しいと思う🌟 サントリーホール出た❣️モーツァルトのソナタ♬少ししか聴けなかったけどやっぱり綺麗な音~✨澄みきってます
Nobuyuki Tsujii's father [says Nobu] dresses like his dad, with limited accessories (shoes and bags). But it will definitely be better if he has a girlfriend or a wife, and he will be happier also. There is footage from Suntory Hall. Mozart's sonata can be heard a bit -- as expected, a beautiful sound and clear.

https://twitter.com/icoyuraco/status/833684157297422339
知らなかった辻井伸行12歳の時『24時間テレビ』でピアノ弾いてた🎹20歳で親離れ子離れしたけど、ツアーの着替え荷造りはいつ子さん。下着、靴下と小分けして触ってわかるように袋には刺繍なるほど。女子会イイネI
I did not know that Nobuyuki Tsujii was playing the piano on "24 hour TV" at age 12. Although he was away from parents at age 20. Embroidery on bags so that he can tell by touching to locateunderwear and socks. Women's touch.

Some scenes of interest:

Nobu emerges backstage after his recital in Suntory Hall, looking dapper in his tuxedo. Nobu is small by Western standard, but in this scene he looks tall.

Nobu's father (left) at his obstetric clinic, speaking in admiration about Mrs. Tsujii's bringing up of Nobu

Mrs. Tsujii is seen packing an enormous suitcase for Nobu's tour, including bags embroidered with beads to allow Nobu to touch to locate his socks/underwear.

With a violinist, Nobu (at age 12) plays Liebesfreud arranged by Fritz Kreisler on the "24 hour TV"show in 2001. (A big thanks to U.S. Nobu fan Linda K for identifying the work.)

Note: I found this review on the Internet on Feb 24, 5 days after its posting. Of the five reviews from the Mannheim performance with the Strasbourg Phil, this is the only one that is somewhat negative.
The other reviews can be found here => Nobuyuki Tsujii with Strasbourg Phil -- a smashing success

The original article was found at http://www.morgenweb.de/nachrichten/kultur/regionale-kultur/entzauberte-poesie-1.3162961
The English translation below is by Google Translate, with slight brush-up by me.

Classical : Nobu Tsujii and the Strasbourg Philharmonic

Disenchanting poetry

He is blind. But Nobu Tsujii has a unique talent: he can play the piano as if there were no limits to the technically feasible. The 28-year-old Japanese fills the concert halls of this world. In the Mannheimer Rosengarten, too, the public's exultation was certain. Grieg's A minor Concerto provokes playful passions, which, with Tsujii, is youthful forward thrust.

The pianist mastered the complex architecture not only with a controlled access, but also plays with the highest possible transparency. Even the struggling chord strings in the first movement do not melt in the least thanks to the distinctive technical control of the exceptional artist. A sultry cello sound, sensitively damped horns and the balanced dynamics of strings and winds in the Philharmonic Orchestra of Strasbourg give the audience an opulent tone, which furnishes Nobu Tsujii, especially in the Adagio, with melting lyricism.

Imposing facade

Nevertheless: the fine tuning between the orchestra and the pianist is not always successful. And, the playing of the Japanese hides and promises nothing behind its impressive facade. Instead, the sound seems to suffice - it is the demystification of Romanticism in the case of Grieg.
And in Debussy's "Clair de Lune," which Tsujii, in addition to Chopin's "revolutionary drama" plays as encore admittedly flawlessly, but without subtle illumination, the disenchantment of poetry.

With Berlioz's Corsican Overture, the Straßburger, under the direction of Marko Letonja, have celebrated a bold boom which still carries them through Dvorák's 9th Symphony. Its "New World" unfolds itself here in promising splendor. (Urs)
© Mannheimer Tomorrow, Monday, 20.02.2017
---
Entzauberte Poesie
Er ist blind. Doch Nobu Tsujii verfügt über eine einzigartige Begabung: Er kann Klavier spielen, als gäbe es keine Grenzen des technisch Machbaren. Der 28-jährige Japaner füllt die Konzertsäle dieser Welt. Auch im Mannheimer Rosengarten war ihm der Jubel des Publikums sicher. Griegs a-Moll-Konzert provoziert denn auch spielerische Leidenschaften, die sich bei Tsujii mit juvenilem Vorwärtsdrang entäußern.

Der Pianist meistert die komplexe Architektur nicht nur mit einem beherrschten Zugriff, sondern lässt in seinem Spiel höchstmögliche Transparenz walten. Selbst die grollenden Akkordketten im ersten Satz zerfließen dank der ausgeprägten technischen Kontrolle des Ausnahmekünstlers nicht im Ungefähren. Unterlegt von sämigem Cello-Klang und sensibel gedämpften Hörnern sowie der ausbalancierten Dynamik zwischen Streichern und Bläsern im Philharmonischen Orchester Straßburg wölbt sich eine opulente Klangkulisse auf, die Nobu Tsujii, zumal im Adagio, mit schmelzender Kantabilität ausstattet.
Imponierende Fassade
Dennoch: Die Feinabstimmung zwischen Orchester und Pianist gelingt nicht immer. Und: Das Spiel des Japaners verbirgt und verspricht nichts hinter seiner imponierenden Fassadenhaftigkeit. Der Klang scheint sich vielmehr selbst zu genügen - es ist die Entmystifizierung der Romantik im Falle Griegs.
Und in Debussys "Clair de Lune", das Tsujii neben Chopins "Revolutionsetüde" korrekt, aber ohne subtile Ausleuchtung zugibt, die Entzauberung der Poesie. Mit Berlioz' Korsaren-Ouvertüre haben die Straßburger unter der Leitung von Marko Letonja einen beherzten Aufschwung zelebriert, der sie noch durch Dvoráks 9. Symphonie trägt. Dessen "Neue Welt" entfaltet sich hier noch in vielversprechender Pracht. (urs)
© Mannheimer Morgen, Montag, 20.02.2017

On theFeb 20 TV show aired in Japan , 「人生が変わる1分間の深イイ話」("A Life-Changing Minute"), there is a segment about Mrs. Itsuko Tsujii, mother of Nobuyuki Tsujii. The show is fast paced, with rapid-fire narration, all of which eluded me since I understand little spoken Japanese. But, thanks to tweets by Nobu fan Yura, I caught on to one particular gripping scene, in which Mrs. Tsujii is seen packing for Nobu's then upcoming Europe tour.

In the scene, Mrs. Tsujii is seated on the floor, Japanese style, in front of an enormous suitcase. A garment bag lies near by, apparently for Nobu's shirts and tuxedos.

Mrs. Tsujii is shown holding up some pull-string mesh bags, one of which is labeled "laundry" (in English!) and embroidered with some patterns (in Braille?) for Nobu to identify, by touch, the bag's contents (socks, underwear, etc.)

Watching the scene, I once again thought about the enormous challenges that a sightless person must face while traveling. I have the full use of my eyes, and I consider myself an experienced traveler. Yet when I am on the road, especially just after checking into an unfamiliar hotel, I am in a constant struggle with locating my belongings: Where did I pack my toothbrush, the hair dryer, the lotions? Then, after unpacking: where did I put that toothbrush, hair dryer, the lotions? And which drawer now holds my socks? my shirts? my undies? This is made worse whenever I travel between cities.

So imagine what it must have been like for Nobu to travel through 5 cites in three countries (France, Germany, Switzerland) in a week, as he did earlier this month when he toured with the Strasbourg Philharmonic Orchestra. What's more, he is on the road again this week, performing recitals in 4 different Germany cities in 5 days.

Traveling is a necessity for a world-class performing artist. Touring life for a concert performer is hectic enough for anyone without a major handicap (read Violinist Hillary Hahn on the Touring Life). It is hard to imagine how Nobu manages.

Commented Linda K., a U.S. pianist also blind from birth:

It's different for everyone. I used to go away to camp with a girl whose mother knew braille, and braille a list of everything in her suitcase! I could not believe that!
My mom did not know braille, so I just got used to looking around in my suitcase and being able to find stuff. Once in a while, if I had doubts about a particular thing, I would have her show me where she put it before I left home. After that, I was left to my own devices.
Now of course, I pack my own suitcase!
Somehow, I always thought of my suitcase as my own private space, and I really didn't want anyone else besides my mom snooping around in it. I was very protective of that even as a youngster.
But oh man! I have been on some trips with other blind people who were a mess! They couldn't find anything, they were very disorganized as to where they put their stuff, and some were total disasters!
Another thing that I really stick to is, that I don't spread stuff all over the room. I keep my stuff basically together. I may put some things in the bathroom, like toothbrush, toothpaste, and things like that. But basically, when I take something out of the suitcase, when I finish with it, I put it back. And especially, if I'm not staying for very long. Then I make sure I don't forget anything.

My first braille teacher, who was blind, took me under her wing when I was very young, and taught me so much about things like this. She was extremely organized and taught me a lot about keeping track of my stuff, not only in a suitcase, but in your house. She instilled upon me that when I finished using something, to put it back where I got it so that I would know where it was. So, I am a pretty organized kind of person.

Nobu is indeed fortunate to have the care of a wise and thoughtful mother in Mrs. Itsuko Tsujii, who helps him with not just packing his luggage but myriad everyday essentials, such as clipping his finger nails, as shown in one scene in the aforementioned "Minute" show

Partly due to Nobu's desire to become independent -- Mrs. Tsuji does not -- as a rule -- travel with Nobu. When Nobu is on tour overseas, the care of him falls to his manager, Mr. Nick Asano, familiar to us from his frequent appearance in Nobu's numerous TV documentaries. In the photo below, Mr. Asano is seen leading Nobu through a German airport in 2014 while carrying bags in both hands.

You may also remember this scene, below, from "A Surprise in Texas" (the Peter Rosen documentary of the 2009 Cliburn Competition), where Nobu and his mother have just arrived at the airport in Fort Worth, Texas. Mr. Davidson of the host family is seen wheeling a luggage cart full of their gigantic suitcases.

These days, when Nobu travels on tour, it is Mr. Asano who gets to push that cart. And it is Mr. Asano who guides Nobu by the hand everywhere. Nobu calls Mr. Asano his "father on tour", and a very good one!

Nobu's good nature and extraordinary talents draw out the best from people around him. He inspires good will and support for him. Even so, it is up to Nobu to manage his things when he travels. I often think of this scene, from a 2010 documentary( Nobuyuki Tsujii conquers Pictures at an Exhibiton), where Nobu is seen shaving himself in his hotel room.

Note the bags in his lap and by his side. I imagine Nobu, like Linda, is in the habit of putting his things immediately back to the bags after finishing with them. What tremendous discipline and resolve it must take to keep track of all his belongings!

Embroidered bags in giant suitcases. A devoted mother. A loyal manager. We are fortunate that Nobu is blessed with their continued support. Even as we enjoy the success of Nobu's awe-inspiring performances, let's never forget the tremendous efforts behind the scenes that make possible the miracle of Nobuyuki Tsujii.

UPDATE
Jamie, another U.S. pianist who is visually impaired, wrote:

I use a labeling system to keep things organized. Some of it I use Braille especially for medications. I use a labeling tape called Dino tape and a slate and stylus to get this done. I also use household items like cloth pins to pin my socks together. Yes they go through the wash fine. For clothing I use an app called digit-eyes. One can purchase labels that one can sew onto the clothing then record as much info(on a label) as he or she wants. When the camera (of a smart phone) sees this the label it will play the recording.

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RELATED ARTICLE
Touring with a Miracle -- from Mozart to Nobuyuki Tsujii

In February 2017, Nobuyuki Tsujii performed his Bach/Mozart/Beethoven rectials in Germany. One of his four stops is in Munich's Prinzregententheater on February 24. The review below is about that recital.

♪ February 24 20:00 Prinzregententheater (1122 seats), Munich
Bach-Mozart-Beethoven recital
Concert & Ticket Information

PHOTO source: Wikipedia

The review was posted by the Süddeutsche Zeitung (South German News) and was found at this link: http://www.sueddeutsche.de/kultur/kurzkritik-wild-im-mondschein-1.3395593
Below is a rough English translation. The original German text follows.

February 26, 2017, 7:02 pm
Short Review

Wild in the Moonlight

The Japanese Nobu Tsujii in the Prince Regent Theater
By Klaus Kalchschmid

In his piano evening at the Prince Regent Theater, the young Japanese pianist Nobu Tsujii dedicates the penultimate encore -- his own piece -- to the victims of the devastating tsunami in Japan in 2011. It is not a melancholic requiem and is unrelated to traditional Japanese music in anyway, but simply a knitted, pleasing piano playing. It could be called a "Feel Good Piece." The many Japaneses in the audience, to whom the memory of the catastrophe is still alive, wiped their eyes. Tsujii 's last encore -- Liszt's "La Campanella" -- unfortunately all too fast, provoked once again roaring applause.

The evening begins with Bach's "Italian Concerto," which can be seen in its grouping of two fast movements around a slow movement as the forerunner of the classical piano style. Nobu Tsujii is technically impeccable, as transparent as plastic, but too rigid and strict in tempo and sonic form. That certain Quantum Esprit and freedom, through which the Bach music on modern piano first comes to life, is missing.

At Mozart many pianists fail, because the balance between natural flow and controlled play, between unintentional happening and design, is difficult to produce. The reason why Tsujii chose the B major Sonata KV 570 does not really come across. While the familiar outer movements succeed in being played fast and precisely, the adagio breathes too little.

After the break, Nobu Tsujii is completely in his element with the expressiveness and originality of Beethoven's "Moonlight Sonata" and "Appassionata." While the famous "Adagio sostenuto" of Op. 27/2 still sounds a little cramped, the 28-year-old unleashes passionate wildness in the finale and, in the "Allegro assai" of the F minor op. 57, rhythmically sharp accents.

----------------------
The original German text follows.

26. Februar 2017, 19:02 Uhr
Kurzkritik
Der Japaner Nobu Tsujii im Prinzregententheater
Von Klaus Kalchschmid
Der junge japanische Pianist Nobu Tsujii widmet die vorletzte Zugabe - ein eigenes Stück - bei seinem Klavierabend im Prinzregententheater den Opfern des verheerenden Tsunamis in Japan im Jahr 2011. Es ist kein melancholisches Requiem und nichts, was sich auf traditionelle japanische Musik bezieht, sondern einfach gestricktes, gefälliges Klavierspiel. Man könnte es ein "Feel Good Piece" nennen. Das Gedenken an die Katastrophe, die nicht nur den vielen Japanern, die im Publikum sitzen, noch lebendig vor Augen ist, wischt Tsujii mit der letzten Zugabe - Liszts "La Campanella" - leider schnell fort und provoziert noch einmal tosenden Applaus.
Der Abend beginnt mit Bachs "Italienischem Konzert", das man in seiner Gruppierung von zwei schnellen um einen langsamen Satz als Vorläufer der klassischen Klaviersonate ansehen kann. Nobu Tsujii spielt es technisch untadelig, ebenso durchsichtig wie kernig plastisch, aber allzu starr und streng in Tempo und klanglicher Ausformung. Das gewisse Quantum Esprit und Freiheit, durch das Bach auf dem modernen Konzertflügel erst zum Leben erwacht, fehlt.

An Mozart scheitern viele Pianisten, denn die Balance zwischen natürlichem Fluss und kontrolliertem Spiel, zwischen absichtslosem Geschehenlassen und Gestaltung, ist schwer herzustellen. Warum Tsujii die B-Dur-Sonate KV 570 gewählt hat, erschließt sich nicht wirklich. Denn so geläufig und präzise die schnellen Ecksätze gelingen, so wenig kann das Adagio atmen.

Nach der Pause ist Nobu Tsujii mit der Expressivität und Eigenwilligkeit von Beethovens "Mondschein-Sonate" und "Appassionata" ganz in seinem Element. Während das berühmte "Adagio sostenuto" des op. 27/2 noch etwas abgezirkelt klingt, gestattet sich der 28-Jährige im Finale leidenschaftliche Wildheit und setzt im "Allegro assai" der f-moll-Sonate op. 57 trocken akzentuierte, rhythmisch scharfe Akzente.

In February 2017, Nobuyuki Tsujii performed his Bach/Mozart/Beethoven rectials in Germany. One of his four stops is in Liederhalle Stuttgart, Mozart-Saal on February 25. The review below, by Mr. Gianguido Mussomeli, is about that recital.
The original review, in Italian, was posted at http://it.paperblog.com/nobu-tsujii-per-la-terza-volta-a-stuttgart-3484252/
Please scroll down for an English translation of the text, by me with help from Google Translate and Babylon.
This review, as well as two previous reviews by Mr. Mussomeli, is now included in a collection of Critic's Reviews on performances of Nobuyuki Tsujii

Nobu Tsujii in Stuttgart for the third time

Created February 28, 2017 by Gianguido Mussomeli @ mozart200657

Nobu Tsujii, who has become a darling of the public in this area, is back for the third time to perform in Stuttgart. The twenty-nine year old Japanese virtuoso -- blind from birth -- at the recital after a long tour in Germany together with the Orchestre Philharmonique de Strasbourg, once again received an absolutely triumphant acclaim by a large audience who rushed to the Liederhalle Mozartsaal to listen to a program in which the young pianist -- native of Tokyo -- faced, I believe for the first time, the great classical (baroque) repertoire. I hardly need to repeat what I wrote after the previous two recitals held by Nobu Tsujii here in Stuttgart, about the quite extraordinary technical qualities which had enabled him to bring electrifying performances in works by Liszt and Chopin. In this case it was also an evaluation of the musical maturity required by composers such as Bach, Mozart and Beethoven, for which you must have, in addition to technical skills, the phrasing and an ability to bring out the 'structural architecture'. I must say once again the very fact of witnessing the young virtuoso Japanese is really an experience of great emotional impact. Tsujii made his entrance on the stage on the arm of an escort; he sat at the piano swaying for a long while, touching the keys, almost floating in space, then began playing with an incredible assurance and an almost absolute technical mastery, certainly the result of an iron will combined with hours and hours devoted to the study.

Now we come to a chronicle of the evening. In the first part of the program, dedicated to Bach and Mozart, Tsujii this time seemed somewhat cautious in his approach. The execution of the Italian Concerto was certainly remarkable for elegance and clarity of articulation even if the touch seemed perhaps not sufficiently differentiated in certain passages. Much better in this sense I thought was the reading of the Sonata K. 570 by Mozart, in which the Japanese pianist sported a nice ability to draw from the instrument fine sounds for softness and liquidity, although the splendid Adagio was taken to a tempo slightly too fast for my taste. Notable, however, are the exquisite elegance and craftsmanship in pearl-like playing and in agility of grace that Nobu Tsijii highlighted on this occasion, and are perhaps the best aspects of a pianist who is not only technically accomplished, but also denotes a musicality certainly still evolving but already very valuable and complete, especially in relation to his age. I have already had occasions to write at other times that you cannot consider a pianist under thirty-year old as an interpreter already done and finished, and this applies also in the case of this young man, who definitely will be able in the future to expand on the details of his interpretation of Bach and Mozart.

The two Beethoven sonatas of the second half allowed Nobu Tsujii to showcase all the best aspects of his pianism. Remarkable reading of the Sonata op. 27 N ° 2 for the beauty of the sound in the first movement, the elegance of phrasing in the Allegretto, and suppleness as well as virtuosity put on display in the Finale, played with the right energy but without undue exaggeration. In the Sonata op. 57 "Appassionata" the model that inspired Nobu Tsujii is clearly the execution of Vladimir Horowitz, whom the young Japanese artist indicated in several interviews as one of his main reference models. But there is no question of an imitation: it is an interpretation of Tsujii who, in addition to virtuosic qualities, also reveals a personality of a clear musician and defined with regard to the domain of formal architecture. It should be emphasized once again the beauty of sound, powerful, masterfully controlled throughout the dynamic and perfectly round arch even when the volume is very strong, and free of those occasional harshness that I had noticed in the two previous performances of Tsujii that I had witnessed. From the technical point of view, one cannot help but point out the impressive assurance with which the young virtuoso has solved the rhythmic progression of the final stages, and was greeted with a standing ovation by the audience. Four of the encores had already been heard at the conclusions of the two preceding recitals. After the etude op. 10 No 12 "revolutionary" by Chopin, as always a highly spectacular rendition, Tsujii once again played his own composition dedicated to the victims of the Fukushima earthquake -- this was preceded by a "Guten Abend" and a brief acceptance speech in a English spoken with a funny accent typical of the Japanese, then continuing with the re-rendering of his fantastic interpretation of "La Campanella" by Liszt, absolutely stunning in his spectacular virtuosity. An exquisite reading of Chopin's etude "L 'Adieu" op. 10 # 2 concluded the evening, even though the public could not bring itself to leave the room and wished Nobu Tsujii would play again.
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The original text is preserved below for archival, in case the posting disappears in cyberspace.
Nobu Tsujii per la terza volta a Stuttgart
Creato il 28 febbraio 2017 da Gianguido Mussomeli @mozart200657
Nobu Tsujii, ormai divenuto un beniamino del pubblico di questa zona, è tornato per la terza volta ad esibirsi a Stuttgart. Il ventinovenne virtuoso giapponese cieco dalla nascita in questo recital solistico, posto a conclusione di una lunga tournée in Germania insieme all’ Orchestre Philharmonique de Strasbourg, ha ricevuto ancora una volta consensi assolutamente trionfali da parte di un pubblico accorso numerosissimo alla Mozartsaal della Liederhalle per ascoltare un programma in cui il giovane pianista nativo di Tokyo affrontava, credo per la prima volta, il grande repertorio classico. Non credo sia necessario ripetere quanto scrissi dopo i due precedenti recitals tenuti da Nobu Tsujii qui a Stuttgart, a proposito delle qualità tecniche assolutamente fuori dal comune che gli avevano consentito di proporre esecuzioni fulminanti in brani di Liszt e Chopin. In questo caso si trattava di valutare anche la maturità musicale richiesta da autori come Bach, Mozart e Beethoven per i quali è necessario possedere, oltre alla preparazione tecnica, anche qualità di fraseggio e capacità di mettere in evidenza l’ architettura strutturale. Devo dire ancora una volta che già il fatto di veder entrare in scena il giovane virtuoso nipponico è davvero un’ esperienza di grande impatto emotivo. Tsujii fa il suo ingresso sul palcoscenico al braccio di un accompagnatore, quando si siede al pianoforte ondeggia a lungo sfiorando i tasti, quasi galleggiasse nello spazio, quindi inizia a suonare con una sicurezza incredibile e una padronanza tecnica pressoché assoluta, certamente frutto di una volontà di ferro oltre che di ore e ore dedicate allo studio.
Veniamo ora alla cronaca della serata. Nella prima parte del programma, dedicata a Bach e Mozart, Tsujii è sembrato questa volta leggermente cauto nell’ approccio. L’ esecuzione del Concerto Italiano era sicuramente pregevole per eleganza e nitidezza di articolazione anche se il tocco appariva forse non sufficientemente differenziato in certi passaggi. Molto migliore in questo senso mi è parsa la lettura della Sonata K. 570 di Mozart, nella quale il pianista giapponese ha messo in mostra una bella capacità di trarre dallo strumento sonorità pregevoli per morbidezza e liquidità, anche se lo splendido Adagio era preso ad un tempo leggermente troppo veloce per il mio gusto. Notevoli comunque la squisita eleganza e la maestria nel jeu perlé e nell’ agilitá di grazia che anche in questa occasione Nobu Tsijii ha messo in evidenza e che costituiscono forse gli aspetti migliori di un pianismo che non è fatto solo di esibizione tecnica, ma denota anche una musicalità certamente ancora in fase di evoluzione ma già molto pregevole e completa soprattutto in rapporto all’ età. Ho già avuto occasione di scrivere altre volte che non si può considerare un pianista sotto i trent’ anni come un interprete già fatto e finito, e questo vale anche nel caso di questo giovane che sicuramente avrà modo in futuro di limare nei dettagli la sua visione interpretativa bachiana e mozartiana.

Le due Sonate beethoveniane della seconda parte hanno permesso a Nobu Tsujii di mettere in mostra tutti gli aspetti migliori del suo pianismo. Notevole la lettura della Sonata op. 27 N°2 per la bellezza del suono nel primo movimento, l’ eleganza del fraseggio nell’ Allegretto e la souplesse virtuosistica messa in mostra nel Finale, suonato con la giusta carica di mordente ma senza esagerazioni inutili. Nella Sonata op. 57 “Appassionata” il modello a cui si ispira Nobu Tsujii è chiaramente costituito dall’ esecuzione di Wladimir Horowitz, artista che il giovane virtuoso nipponico ha indicato in diverse interviste come uno dei suoi principali modelli di riferimento. Ma non si tratta assolutamente di una imitazione: quella di Tsujii è un’ interpretazione che, oltre alle qualità virtuosistiche, rivela anche una personalità di musicista chiara e definita per quanto riguarda il dominio dell’ architettura formale. Va sottolineata ancora una volta la bellezza del suono, potente, magistralmente controllato in tutto l’ arco dinamico e perfettamente rotondo anche nei fortissimi oltre che privo di quelle occasionali asprezze che avevo notato nelle due precedenti esibizioni di Tsujii a cui avevo assistito. Dal punto di vista tecnico, non si può fare a meno di segnalare la sicurezza davvero impressionante con cui il giovane virtuoso ha risolto la progressione ritmica delle battute finali e che è stata salutata con una vera e propria ovazione dal pubblico. Quattro i fuori programma, tutti già ascoltati a conclusione dei due precedenti recitals. Dopo lo Studio op. 10 N. 12 “Revolutionaire” di Chopin, come sempre altamente spettacolare nella resa, Tsujii ha eseguito ancora una volta la sua composizione dedicata alle vittime del terremoto di Fukushima facendola precedere da un “Guten Abend” e da un breve discorso di ringraziamento in un inglese pronunciato col tipico buffo accento dei giapponesi, proseguendo poi con la riproposta della sua fantastica interpretazione de “La Campanella” di Liszt, assolutamente sbalorditiva nella sua spettacolarità virtuosistica. Una squisita lettura dello Studio chopiniano “L’ Adieu” op. 10 N.2. ha concluso la serata, anche se il pubblico non si decideva a lasciare la sala e avrebbe desiderato che Nobu Tsujii suonasse ancora.
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Nobuyuki Tsujii was on tour with Orchestre Philharmonique de Strasbourg in Feb 2017
One of their six performances took place on February 15 20:0 in Tonhalle Düsseldorf (2500 seats)

The following article on that performance was posted on mundoclasico.com on March 1, 2017. The English translation was generated by Google, touched up slightly by me.

The original article, in Spanish, can be read here: https://www.mundoclasico.com/ed3/documentos/29304/Grieg-Beethoven-Liszt-oido-ciegas

This review is now included in a collection of Critic's Reviews on performances of Nobuyuki Tsujii

GERMANY

Grieg, Beethoven and Liszt by Ear and no Sight

JUAN CARLOS TELLECHEA

Düsseldorf, Wednesday, February 15, 2017. Great hall auditorium of the Tonhalle. Hector Berlioz (1803-1869) Le Corsaire, overture op. 21. Edvard Grieg 1843-1907) Concerto for piano and orchestra in the minor, opus 16. Robert Schumann (1810-1856) Symphony No. 3 in E flat major, opus 97 (Renana). Orchester Philharmonique de Strasbourg. Soloist Nobuyuki Tsujii (piano). Director Marko Letonja. (Heinersdorff-Meisterkonzerte 1: Konzert 5). 100% of the capacity.

The Orchester Philharmonique de Strasbourg, directed by the Slovenian Marko Letonja, tourdd France, Switzerland and Germany. On the afternoon of Wednesday 15 February we witnessed another of the excellent concerts organized by the centenary art agency Heinersdorff in the large auditorium of the Tonhalle in Düsseldorf, as always well attended.

But the first impression deceives. Something different is happening here today; this is an unusual event. Musicians do not even have time to warm up with simple pieces. They are dispatched with the overture of Le Corsaire , by Hector Berlioz, which demands strings, and especially violins, to interpret passages at breakneck speed. The orchestra sounds magnificent and the Latvian never slows down; he leads lightly, without difficulties, with energy, spark and much animation from the very beginning of this sweeping evening.

In Edvard Grieg's Concerto for Piano and Orchestra in A minor , opus 16, the sensation is the prodigious pianist and budding Japanese composer Nobuyuki Tsujii , 28 years old, winner of the 2009 Van Cliburn International Piano Competition (first Asian to achieve it) -- and admired in many countries, as well as in New York, Washington DC, Boston, Vancouver, London, Berlin, Munich, Basel and St. Petersburg, among other large and important cities.

Nobu, as his admirers affectionately call him, deprived of his sight from birth, is nevertheless a great musician, with an enormous natural talent, exceptional virtuosity and an impressive technique that reflects on every note that he touches with enormous conviction. It is admirable the clarity that he reveals when he unleashes its feelings, its fantasy, always accentuating with the pulse and the emphasis that he puts in the execution. Three years ago he composed an Elegy for the Victims of the Tsunami of March 11, 2011 in Japan , a short piece which shows his deep feeling for the tragic events, whose grave magnitude he could only have heard and perhaps read, but without being able to witness its terrifying images.

Tsujii sees nothing (even to reach the piano and sit on the sidewalk, as well as to approach almost to the edge of the stage and bow reverently before the applause and ovations of the audience, the good director provides him with guidance); consequently his hearing and touching assume functions with a supreme degree of sensitivity.

Letonja directs this work of Grieg from the podium, but in certain key moments he leans a little to support his left hand on the piano. These almost imperceptible signals allow Tsujii to react quickly and adjust his coordination with the orchestra with great accuracy. He performs the Allegro molto moderato in a vibrant way; the Adagio with great serenity and deliberation, and with brilliance the Allegro moderato molto er marcato-Quasi presto-Adante maestoso. Everything happens as in a gentle and beautiful story.

I think I am not mistaken in saying that his instinct and his extremely developed auditory organ create a reality of his own (perhaps difficult to understand for the great majority of us), very different from that of those who can study a piece through the objective reading of the music score placed before their eyes. Tsujii's challenging career to reach the select group of internationally-renowned soloists, in which he finds himself, could only have been achieved with an extraordinary level of energy and a will to achieve that ambitious goal against the tide.

And here Nobu tears up the public and musicians of the Strasbourg Philharmonic. The applause and ovations are so forceful that the pianist has to return several times to the stage (always helped by the Latvian) before offering generously two beautiful encores: the second movement of the 8th Sonata in the minor (Pathétique) by Ludwig van Beethoven, and La Campanella, number 3 of the Great études of Paganini of Franz Liszt. The audience asked for more, but everything has its limits in this life. It is a pity that the audience has not been able to admire, for example, his endearing rendition of "Claire de Lune" from the Suite Bergamasque , by Claude Debussy.

After the interval, Symphony No. 3 in E flat major, opus 97 (Rhenish) by Robert Schumann, allowed the Orchester Philharmonique de Strasbourg to exhibit throughout its five movements (I. Lebhaft, II, Scherzo, Sehr mäßig; III (Nicht schnell, IV Feierlich, and V. Lebhaft) the excellent work of their strings and winds. Marko Letonja directs with colossal precision, clarity and temperament. It puts the accent on the joy that distills the work, in the constant and balanced flow of music, without exaggerations, with sublime moderation. A memorable concert !!!

This article was published on Wednesday, March 1, 2017.

---- The original text, in Spanish, is preserved below for archival ----

Alemania
Grieg, Beethoven y Liszt de oído y a ciegas
Juan Carlos Tellechea
Düsseldorf, miércoles 15 de febrero de 2017. Gran sala auditorio de la Tonhalle. Hector Berlioz (1803-1869) Le Corsaire, obertura op. 21. Edvard Grieg 1843-1907) Concierto para piano y orquesta en la menor, opus 16. Robert Schumann (1810-1856) Sinfonía número 3 en mi bemol mayor, opus 97 (Renana). Orchestre Philharmonique de Strasbourg. Solista Nobuyuki Tsujii (piano). Director Marko Letonja. (Heinersdorff-Meisterkonzerte 1: Konzert 5). 100% del aforo.

La Orchestre Philharmonique de Strasbourg, dirigida por el esloveno Marko Letonja, cumple una gira por Francia, Suiza y Alemania. En la tarde de este miércoles 15 de febrero presenciamos otro de los excelentes conciertos organizados por la centenaria agencia artística Heinersdorff en la gran sala auditorio de la Tonhalle de Düsseldorf, como siempre colmada de público.

Pero la primera impresión engaña. Hoy ocurre algo totalmente distinto aquí; estamos ante un acontecimiento inusitado. Los músicos ni siquiera tienen tiempo para calentar motores con piezas sencillas. De entrada se despachan con la obertura de Le Corsaire, de Hector Berlioz que exige a las cuerdas, y fundamentalmente a los violines, interpretar pasajes a una velocidad vertiginosa. La orquesta suena magnífica y Letonja no se impone reducir la marcha; dirige a paso ligero, sin dificultades, con energía, chispa y mucha animación desde el mismísimo comienzo de esta arrebatadora velada.

En el Concierto para piano y orquesta en la menor, opus 16, de Edvard Grieg, la sensación es el prodigioso pianista y novel compositor japonés Nobuyuki Tsujii, de 28 años, ganador en 2009 del Van Cliburn International Piano Competition (primer asiático en lograrlo) y admirado multitudinariamente, tanto en su país como en Nueva York, Washington DC, Boston, Vancouver, Londres, Berlín, Múnich, Basilea y San Petersburgo, entre otras grandes e importantes ciudades.

Nobu, como lo llaman cariñosamente sus admiradores, privado de la vista desde su nacimiento, es sin embargo un gran músico, con un enorme talento natural, excepcional virtuosismo y una técnica impresionante que reflexiona en cada nota que toca con ingente convencimiento. Es admirable la claridad que trasunta cuando da rienda suelta a sus sentimientos, a su fantasía, siempre aguijoneados por el pulso y el énfasis que pone en la ejecución. Hace tres años compuso Elegy for the Victims of the Tsunami of March 11, 2011 in Japan una pieza breve que denota su profundo sentir por aquellos trágicos acontecimientos, de cuya grave magnitud solo pudo haber oido y quizás leído, mas sin que pudiera presenciar sus aterradoras imágenes.

Tsujii no ve nada (incluso para llegar al piano y sentarse sobre la banqueta, así como para acercarse casi al borde del escenario e inclinarse reverentemente ante los aplausos y ovaciones de la platea, el director le sirve de buen grado de lazarillo); en consecuencia oído y tacto asumen funciones con un supremo grado de sensibilidad.

Letonja dirige esta obra de Grieg desde el podio, pero en determinados momentos clave se inclina un poco para apoyar su mano izquierda sobre el piano. Estas señales casi imperceptibles permiten a Tsujii reaccionar con presteza y ajustar con gran exactitud su coordinación con la orquesta. Ejecuta de forma vibrante el Allegro molto moderato; con mucha serenidad y recogimiento el Adagio, y con brillantez el Allegro moderato molto er marcato-Quasi presto-Adante maestoso. Todo transcurre como en un suave y hermoso relato.

Creo no equivocarme al afirmar que su instinto y su órgano auditivo extremadamente desarrollados crean una realidad propia (tal vez dificil de comprender para la gran mayoría de nosotros), muy diferente a la de quien puede estudiar una pieza a través de la lectura objetiva de la correspondiente partitura sustentada ante sus ojos. La dura carrera que ha tenido que recorrer Tsujii para llegar al selecto grupo de solistas de gran nivel internacional en el que se encuentra, solo pudo haber sido solventada con una extraordinaria porción de energía y voluntad para alcanzar contra viento y marea ese ambicioso objetivo.

Y hete aquí que Nabu conmueve hasta las lágrimas al público y a músicos de la Filarmónica de Estrasburgo. Los aplausos y ovaciones son tan contundentes que el pianista tiene que volver varias veces al escenario (ayudado siempre por Letonja) antes de ofrecernos generosamente dos bellísimas propinas: el segundo movimiento de la Sonata número 8 en do menor (Pathétique), de Ludwig van Beethoven, y La Campanella, número 3 de los Grandes études de Paganini de Franz Liszt. Los espectadores pedían más, pero todo tiene sus límites en esta vida. Lástima que la platea no haya podido admirar asimismo, por ejemplo, su entrañable version de "Claro de luna" de la Suite bergamasque, de Claude Debussy ().

Tras el intervalo, la Sinfonía número 3 en mi bemol mayor, opus 97 (Renana) de Robert Schumann, permitió a la Orchestre Philharmonique de Strasbourg exhibir a lo largo de sus cinco movimientos (I. Lebhaft; II. Scherzo. Sehr mäßig; III. Nicht schnell; IV. Feierlich; y V. Lebhaft) el excelente trabajo de sus cuerdas y vientos. Marko Letonja dirige con colosal precisión, claridad y temperamento. Pone el acento en el regocijo que destila la obra, en el fluir constante y equilibrado de la música, sin exageraciones, con excelsa moderación. ¡Un concierto memorable!!!
Este artículo fue publicado el miércoles 1 de marzo de 2017.
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