This month (May 11-May 18), Nobuyuki Tsujii is on tour in Japan with Conductor Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra (RLPO), joined at some performances by Nobu's violinist friend Fumiaki Miura (Fumi). The tour travels to 6 cities to make 7 performances -- all in 8 days, a superhuman schedule. On this tour, Nobu performs, alternately, Rachmaninoff's Rhapsody on Paganini's Theme and Tchaikovsky's Piano Concerto No. 1 and Grieg's Concerto; Fumi performs Vaughan Williams's "The Lark Ascending" at 4 of the shows. Each performance features two concertos. Additionally, the orchestra perform works by Walton, Shostakovich and Tchaikovsky.

The tour kicked off with a performance on May 11 in Saitama, and will conclude on May 18 in Nagano. The tour climax is perhaps a performance in Suntory Hall on May 14, this past Monday.

Today, I read with some alarm comments in this post from a male concert goer who was at that performance. I will not make a full translation of the lengthy text of this blog post, but in sum he was satisfied with the performance of Miura & Petrenko, but less so with that of Nobu.
https://ameblo.jp/sanf16/entry-12375901955.html

辻井くんは少々物足りない～彼本来の柔らかい優しいピアノはリサイタルでこそ本領が発揮されるのでは
協奏曲が悪い訳ではなくヴァンクラーバーンやプロムスでのラフコン２のように渾身の演奏もありますが
カデンツァはよいとして強打でオケとＴｕｔｔｉに入っても埋没してしまう傾向は否めないところがありました
音楽に真摯に向き合う彼のその姿につい応援したくなりますが超多忙なだけに充電も必要かな

Tsujii-kun is somewhat unsatisfactory. His soft and gentle piano was fine in his individual recital [which the blogger previously attended]. The concerto is not a bad interpretation, but the performance is not of the whole body as at the Van Cliburn and Rach 2 at the Proms.
The cadenzas are fine, but there are places in the tutti where it was undeniable that he was drowned out by the Orchestra. I want to cheer for him for seriously confronting music, but I think it is necessary for him to re-charge even as he is very busy

When people complain about a soloist being drowned out by the orchestra, I often wonder where the person sits, which can make a big difference on how the soloist's sound is heard.
Also, it is my opinion that a soloist can't do much to avoid being drowned out -- I believe it's up to the conductor/orchestra to modulate their collective sound to avoid that problem.
However, it is alarming that this same sentiment (Nobu's sound being drowned out by the orchestra) has been expressed elsewhere in postings that I have come across.

More concerning still to me is the comment that "Tsujii-kun is somewhat unsatisfactory. "

This blogger 's opinion is of course just a single data point, but I have come across other posts mentioning the same -- that Nobu's performance at Suntory Hall seemed less than stellar, perhaps due to fatigue.

Reading between the lines in the latest blog post by Mr. Masahiro Kawakami, I get a sense that he too is likewise concerned.

[Translated from Japanese] "Including the Ravel 's concerto which he is to play in Austria next month, it seems he is playing 7 works in about one month ...
I think that it is wonderful for him to keep doing this carefully anyhow.

If Nobu seemed less animated at Suntory, it is for a good reason. He had been playing at every performance -- 4 consecutive days straight -- on this tour, at half of which (Program A) he plays two ultra demanding concertos back-to-back (Rachmaninov Rhapsody & Tchai 1), for -- as pointed out by Mr. Kawakami -- almost 60 minutes straight on stage. And he plays a solo encore (which sadly has been called "perfuntory" by one twitter). On the day of performing at Suntory Hall (May 14), Nobu [and Mr. Miura] also had to get all dressed up to be trotted out to a Press Conference for a Fall music festival organized by Suntory Hall and Avex Classics (their record label).

As a Nobu fan looking in from afar, I get a feeling that this tour is designed for the spotlights to shine on Maestro Petrenko. Of course Mr. Petrenko is also working extremely hard, what with the ultra demanding performance schedule and post-concert autograph sessions, not to mention the toll of traveling. Web postings indicate that this tour has been a big hit for the maestro, deservedly so: he has been received enthusiastically by the audience, with bravos and standing ovations; and his post-concert autograph sessions have been very popular. I admire Mr. Petrenko and I am happy for his success in Japan.

The blogger suggested that the popularity of Nobu and Fumi helped to sell out the tickets for the concerts on this tour, and I tend to agree with him. I think it is wonderful that Nobu [and Fumi] has the clout to do that. Still, like Mr. Masahiro, I hope Nobu exercises care in his ultra-busy schedule and does not overextend himself. And, while I may not agree with everything that the blogger wrote, these words do ring true:"I think it is necessary for him to re-charge even as he is very busy."

In June 2018, Nobuyuki Tsujii performs Ravel's Piano Concerto in G major with conductor Yutaka Sado and his Tonkünstler Orchester.

This page collects news, comments and photos about the 4 performances and will be updated as events unfold. Please scroll down to read them.
Your Truly plans to be at the two performances(June 3 & 5) in Vienna and will provide eyewitness accounts.

There are 4 performances:
https://www.tonkuenstler.at/de/tickets/313-dvorak-8-1

June 2 18:30 Grafenegg Auditorium (1,370 seats on three levels) -- limited tickets available
June 3 15:30 Wien Musikverein | Großer Saal (Golden Hall 1,744 seats and standing room for 300) -- very limited availability
June 4 19:30 St. Pölten Festspielhaus | Großer Saal ( 1,063 seats + 70standing places) -- standing room only
June 5 19:30 Wien Musikverein | Großer Saal -- very limited availability

The Wien Musikvereinis famous for its Großer Musikvereinssaal(Great Hall), or Goldener Saal (Golden Hall), which is considered by some to be the concert hall with the best acoustics in the world
Nobu and Maestro Sado & the Tonkünstler Orchester have performed at these venues before, in May 2015, when they played Prokofiev's Piano Concerto No. 3, to great acclaims.

PHOTO Nobu & Sado in the Golden Hall, 2015: Source: Blog of Mrs. Itsuko Tsujii

Nobu and conductor Yutaka Sado佐渡裕 go back a long way. Mr. Sado, a worldwide conductor, is a popular figure in Japan, and for many years a host of the popular Asahi TV show "Untitled Concert." The story goes that when he was very young, Nobu's mother (Mrs. Itsuko Tsujii) sent a recording of Nobu's piano to Sado-san. Sado is said to have listened to the tape when he was taking a bath, and so impressed was he that he stepped out of the bathtub to turn up the volume. Thereafter Mr. Sado invited Nobu to make orchestra performances with him. Nobu's first orchestra recording is Rach 2 with the Berlin Deustch Symphony Orchestra in 2008, under the baton of Sado. (More at Yutaka Sado and Nobuyuki Tsujii.)

May 17 2018 Flowers for Sado-san and his Orchestra
https://twitter.com/hakushikiten/status/997107644908290048
Flower tribute from Nobuyuki Tsujii to Conductor Yutaka Sado & his Tonkuenstler Orchestra, who are also touring Japan this month. (Nobu himself is on a Japan tour with the Liverpool Phil). It just goes to show how rich the classical music scene is in Japan and especially in Tokyo.

Tonkuenstler Orchestra home page => https://www.tonkuenstler.at/en
twitter => @Tonkuenstler
Not on facebook
English wiki page => https://en.wikipedia.org/wiki/Tonk%C3%BCnstler_Orchestra

RELATED ARTICLES
Nobuyuki Tsujii & Yutaka Sado in Austria, June 2018
Nobuyuki Tsujii in Austria, May 2015
Yutaka Sado and Nobuyuki Tsujii

The following article appeared in Japanese media on May 17, 2018.
The original article, in Japanese, can be accessed at these links:

https://blog.goo.ne.jp/sakurasakuya7/e/59e886defd9ec290db0b73d92dfbd02c
https://the-liberty.com/article.php?item_id=14459

Below is a rough English translation of the text. (Disclaimer: I don't really read Japanese and the translation is done with help from Google Translate. This is a difficult piece to translate; I struggled especially with the last paragraph.)

映画「羊と鋼の森」のテーマ曲は辻井伸行が担当辻井を育てた恩師インタビュー

An interview with Professor Kawakami, who had a hand in the development of pianist Nobuyuki Tsujii of the theme music of the movie "Forest of Wool and Steel"

2018.05.18

The film "Forest of Wool and Steel", starring actor Kenji Yamazaki, will open nationwide on June 8.
To commemorate that, pianist Nobuyuki Tsujii, who was in charge of the piano of the film's ending theme music "The Dream of the Lambs", will hold a concert at Suntory Hall, Tokyo, on June 13. At this concert, Mr. Joe Hisaishi -- who composed the theme music -- will also make a guest appearance, in his first joint performance with Mr. Tsujii on stage.

Mr. Tsujii is known as the "blind pianist" and plays a beautiful tone that appeals to many people. He was taught by Mr. Masahiro Kawakami for 12 years, a pianist who escorted Mr. Tsujii when he participated in the Chopin International Piano Competition. We talked with him about his teaching to Mr. Tsujii. (2010 March issue reprinted).
-----

Rough edges at the first meeting, and I did not recognize his "genius"

It was in the spring of 1995 that I first met Mr. Tsujii.
After I graduated from the Tokyo College of Music, I studied in Vienna for seven years. But I was recruited by my alma mater and decided to return home. Around that time, a professor of the college told me, "There is a child who is blind but has a wonderful performance, and I want you to see him." That was Mr. Tsujii.

Mr. Tsujii was just then in elementary school first grade and when we first met at his home, he played a few pieces, including Debussy's "Arabesque" and Disney's "Wish Upon a Star." I remember that he was very sincere and bright, I admired that. "It's amazing to pick up the sound with just the ear and play this much."

Because he was still a child, there were some rough edges and -- to be honest -- at that point I could not tell from the beginning that he is a "genius" or an "outstanding talent." The impressive thing was that he played the piano very joyfully.

Recording one work took four hours

The lessons were twice a week, then three times a week starting from elementary school fifth grade. My wife and I took turns and went to Mr. Tsujii's home to teach the lessons.

Because he cannot read the score, information can only be transmitted to him through the ears. So I consulted with other professional musicians who were active with the visually impaired, on how to make the most efficient and accurate guidance suitable for Mr. Tsujii. The original teaching method, developed by trial and error, is as follows.

Going by the metronome, I would play the part of the right hand, the part of the left hand, the part of both hands, section by section, of each piece, and record them on the tape. I would ask Mr. Tsujii to reproduce the playing. It takes 3 to 4 hours to correctly create a tape for a 30-minute work, including pre-recording exercises which would cost me more time.

In fact, even a single work has subtle differences depending on the choice of the score. He has very acute hearing and he will remember my performance as correct. So, when I recorded a performance, I looked through several musical scores; I tried to play each work seriously so as not to let my own habit interfere with playing the sound accurately. In addition to Mr. Tsujii, I taught 30 to 40 students, and I was also working on my own career as a performer. To teach things to people is a demanding life.

He continued to challenge the big stage without fear of setbacks

He was 12 years old when he played a concert in front of a thousand spectators in Taiwan.
After finishing the program of recital for about an hour, in response to the applause after an encore, he played an impromptu that was a mix of Taiwanese ethnic melodies.
Then, the applause went on forever. Because we were prepared for only one encore piece, I was worried as I guided him off stage during curtain calls. But all of a sudden he said "I will go out again" and started playing that improvised piece. It was a wonderful performance. At that time, I strongly recognized that he is "a wonder child".

Teaching him was a daunting challenge, but I also wanted it.

In 1999, at the "Pitina piano Competition", he got a gold medal while competing in the upper class. At the world famous Chopin Competition held in Warsaw, Poland in 2005, he was -- at age 17 -- the youngest to qualify. He fought valiantly, but unfortunately could not advance to the finals.

But he does not fear setbacks. I think that continuing to face challenging performances on the big stages has had a big influence on extending his ability. With the repeated challenges, he grew at an unexpected speed. It felt like we were running up a stair two or three steps at a time.

I think that the highlight of his achievements so far is being the first Japanese who won the title of the world renowned "Van Cliburn International Piano Competition" held in America in June 2009.

How can a teacher suppress his own "Greed"

Mr. Tsujii's sound is very beautiful, compared to other people's performance. The reason I think is that in addition to his great ear, he has the desire to listen to more beautiful things, sounds closer to "truth".

The time of the 12 years that I spent with him was special. He practiced so hard that I worked hard to make those tapes. Whenever I taught him something, he would try hard to respond to it. The lessons were fulfilling every day. It's a special feeling for that time, like being illuminated by a spotlight of a different color.

On the other hand, at times I wondered how to guide a child with such a wonderful talent. He was truly innocent and had a pure unspoiled character, but it is inevitable that a teacher would dye a student in "his own colors." It is easiest to teach by asking your student to imitate yourself, because it yields immediate result.

In addition, there is the desire for a teacher to be recognized. While battling such conflicts, how much do you teach and how far should you refrain from imposing yourself in your teaching? How would you develop his personality? It was very difficult to control all that.

This is something I feel with other students as well, but when I meet a child with a personality that is challenging to me, the more I want to pick up the bud [help to cultivate his character]. I would think, "This personality is important to many other people, even though I may find it difficult." As an educator, it is a teacher's job to honor a student's personality and bring out their ability to the utmost.

I do not know how much influence I have had on Mr. Tsujii, but as his teacher I continue to like him as a human being. [End of Conversation.]

---
Pianist
Tokyo University of Music Associate Professor
Masahiro Kawakami
profile
Masahiro Kawakami was Born in Hokkaido in 1965. He graduated from Tokyo College of Music (Piano Performer Course). In 1988 he won the 4th place in the Maria Canalse International Competition. In 1992, he graduated from the Vienna City Conservatoire where he went to study abroad. Returned to Japan in 1995. Currently, he is active in various fields as a pianist while teaching at his alma mater. So far, he has released 6 CDs including "Metronel: Sonata Ballade".
---
RELATED ARTICLES ON THIS BLOG
Mr. Masahiro Kawakami 2011 Interview (translated December 2017)
Mr. Kawakami on Nobu's Talent & Personality (September 2016)
Dr. Kawakami at Nobu's Kioi Hall recital (July 23, 2015)
Tribute to Mr. Kawakami TV Show Transcript and Photos (2012)
Joe Hisaishi and Nobuyuki Tsujii first collaboration

PHOTO BELOW
Photo below: 川上昌裕先生,ゆかり先生が駆けつけてくださいましたハート Professor Masahiro Kawakami and teacher Yukari (Mrs. Kawakai) with Mrs. Itsuko Tsujii (Nobu's mother, in Kimono) and Nobu, backstage after a performance with the Royal Liverpool Philharmonic at Suntory Hall on May 14 -- source: 5.14.2018 blog post by Mr. Kawakami

Nobuyuki Tsujii has had a long association with New-York-City based Orpheus Chamber Orchestr.
Nobu performed in the Carnegie Hall with the Orpheus in 2014 as part of their first U.S. tour, and they again performed in U.S. in 2016, in Minnesota as well as New York's Central Park [photo below, source: The Naumburg concerts.] on June 28 2016. Nobu and the orchestra have also toured Japan in 2014and in 2016.

Theys will be seens in U.S. again this fall. On September 20 8PM, Nobu is scheduled to perform Chopin's piano Concerto No. 2 with the Orpheus Chamber Orchestra at the Carnegie Stearn Auditorium. This is the orchestra's season opening performance.

Orchestra announcement:
http://orpheusnyc.org/event/gentle-giants-nobuyuki-tsujii-piano/
Quote, from the Orpheus Chamber Orchestra 2018-19 Season Preview video
"Our first concert is with pianist Nobuyuki Tsujii, who has become a real friend of the orchestra."
"This pianist from Japan is obviously blind, he learns everything by ear; marvelous, marvelous player ..."

Last time when Nobu performed in the Carnegie Hall with the Orpheus in U.S. in 2014, they made performances on the East Coast, including stops at SUNY as well as at the Lafayette College in Pennsylvania, and looks like they will do a similar tour this time. Detaisl of the performances apparently have not been finalized but we ares announcements are coming up a little at a time.

In addition to the Carnege Hall performance, these are the other known concerts:

September 14 8PM Williams Center for the arts, Easton Pennsylvania https://williamscenter.lafayette.edu/orpheus-with-nobuyuki-tsujii/

September 21 7:30PM Troy Music Hall (1253 seats) This performance was mentioned in a newspaper on May 11 and on May 20 on the home page of the Troy Chromatic Concerts.
It is part of the Troy Chromatic Concerts organized by SUNY (State University New York) Schenectady County Community College

Single tickets for the Carnegie Hall performance should be available in August through the Carnegie Hall box office and online.

TO BE CONTINUED

RELATED ARTICLES
Nobuyuki Tsujii & Orpheus Chamber Orchestra in U.S. 2016
Nobuyuki Tsujii & the Orpheus -- 2016 Japan tour
Nobuyuki Tsujii & the Orpheus in U.S., 2014
Nobuyuki Tsujii & the Orpheus in Japan, 2014

The following article appeared on the facebook page of the MATSUO MUSICAL INSTRUMENT COMPANY, Tokyo, Japan, on May 21 2018.
The original posting is in Japanese. Below is an English translation of the text.

Nobuyuki Tsujii special interview

STEINWAY SALON / MATSUO MUSICAL INSTRUMENT COMPANY · SUNDAY, MAY 20, 2018

Mr. Nobuyuki Tsujii visited our showroom. Presented with the latest snapshots taken during the visit, I will introduce his recent situation and the story I heard.

From world conductor and pianist Vladimir Ashkenazy: "He is wonderful both as a musician and a pianist, and the clarity of his performance surpasses many pianists." Mr. Tsujii is establishing his position as a world-wide pianist. Mr. Tsujii speaks of Maestro Ashkenazy as "a presence of admiration", and the cooperation by two such loving friends will be realized once again with the Japan tour with the Icelandic Symphony Orchestra starting in November.

Photo caption: Steinway Salon at Tokyo Show Room [Editorial: Nobu is seated with his back to a Steinway. He is wearing a long-sleeve patterned grey-blue shirt over his fashionably torn jeans, both apparently among his recent favorite wardrobe pieces.]

In addition, Mr. Tsujii released a live recording with the Royal Liverpool Philharmonic Orchestra, with whom he co-starred this month (Vasily Petrenko conducting) on a Japan tour that has just concluded. This CD includes two works played on the tour: Grieg's "Piano Concerto" and Rachmaninoff's "Rhapsody by Paganini Theme".

Although he has played the Grieg with numerous orchestras many times, the beautiful poetry of Mr. Tsujii is wrapped in the feeling of the earthly atmosphere of Northern Europe. In the Rachmaninoff, while taking advantage of the beautiful tone that he has, individual personality character is expressed dramatically in colors. It is a CD that can be enjoyed even if you are not a fan of Mr. Tsujii.

Photo caption: [Nobu] with Petrenko & Royal Liverpool Philharmonic Orchestra with CD
[I am amused by the expression on the face of Nobu in this photo -- he is staring straight ahead, smiling with lips closed. To me he has a look of mischief, what the Japanese call "tea-eye" ^_^]

In July there are lots of performances of Mr. Tsujii, including a duo recital tour with young violinist Miura Fumiaki, followed by a joint concert with Fazil Say & Les Freres.

In the movie "Forest of Sheep and Steel," to be released soon, Mr. Tsujii plays the ending theme. The film is about the piano and the presence of the tuner.

[Q & A follows]

- Today, thank you for taking precious time shortly after the concert tour with the Royal Liverpool Philharmonic Orchestra has ended. This tour began very soon after the performance with Ashkenazy's Orchestra Ensemble Kanazawa at the music festival in Kanazawa in early May, and the tour of 6 cities was performed. Please tell us the impression of this tour.

"Conductor Petrenko and the orchestra were wonderful to collaborate with, it was really inspiring in many ways. It was a very fun concert tour. I had just recorded a CD with them in February, so it was a very memorable tour. "

- This CD was recorded in Liverpool, England, and Ms. Tsujii is performing not only in Japan, but also around the world. I think that there must be encounters with different pianos in various countries and regions.

"The piano is not something you can carry with yourself, but I am depended entirely on the piano. Each one has its own characteristics. I think that it is interesting to meet a piano every time I go to a hall. Of course, the state of the piano may be good or bad -- there are such experiences especially overseas; but as a pianist, I have to do my best regardless, so for me I will take what I get with each piano. Sometimes the experience can be amazingly funny."

- What piano is your favorite piano, that Mr. Tsujii wants to play all the time?

"Whenever I meet a piano, any piano, it feels like I have been playing with that piano all the time. Each one is different and it also changes very much by the tuner. Rather than favoring any piano, I enjoy playing any piano in fresh places."
[Editorial: I feel the pain of the interviewer ^_^, who must have hoped for Nobu to say Steinway!]

- Speaking of tuners, at our company there are two long-time tuners (執行・鯨井 [names of the tuners?]). May Mr. Tsujii tell us your impressions of them and the characteristics of the sound that they make?

"Both of them are very wonderful tuners. With their tuning, the piano conveys a sound of a gentle feeling, and there is a glittering feeling or a strong feeling of gentleness. Of course, the sound is also influenced by the concert halls, but I am comfortable with both of your tuners. "

- When you have a specific request for a piano on site, what kind of expression will you tell the tuner?

"I do not ask very much with an instrument that is said to have been "tuned". Well, sometimes when there is a piano that has not been played much in the hall, the sound may be rough. I think it is a waste to see such a piano, so I always want a piano to be played by more people. I think the tuner is amazing to be able to fine-tune any kind of such a difficult piano. "

Caption: Nobu trying out the Steinway A-188

- One final question for Mr. Tsujii, what do you think about a piano tuner?

"I can not carry the musical instrument myself and I can not do the tuning myself, so tuners are important for us pianists. Every tuner I know also knows how to play. I hope that now there will be more interest in the job as a tuner so that there will be ever more tuning doctors. "

- --- end of interview --

[photo of Nobu playing the piano.]
----
I posted this comment --
Great photos and interesting interview. I have met Nobu at various concerts and my impression is that indeed he does not make demand on the tuner -- he does his best with whatever piano he is given. When he performed at the Sydney Opera House for the first time, I was told by a staffer there that it was Maestro Vladimir Ashkenazy who chose the Steinway piano for him to perform on.

In July 2012, Nobuyuki Tsujii made his debut at the "White Nights Festival" held each summer in St. Petersburg, Russia. He was invited by renowned conductor Valery Gergiev for two performances ("Tchai 1" with the orchestra and a recital). The concerts were a big hit, commemorated in a DVD distributed by EuroArts Music, and it marked the beginning of Nobu's ongoing relationship with Maestro Gergievs, with whom Nobu has since performed numerous times in Russia, Europe and Japan. Pursuant to the July 8 performance with conductor Valery Gergiev and the Mariinsky Theatre Orchestra, Nobu contributed to a one-million rubles donation from the proceeds of the concert to the victims of a flood in Kuban that occurred the night before.

Nobu returns to the festival this year (2018) to again make two performances:

June 20 20:00 Mariinsky Theater II, St. Petersburg,. Beethoven's "Emperor" with Valery Gergiev and the Mariinsky Theater Orchestra https://www.mariinsky.ru/en/playbill/playbill/2018/6/20/2_2000
June 24 20:00 St. Petersburg concert hall, Russia. Recital (Chopins, Debussy, Liszt,s Gerswin, Kapustin) https://www.mariinsky.ru/en/playbill/playbill/2018/6/24/3_2001At the solo recital, he will play the entire 8 concert etudes of Nikolai Kapustin -- in the living composer's home country!

Festival schedule & tickets => http://www.mariinskiy.com/?_1

Photos below: Mastro Gergiev & Nobu at the 2012 White Nights

Back in April, Nobuyuki Tsujii and his violinist friend Fumiaki Miura appeared in a public recording session for the long-running Japan TV program「題名のない音楽会」"Untitled Concert" that caused much excitement (see Nobu & Fumi on "Untitled Concert", June 2018).
The recorded footage will be aired on テレビ朝日Asahi-TV in an episode of the program on June 9, as previously announced.
http://www.tv-asahi.co.jp/daimei_2017/sphone/Broadcast/cur/

2018.06.09
「三浦文彰と辻󠄀井伸行の音楽会」
名実共に日本を代表する演奏家、ヴァイオリニスト三浦文彰さんとピアニスト辻󠄀井伸行さんの共演。2人が昨年の初リサイタルで披露した、フランクの「ヴァイオリン・ソナタ」を全楽章演奏し
"Music Concert of Fumiaki Miura and Nobuyuki Tsuji"
Representing Japan in name and reality, violinist Fumiaki Miura and pianist Nobuyuki Tsujii co-star. Two people showed up at their first recital of last year, they played all movements of the Franck's "Violin Sonata."

Photo at April filming. Image source: AMATI facebook page

RELATED ARTICLES
Nobu & Fumi on "Untitled Concert", June 2018
"Untitled Concert" TV appearance 2018.1.13

Nobuyuki Tsujii performs with Yutaka Sado & the Tonkuenstler Orchestra in Austria 2018, June 2-5
The following article appeared on the Internet on June 4 2018,

Tonkünstler im Wiener Musikverein: Nobuyuki Tsujii bringt den Goldenen Saal zum Strahlen

"Tonkünstler in the Vienna Musikverein: Nobuyuki Tsujii makes the Golden Hall shine"
https://klassik-begeistert.de/tonkuenstler-orchester-niederoesterreich-nobuyuki-tsujii-yutaka-sado-musikverein-wien/ [German classical music blog klassik-begeistert]

by Thomas Genser

Nobuyuki Tsujii, Piano
Yutaka Sado, Conductor
Joseph Haydn: Symphony in B flat major Hob. I: 102
Maurice Ravel: Concerto for Piano and Orchestra G Major
Antonín Dvořák: Symphony No. 8 G major op. 88

[Translated from German]

Just back from their three-week tour of Japan, the Tonkünstler Orchestra of Lower Austria is back on the stage of the Vienna Musikverein. Principal Conductor Yutaka Sado conducts a sparkling Haydn and conducts a Ravel Piano Concerto that does not need to be hidden from anyone: the blind pianist Nobuyuki Tsujii makes the Golden Hall shine. After that Dvořák's Eighth is an easy task for the orchestra.Maestro Yutaka Sado conducts a sparkling Haydn and a Ravel Piano Concerto that does not need to be hidden from anyone: blind pianist Nobuyuki Tsujii makes the Golden Hall shine. After that, Dvořák's Eighth is an easy task for the orchestra.

Of the more than 100 symphonies by Joseph Haydn, the set composed between 1792 and 1795 in London is best known. The No 102 in B flat major (1794) opens the concert. Sado slowly swells the music in the introduction until the movement in Vivace picks up speed. Energetic like no other, the Japanese draw the dynamic arcs. Sugar sweet flutes and rolling timpani alternate - here you can hear classical music in perfection! With grimaces on his face and distortions of his body, Sado leads into the implementation, which is characterized by an effective change to minor.

Much simpler sounds is the Adagio, a variation movement based on the second movement of Haydn's Piano Trio in F sharp major. The theme is set with some flourishes, the solo cello stands out clearly. Despite its scratchy character, its lines are beautiful and well-formed - but they could be a bit louder. Much buzz on the other hand brings the minuet. Yutaka Sado enhances this effect with a minimal ritardando before each measure, music lives on such nuances! The trio is reminiscent of Mozart, Haydn quoted here but a passage from the Don Giovanni .

The finale is emphatically fast: Presto gallops the theme of it, the violins struggle to keep up, but Sado holds the reins firmly in his hand. In the second couplet of this rondo, the music suddenly changes to B minor - once again Haydn, the rogue, shows himself. His musical games with our listener expectations continue to surprise over 200 years later. The dynamic fallacies are highly effective under Sado's direction, but finally "Papa Haydn" also puts a point under the symphony with a final cadenza.

Nobuyuki Tsujii, who plays the solo part in Ravel's Piano Concerto in G major, also comes from Yutaka Sado's homeland. "Nobu," as friends and family call him, was born blind, but today is a pianistic super talent. Lovingly, Sado leads him to the Steinway grand piano, from where he can captivate the audience within a few moments. Introduced by a single whip, one embarks on a journey into the world of Ravel, the little joke maker from France, who has done so much for the music of modern times.

Tsujii's playing here is able to express any shade: in places highly sensitive, then gruff, now jazzy again and virtuoso. An image of Ravel's music itself, a colorful palette of Impressionism, Neoclassic, various local favorites and jazz. His lack of eyesight compensates Nobuyuki Tsujii with a sense for the acoustic level, which is rare to find. The communication with Sado at the podium seems to be intuitive. The second movement, which the pianist almost soloistically denies with an elegant and delicate attack, starts like a Chopin piece. Sado slowly condenses the texture, flutes take over the melodic lead, and the orchestra rises together in ecstasy.

In the final Presto, the pianist pulls out all the stops of his abilities: The runs and fast chains are fervent against the action dominated by the percussion. Sometimes you can hear his fingernails clicking on the keys, which adds an extra percussive note. Cheers and applause are unbelievable after that, even Yutaka Sado sits in awe on the edge of his conductor's stand while Tsujii plays a solo encore.

It is not easy to top this fireworks afterwards. The program includes Dvořák's 8th Symphony. Sado conducts the work with incredibly agile movements, from air jumps to squats, everything is there - occasionally even his breaths are heard. At first, however, the work, which premiered in Prague in 1890, begins like an idyllic sunrise in the countryside. Associatively one swings somewhere between Tchaikovsky and Beethoven's Pastorale , but the sound soon puts emphasis on powerful late-romanticism and high volume.

With the attention of the audience thus gained, Sado can calmly arrange the rest of the movements: the Adagio is brought to an end after a constant change between major and minor of natural quartet melodies, while the Allegretto grazioso is a graceful waltz. For the finale, there are trumpet fanfares and a simple theme that the cellos initially hatch alone. Support comes from the violins, and what happens is a powerful finale. The sound is very homogeneous, in places glaring, but always perfectly balanced. Horns shake, the tuba drills through the orchestra and in the eternal struggle of the minds triumphs finally optimistic life affirmation.

Thomas Genser, 3 June 2018, for
klassik-begeistert.de
------- End of Article -------

RELATED ARTICLE
Nobu & Sado in Austria 2018 -- news, comments, etc.

Nobuyuki Tsujii was in Austria June 2-5 to perform with the Tonkuenstler Orchestra and Conductor Yutaka Sado.
His long-time piano teacher, Mr. Masahiro Kawakami, was in Europe: Germany and Paris, for work. Somehow, he found time to travel to Vienna for Nobu!
http://www.masahiro-kawakami.com/blog/index.php?e=909 [June 5 blog post]
And, as promised, he was at the Musikverein last night (June 5) and filed a post.
http://www.masahiro-kawakami.com/blog/index.php?e=910 [June 6 blog post[
[Rough translation from Japanese]

From Vienna

People who lived in Vienna for a long time are often said that "Vienna is my second hometown", but since we lived there for seven to eight years, we have a great affection for the city. Although I have not visited here for a long time recently, I thought, "Vienna is nice after all" again. From the time we lived, friends living in Vienna always said that "Please come back to Vienna again".

Last night, there was a concert of Tonkunstler Orchestra led by conductor Yutaka Sato at "The Golden Hall" (Musikverein Large Hall), and Nobuyui Tsujii was the guest soloist for Ravel 's concerto. Yesterday's was the last four consecutive-day performances ... The program began with Haydn's symphony, and Mr. Tsujii appeared in the second work, Ravel's piano concerto. The 1st movement is an extremely fast tempo, the 2nd movement is singing relaxingly, the 3rd movement is an exciting performance unique to Sado and Tsujii, developed with a spectacular driving force. And what was played by Mr. Tsujii in the solo encore after the concerto was ... Kapustin's Etude (Op. 40 - 1)! I was surprised. Suddenly to show off that song on the big stage in the world called the Great Hall of Association of Vienna!
When I asked Mr. Tsujii the day before what he planned to play for soloist encore this time, he said, "No, I have not decided it yet ." Oh, yes, I replied and forgot about that. So, when the encore started, it was completely surprising even as I heard the first bar, I did not know what started for a moment. The heart really seemed to pop out for about 2 minutes when I was listening to the song, but maybe it was a gift from Mr. Tsujii to me. At the moment when I played the Kapustin etude, the venue was abnormally excited. I was also really happy. I myself forgotten my manners and raised my voice.
And when I thought it was over, he played Debussy's "Light of the Moon" as the second encore. This was an effective selection. Soloists usually plays only one encore, so I wanted to know whether he decided to play these two songs from the beginning, and I asked Mr. Tsujii later. Then, in fact, immediately after playing Kapustin it was said that Sado-san suddenly said to him, "I want to listen to the moonlight." He had played that for encore the day before yesterday. (By the way, it seems that it was only yesterday that he played the Kapustin out of all four performances.) Enveloped by enthusiasm, the audience of Vienna was not willing to leave the venue. Mr. Yutaka Sado was busy with anautograph session after the show It seems that there were also many fans from Japan.

All 4 days of the performance finished successfully, and the Avex staff also seemed to be returning home to Japan with great satisfaction. We [Mr. and Mrs. K] will return home after we have enjoyed the Vienna life a little more.

NOTE: Both Mr. and Mrs. Kawakami studied music in Vienna, and both taught Nobu piano starting when Nobu was age 7, for12 years.

NOTE: The weather in Vienna just took a cool turn on June 6, how nice for Mr. and Mrs. Kawakami!

RELATED ARTICLE
Nobu & Sado in Austria 2018 -- news, comments, etc.

Japan's music writer Yoshiko Ikuma was in Vienna to cover, for a magazine, Nobu's June 2-5 performances with Yutaka Sado & the Vienna Tonkuenstler Orchestra in Austria. She updated her blog on June 10 in a post about Vienna's famed Musikverein (Concert Hall for Friends of Music, the "Golden Hall"), where Nobu performed on June 3 and 5 respectively.

Below is a rough English translation of the post of Ikuma-san. I was at both performances at the hall, and have my own opinion about it. If you like, please scroll down below for my own impression of my experience with the hall.

June 10 blog post of Yoshiko Ikuma (translated from Japanese)
http://yoshikoikuma.sblo.jp/article/183503844.html
10th June, 2018
Vienna "Golden Hall"

　
When I visited Vienna on the occasion of Nobuyuki Tsujii the other day, I entered the "Golden Hall" for the first time in a long time in the Vienna Music Friends Association [Musikverein].
　This hall is known for its wonderful acoustics, and even when listening to the rehearsals of the Vienna Tonkunstler Orchestra conducted by Yutaka Sado, I was fascinated by a mellow and refined sound delivered to the audience like parabolic arcs from the stage.
　Former artistic director Thomas Enghin told me previously, "Since this hall is hollowed down and there is nothing on top, the whole acoustics sounds like a contrabass, and a wonderful sound is born."　With Nobuyuki Tsujii 's Ravel piano concerto, the piano sound is clear and refreshing from the beginning; every single rhythm is resonated very clearly.
　The fusion of the sound with the orchestra is also natural, and I felt a sense that Ravel's exquisite and stylish music that was rich in esprit was delivered straight to the heart of the listener. As this concerto has possibly a jazzy atmosphere, Mr. Tsujii's fondness of jazz from a young age also stands out.
　In his interview, he spoke of the sound of this hall and said, "I am happy to be able to play here, it is like a dream." I think for pianists playing here must be a bliss .
　Indeed, this hall is suitable for being called "golden hall". While I sat here time, I remembered what happened when I heard Karajan's New Year's Concert of the very first Vienna Philharmonic.
　For me, this is exactly where I had a dream moment.
　Today 's picture is the "Golden Hall" taken with permission. It is beautiful enough to make me sigh.
---------- end of post by Ikuma-san ------

Footnote: My own Impression of the "Golden Hall"
Historically, Austria has a fondness for gold, or the color of it. It is everywhere at their tourist attractions that I visited: the opera house, the museums, the Belvedere, the Melk Abbey... The Musikverein is right along that vein. The outside of the building is relatively restrained, but the interior is an ornate shrine of gold.

For my first attendance of Nobu's concert, on June 3rd, I sat on the first balcony on the soloist side. But, for the June 5 performance, I sat on the upper central balcony (about where the photo of Ikuma-san's photo was taken). The first ticket was more expensive and the seat, elevated just above the ground floor, provided a good view of the stage. I chose the second seat in the hope of getting a bird's eye view. It was a mistake. In retrospect, I should have taken a seat on the ground floor instead. In any case, I think I would have problem seeing over people's heads. The truth is, old European concert halls and opera houses were built not so much for the viewing of the stage, but for the nobility in the audience to see and be seen by each other. Unless you get a front row seat (as I did at the opera house and at the June 3 performance at the Musikverein), your view is blocked by people seated in front of you, as the seats are tightly packed and hardly staggered. And, to be perfectly honest, the seats are cluttered and uncomfortable.

Yes, the hall's acoustics is great. But at both of my attendances, loud crashing noises disrupted the enjoyment when someone inevitably dropped something (such as a walking stick) on the wood floor.

My biggest gripe with the hall, however, is with the inhospitable staff. I consider myself a seasoned traveler to Europe and I am aware that the unsmiling people who work at their museums and concert halls generally cannot be expected to be accommodating. I cannot blame the hardworking (and probably underpaid) staff for putting on a brassy front while dealing with us unruly public -- I have witnessed plenty of bad behaviors, including my own on occasions -- that they are up against. But the sternness of the staff at the Musikverein seemed in a league of its own. People who failed to notice the inconspicuous posted signs about no photography allowed were sternly admonished, as I was immediately after unwittingly taking a selfie in the lobby; a man at the CD desk actually held out his hand to ask for the camera of a Japanese woman who had snapped a photo of the lobby. At the June 5th performance, a door guard ordered me to check in my small shoulder bag at the cloak desk while women with larger purses got past. I had to specifically ask this same guard to purchase a concert program -- they were nowhere on display. On the June 2nd performance, I had tried to purchase a copy of the program but was told that it's "all in German" [and so I should not bother].

But the worst part of it all was getting backstage to greet Nobu after the June 5th performance. I had permission to be there after both performances. On June 3rd, a female usher very kindly remembered me and showed me the way just after the first half. However, on June 5th, because of where I was seated, getting backstage was far more difficult. I asked for help from too many staffers and was given vague direction each time ("yes, go upstairs"), only to find myself confronting, alone, unmarked locked doors after climbing staircases. It was like a recurring nightmare where, try as I do, I cannot find my way to reach a destination in time for an appointment. I had wanted to be at Nobu's dressing room during intermission to catch Mr. Kawakami, Nobu's long-time piano teacher, whom I knew would be there. Alas, by the time I finally managed to reach Nobu -- after a man took pity on me to guide me to the door -- the second half of the concert had started.

Photo below: A selfie that I took standing under the ceiling of the lobby of the Golden Hall, just past the entrance. I was informed immediately "no photography allowed."

The following article appears on the Internet on June 12 2018.
The original articles, in Japanese, was accessed here => https://thepage.jp/detail/20180611-00000011-wordleaf
An English translation appears below.

辻井伸行、様々なピアノと出合う楽しみ支える「調律師さんの仕事に感謝」

Nobuyuki Tsujii Gives Thanks to Piano Tuners

Pianist Nobuyuki Tsujii is fascinated by and collaborated with Mr. Joe Hisaishi, known for his movie music. The film "Forest of Sheep and Steel" (director Mitsuji Hashimoto, just opened) is a story of the development of a young man aiming to be a piano tuner, played by Yamazaki Kenji. Hisaishi and Tsujii were responsible for the ending theme music "The Dream of the Lambs". When listening to the sound of the elegant piano, the lingering impression quietly emerges. In a dream collaboration, Tsujii played the music composed by Hisaishi, but Tsujii has been a fan of the movie music of Hisaishi for some time.

In the movie centered on a tuner, the yearned-for first collaboration with Mr Hisaishi was realized.
　"My manager had read the original story a long time ago and from him I heard that it was a tuner's story and I was thinking that when it gets translated to Braille I would like to read it; and we talked about the movie and about joining force with Hisaishi -- I was very happy when told that he wanted to do it. I read the original work, and when I got a score written by Mr. Hisaishi, I was moved by a wonderful composition. "

　On the other hand, Hisaishi also seems to have been looking forward to the collaboration with Tsujii. The work is said to have a high degree of difficulty.

　"It is a work that is difficult to play, but I was on tour around the time of the recording, so it was awful because there was only one week for it. I was very nervous to play in front of Mr. Hisaishu, but he said 'it is just perfect.' It was a pleasure for a work that you thought you would like to see to be made into a movie even if you are not involved, so it's a pleasure to be involved in this way."

Tsujii said that he has liked Hisaishi's music for a long time, originally from watching Studio Ghibli movies.

　"It's awesome melody and it's easy to listen to. I thought I wanted to be able to play in a Ghibli movie someday. Mr. Hisaishi's piece is the perfect melody for this story. There is a part of it in the middle that is like a piano concerto, and the piano and the orchestra's interactions are really wonderful. I studied Mr. Hisaishi's score of this piece, and I practiced it all the time. "

Although it is a movie with a tuner as the main character, Tsujii the pianist also has a deep connection with a tuner as a matter of course. Each performance will change with the venue, the piano and the tuner as well.

　"The sound differs depending on the hall and it differs depending on the piano.The sound changes considerably also by the touch of a pianist or a tuner, just as it is fun to drive a variety of cars. For pianists, the instrument cannot be carried, and it is also impossible to do tuning at the same time. So the tuner is very important; we make a concert with the tuner and audience. So I do understand the tuner in this movie; I depend on the tuner for my concerts, and I feel it is a very interesting movie."

Tuning is demanding. Customers "understand sound."
　What kind of communication does Tsujii himself have with the tuner?

　"In Tokyo I rely on people who always do it; it is great that there is mutual trusting with these tuners, but even with a new tuner I do not make many requests. There are some pianos that have not been played or are not used depending on the hall, it is a waste. No sound comes out unless the piano is played, and such an old piano is hard to adjust to. I think that it is possible that a good concert can be made because the tuner is doing a great job. "

And what I usually keep in mind is to entertain the audience.

　"Technique and expressive power are important, but the most important thing is a performance that you can listen to with enjoyment as well. I like to play the piano because it is fun. I enjoy playing for customers. I want to become a pianist that makes people become interested in music. I am still learning for my life and I do not have a goal except to be loved if just a bit -- I want to become such a pianist. "

What I keep in mind to make a good performance even a little
　What you just said describe the height of your aspiration, but what do you do in your everyday life to maintain yourself as a pianist?

　"Practice is important, but I try to do things other than music. I try to do different things to broaden my mind. I am recently into ceramic art as a new hobby. I go to the hot springs during the tour to relieve fatigue. And taking a walk is also a change of pace. Of course health management is also important. When I can take my time, I eat local cuisine, drink alcohol, and swim to move my body. I am building physical strength by exercising and I sometimes go to listen to a good performance."

　Although classical music has lots of critics, it is said that he does not care much about reviews but rather worries about the reaction of the audience who has come to listen to his music directly.

　"Your applause will be encouraging and it will be a feeling for me to try harder and more. When the hall has seats in the back, I hear applause coming down like a shower from the top; in such a big hall I always think that I am happy to play in front of you. "

　Finally, he has a message to those who aim to be a pianist.

　"Of course it is important to practice on music, but it is also important to find out what you like and change your pace, because hobbies and studying other than music will be positive for music, so don't just practice but also stay active, and I hope you enjoy your performances. "

(Interview, text, photography: Koji Shiwa)

RELATED ARTICLE
Joe Hisaishi and Nobuyuki Tsujii first collaboration

On June 15, 2018, two days after he held a special concert in Suntory Hall to commemorate the opening of the film "Forest of Wool & Steel," Nobuyuki Tsujii made a live appearance on a popular TV show, "Music Station." He appeared with the leading actor of the film and performed the theme music "Dream of Lambs" on a piano in the studio.
Appearance on Asahi TV Music Stations s-- "Dream of Lambs"

Music Station
Friday June 15 8PM
The Dream of the Lambs
(Actor 山﨑賢人 Kento Yamazaki also appears!)

The show is apparently very popular and geared towards a younger audience. There was a torrent of tweets that showed up before and after the show.
You can see a short clip of the performance here => https://twitter.com/icoyuraco/status/1007603772338475008
Another clip, of Nobu being interviewed, here => https://twitter.com/icoyuraco/status/1007597336141238272
This still photo posted with a tweet from the TV show itself shows Nobu dressed in a suit but tieless -- in deference to the casual atmosphere of this youth-oriented show. Interestingly, the male show host -- a middle aged gentleman -- wears Rays-Charles shades.

Still photos posted with another tweet

This photo appears with a tweet, showing the autographs of Nobu and the actor side-by-side on a sheet p erhaps handed out by the show to the audience in the studio.

https://twitter.com/kattobicivic_2/status/1007781369756278784
録画しといたMステを見てたんだけど、ピアニストの辻井さんの紹介で、彼が全盲であることにトークとテロップで一切触れなかった（コンクール優勝の紹介記事には出てました）事は素晴らしいと思う。番組はあくまでもピアニストとして出演してもらってるんだなって伝わりました
I was watchings a recording of Music Station. When M. Tsujii the pianist was introduced, there was no mentioning that he is blind (unlike in the articles about hissss competition victory)
I think that is wonderful. He really comes across on the show as an ultimate pianist
ただ、欲を言うならもう少し長く辻井さんの演奏を聴いていたかったなぁ、、、映画とテーマ曲と辻井さんを知るきっかけにはなったと思いますが、、、あとエンディングの山崎くんのさりげないサポート、良かったです

This article came up about the appearances before the show:https://www.musicman-net.com/artist/76495

[Translated from Japanese]

Global pianist Nobuyuki Tsujii appears for the first time on 'Music Station' [TV show in Japan] with Kenito Yamazaki Kenito -- live performance of the movie ending theme collaborated with Joe Hisaishi.

On the "music station" broadcast tonight, 29-year-old genius pianist Nobuyuki Tsujii is appearing on 'Music Station' for the first time.
He showed off the ending theme of the movie 'Forest of Lamb & Steel' starring Kenito Yamasaki, 'The Dream of the Lambs,' on which he collaborated with world musician Joe Hisaishi.
About this piece, Tsujii said, "When Mr. Hisaishi gave me the score, I imagined what kind of feelings it was composed with, and I inflated the image of the movie in myself. This song is moving, beautifully; it is really fun to play. "
About the first 'Music Station' appearance: "Since I am normally working as a classical pianist, I never thought that I would appear on the show; and I am honored to meet Mr. Tamori [the show host]; this was a precious opportunity. I think that I am glad if anyone watching the program is interested in the piano," he said with enthusiasm.
In addition, actor Kenito Yamazaki, who played the leading character of a piano, will join him in the studio. It is also Yamasaki's first appearance on the show, and he will watch Tsujii 's piano performance.
Yamazaki said, "When I listened to" The Dream of the Lambs' for the first time, I felt that the deep forest was pushing the back of the hero to go on. I remember thinking that it was a luxurious moment when I first heard it closely. "
And, about the show: "I was watching it from a long time ago -- it is live broadcasting and it is Tamori-san. The kind of tension is completely different, but I am happy that we can also share the impression of this song with the audience; I think that it will surely be transmitted,"he said of the mixed feeling of joy and excitement.
As for Tsujii, Yamazaki said, "It is an impression that he is assured and very calm. Before we met the Majesties at the Royal preview, everyone, including the director, was nervous, wondering 'what should I do' ... Mr. Tsujii was saying "I just need to be normal," with a relaxed feeling." He confessed that the episode shows the size of the vessel [the size of the vessel = the range of experience of a person]
Tsujii described Yamazaki as "very naturally friendly, a very nice person." "I am honored to be able to co-star together on Music Station; I will do my best to express the perspective of the movie," he spoke of the live performance. ...

RELATED ARTICLES
Joe Hisaishi and Nobuyuki Tsujii first collaboration
Special concert for the film "Forest of Wool & Steel" (June 13 2018)
"Nobuyuki Tsujii gives thanks to piano tuners"

During winter of 2018-9, Nobuyuki Tsujii will perform a new program at recitals ins major cities in Europe. Nothing official has been announced on the Nobuyuki Tsujii Official Website, but the performances have been showing up on the Internet. Below are some known ones

The program are works by Satie, Debussy, Ravel and Chopin

Satie - 3 Gymnopédies
Debussy - Images, Set 1
Ravel - Sonatine
Chopin - Scherzo No.1 in B minor, Op.20; Scherzo No.2 in B flat minor, Op.31; Scherzo No.3 in C sharp minor, Op.39; Scherzo No.4 in E, Op.54

December 17 2018 20:00 Paris Recital

Theatre de Champs Elysees ,Paris

January 30 2019 19:30
Nobuyuki Tsujii recital at Queen E Hall, London, 1.30.2019
https://www.ents24.com/london-events/queen-elizabeth-hall/nobuyuki-tsujii/5256757

February 14 20:00 recital

Kammermusiksaal Philharmonie, Berlin, Germany

https://www.regioactive.de/konzert/nobu-tsujii-berlin-kammermusiksaal-der-philharmonie-2019-02-14-tickets-tR81mzlDZf.html

February 16 20:00 recital

Liederhale Stuttgart

http://www.stuttgartkonzert.de/veranstaltungen/Nobu_Tsujii-819.html

There may be other performances. TO BE CONTINUED!

The following blog post was found on the Internet on June 21 2018. The text is in Japanese. Below is an English translation.

By coincidence, there is now a video of the performance that is music only, unlike other videos ins which the performance was interspersed with Japanese dialog. (See Nobu and Fumi's performance of Franck's sonata).
https://www.youtube.com/watch?v=MSaZO0zaU8Q

http://blog.livedoor.jp/a_delp/2018-06-22_FranckViolinSonata
Classical music and art blog

June 22, 2018 0 5:30
Fumiaki Miura & Nobuyuki Tsujii Frank's Violin Sonata

　Franck 's violin sonata is a famous masterpiece, with many existing recording. Yet it is a work that for some reason not heard very often these days. The other day, on the "Untitled concert", two young players representing Japan were invited to perform the entire work (with the third movement truncated), with their explanations.

　As described in the commentary on the program, this work comes with extremely few instructions written on the score, so that the performers may exercise their free thinking and imagination. Franck was a honest and humble character who was also an organist like Bruckner, and served as an organist in the Basilica of Santo Crocidol [?] in Paris, so he was fully aware that the act of creating music is not completed without a performer. When embodying a song as a sound, there may have been an intention to take the form to leave that interpretation to the performer. However, the basis of this work, that is, the lyricism contained in the melody of the violin, and the neat spirit of the piano chords, are clearly marked in the score and the tempo instructions.

　Another feature of this work is that it is a violin sonata where the piano plays a role beyond just an accompaniment. When listened casually, it may seem as if the violin sounds like the protagonist, but in the first movement there is a passage when the piano is the subject, and throughout the work you can hear various canon-like developments in which the piano multiplies the subject of the violin.

　The interpretation of Tsujii and Miura was a romantic rendering, equating violin and piano to man and woman, which was reflected in a fresh performance. In the first movement it is mentioned that they imagine a scene of a man and woman taking a walk on a moonlit night; since Tsujii is sightless, he should not get the moonlit atmosphere, but I am surprised by the honed sensibility of his playing. Like Franck, he may think of the moonlight from the relevance to music with moonlight in the title such as Schoenberg's "Kirei" influenced by Wagner, and Debussy' s "Clair de lune."

　Even so, Tsujii 's piano never unnecessarily asserts itself and compromises the timbre of the Mirua's violin. In the second movement where the piano and the violin collide, the piano has to be played without hesitation, requiring considerable finesse.

　Miura's violin excels in subtle nuances and he spins a melody in straightforward fashion in a somewhat fast tempo. Personally, I think it would be luscious to have a more nervous tempo and nuanced portamento [a slide from one note to another] , but this was the playing of a neat romanticism.

　The character of Miura shows up in the high region of the climax of the first movement, the process to bring it here is direct, and if I may put it badly, it is fanciful, but the tone could be enhanced with sophistication; I feel that the style of this performance would become more polished as he gains maturity.

Below: an accompanying image of a segment of the score of the sonata.

Below: an embedded video of an earlier performance by the duo, first movement only

https://www.youtube.com/watch?v=f4xe5_HqB8I

RELATED ARTICLE
Nobu and Fumi's performance of Franck's sonata

This month (June 2018), Nobuyuki Tsujii performed at White Nights of St. Petersburg 2018 -s- a concerto performance on the 20th and a just-finished recital on the 24th.
And now (after June 24/5 midnight in St. Petersburg), suddenly, there is a bonus June 25 performance!

UPDATE Admission to this "pop-up" concert is granted to people who post a comment to this post on the Facebook page of Valery Gergiev => https://www.facebook.com/valery.gergiev/posts/10156474639133535. Hurry - 120 people only will be admitted.

UPDATE

It turns out that the acoustics of the Valery Gergiev Concert Hall, Repino -- where Nobu's recital will take place, was designed by Japan's acoustics specialist, Mr. Yasuhisa Toyota
-- scroll down to read a fascinating story.

It was well past midnight in St. Petersburg time when Mr. Nick Asano sent me a note to alert me to this fresh posting on the website of the Mariinsky
http://www.mariinsky.today/

June 25
Подарок для подписчиков и самых активных зрителей от Валерия Гергиева и Мариинского театра – возможность посетить новый концертный зал с удивительной акустикой – Концертный зал Валерия Гергиева в Репино.
Завтра, 25 июня, в 16-00 в Зале состоится концерт феноменального японского пианиста Цудзи Нобуюки.
Условия получения приглашения
Оставьте комментарий под этим постом на странице @v_gergiev, указав количество людей (не более 5) и ФИО каждого гостя. Запись считается подтвержденной после ответа на Ваш комментарий.
Внимание, количество мест ограничено (120). Успейте записаться!
A gift to subscribers and the most active spectators of Valery Gergiev and the Mariinsky Theater is the opportunity to visit a new concert hall with amazing acoustics - the Concert Hall of Valery Gergiev in Repino.
Tomorrow, June 25, at 16:00 in the Hall will be a concert of the phenomenal Japanese pianist Nobuyuki Tsujii.
Conditions for receiving an invitation
Leave a comment under this post on the page @v_gergiev, indicating the number of people (not more than 5) and the full name of each guest. A request isconsidered confirmed after your comment has been answered.
Attention, the number of seats is limited (120). Hurry to enroll!
Guests gathering: at 15:30.
Address: St. Petersburg, Repino village, st. Sand, 18
Parking in the territory of the site is not available.

PROGRAMME:
Frédéric Chopin
Polonaise in A-flat major, Op. 53 (“Héroïque”)
Ballade No. 1 in G minor, Op. 23
Claude Debussy
Claire de lune
Maurice Ravel
Pavane pour une infante défunte
Jeux d’eau
Franz Liszt
Campanella from Grandes études de Paganini
Nikolai Kapustin
Eight Concert Etudes, Op. 40 (Nos. 1, 4 and 5)

It's hard to image this sort of thing happening anywhere else! But Mr. Gergiev is a human dynamo and he probably expects everyone around him to be the energetic workaholic like himself! I suspect when he says "Jump" in St. Petersburg, people say "How high?" ^_^

Nobu does not have any scheduled public performance until next month, so another day in St. Petersburg is perhaps not an issue for him -- but I imagine his staff and escorts have had to scramble to make adjustments to their traveling plan!

Repino, Saint Petersburg: "Repino (Russian: Ре́пино) is an area of Saint Petersburg, Russia, and a station of the Saint Petersburg-Vyborg railroad."
https://en.wikipedia.org/wiki/Repino,_Saint_Petersburg

It is apparently being developed as a tourist destination -- TripAdvisor has a page on it.

The England football team trained there for the ongoing World Cup.

A quick search on the Internet came up with this article
Russia's President News, June 3 2017
Visit to new concert hall in Repino
Vladimir Putin visited a new concert hall in Repino, on the initiative of Mariinsky Theater Artistic Director and General Director Valery Gergiev.
June 3, 2017
16:00
St Petersburg

... During a visit to a new concert hall in Repino, on the initiative of Mariinsky Theater Artistic and General Director Valery Gergiev.
The complex includes a concert hall with 300 seats, with professional acoustics, administrative premises and a visitors’ area.

Valerys Gergiev Concert Hall, Repino -- acoustics design by Japan's acoustics specialist, Mr. Yasuhisa Toyota

Twitter ren 　れんです。‏ @r_e_n_55 responded to my post about the surprise concert:

Thank you for sharing the great news! The venue at which Nobu will play is also called "Gergiev Villa."レピーノ・ホール　（ゲルギエフ・ヴィラ）You can read the story (in Japanese) of how the hall was designed and constructed, written by an acoustician, Mr. Yasuhisa Toyota. http://nagata.co.jp/news/news1708.html

The post comes with an English version, here=> http://nagata.co.jp/e_news/news1708-e.html
It is a fascinating read that reveals much about the character of Mr. Gergiev and the famous Japanese concert hall acoustics specialist, Mr. Yasuhisa Toyota, and about concert hall design. And knowing this story gives special meaning to Nobu's recital. The ending paragraph reads:

"On May 31, 2017, The Repino Hall held its official opening. The timing coincided with the St. Petersburg International Economic Forum and many politicians and dignitaries were invited to the event. A 35-piece orchestra opened the evening with Debussy’s Prélude à "L'après-midi d'un faune. The program then continued with piano and violin solo performances. In particular, the audience was treated to a solo violin performance by Daniel Lozakovich, the rising star virtuoso who had just turned 16 years old. Maestro Gergiev also delivered a strong message to the audience in which he shared his hope that young musicians will proactively come and use The Repino Hall."

The following article was found on the Internet on June 26 2018, in the wake of a June 25 recital in Repino, Saint Petersburg given by Nobuyuki Tsujii, as an extensions of his engagements at the White Nights of St. Petersburg 2018 on June 20 and 24.
The article was published by Russian online news outlet Fontanka, a somewhat controversial news site (it seems).
The original article, in Russian, is at https://calendar.fontanka.ru/articles/6775/
Below you will find a translation in English, via Google Translate.

The article reveals that the concert by Nobu is the first one that took place at the Repino concert hall to which the public was invited, and that there were Russian luminaries in the audience.

NOTE: This and other articles about the concert mentions the term dacha. "A dacha (Russian: да́ча, IPA: [ˈdatɕə] ( listen)) is a seasonal or year-round second home, often located in the exurbs of Russian and other post-Soviet cities. ... The Russian term is often said to have no exact counterpart in English." - wikipedia

One of the photos that appear with the article, a bird's eye view of Nobu on the keyboard, included in a photo album that comes with the article => https://calendar.fontanka.ru/articlereports/6775#slide=0

How is the concert hall that Gergiev built in his dacha

June 26, 2018, 16:54 print version

Valery Gergiev has a personal concert hall in Repino, which the maestro built with his own 150 million rubles at his own dacha. Previously, it was opened only for Vladimir Putin, Alexei Kudrin (Russian politician) and other VIP-friends of the Mariinsky. Yesterday the Fontanka visited it, and now we will show you the summer residence of Gergiev, and will tell you how to get there.

A little background. The plot in Repino on Pesochnaya Street, 20a was leased by Valery Gergiev for construction of a summer residence in 2005. More than ten years later, there was a mysterious building on it, and a little more than a year ago, on June 1, 2017, we finally learned from Alexei Kudrin that it turned out to be a concert hall for the chief of the Mariinsky Theater.

The official opening of the private concert hall took place during last year's St. Petersburg Economic Forum - the new venue was personally visited by President Vladimir Putin in a light-hearted atmosphere. Then the opening took place in an atmosphere of the utmost secrecy: it was not announced in advance, and afterwards complaints appeared on the network that the security required to handing over of the phones at the entrance (except for the most important guests like Alexei Kudrin who immediately uploaded photos to social networks).

Since that time in Repino, there have been some concerts for the friends of the Mariinsky Theater, its employees and VIP guests. Naturally, there was no publication of any permanent schedule of the speeches; these are all private possessions, and all under the aegis of the Mariinsky: in addition to the three buildings in St. Petersburg, the theater oversees two sites in Vladikavkaz and one in Vladivostok. However, if the maestro decides to change the status of his dacha, by somehow attaching it to the structure of the Mariinsky (which is quite likely), concerts can become regular.

And so, on June 25, the director of the Mariinsky Theater decided to open a terra incognita for ordinary Petersburgers.

Information about the gift, which Valery Gergiev wished to make to his subscribers, appeared on the eve of the "X" day on social networks on the maestro's [Internet] accounts. All interested persons were invited for free - it was necessary only to leave their names in the comments to the post. In the established limit of 120 people, not everyone was able to get to the ball - but the representatives of the Mariinsky Theater reassured that there would still be chances to visit the unusual space [in the future].

The hall, meanwhile, turned out to be high-class. The cost of its construction was estimated at 150 million rubles a year ago, and this was Valery Gergiev's own money (which is approximately equal to the amount specified in his annual income declaration for 2016 posted on the website of the Ministry of Culture). Acoustics was handled by the Japanese specialist Yasuhisa Toyota, who worked on the acoustics of the Concert Hall of the Mariinsky Theater, with the exterior of the complex of the French architect Xavier Fabre.

The building was erected at a distance of five minutes' walk from the shore of the Gulf of Finland, in the depths of the dacha massif [region]. The hall is not surrounded by many meters of impenetrable fences, as often happens with villas of wealthy people; it is not hidden: on the boards it is painted "Sand, 18" - and arrows are drawn to show direction. On the contrary, there is a stretch of the fence adorned with portraits of artists performing in the theater.

Construction work on the site is still underway for the decoration of buildings and landscaping; there is still no water in the decorative pond, with a bridge over it. But there is now pleasing landscape of the Alpine hills, wooden terraces, ornate path and, of course, pine trees. The territory that is currently free from construction is not large (the area of the plot is 9.5 thousand square meters).

The building is externally not catchy, asymmetrical. The style - both outside and inside - is close to "Scandinavian": calm natural colors, simple geometric shapes, natural materials, wooden furniture. Of the architectural decorations - only accent windows on one of the walls, a large panoramic window behind the stage and clusters of framed photos of signatures of composers on the balustrade of the third floor. In the basement there is a spacious bathroom, adequate for the number of seats in the hall, a small wardrobe with a mirror on the wall and a cafeteria (not yet working). The balconies of the concert hall can be accessed both on the stairs outside and on wooden stairs inside. Acoustics allows you to hear not only the music, but also speeches from the stage (which is also true in the opposite direction: the croaking of steps of even one person during the performance is audible to the whole audience).

Valery Gergiev, personally, as a hospitable host, came to greet the audience in his house - and among the guests on the front row were Alexander Sokurov [Russian film maker], Fabio Mastrangelo (conductor and pianist) and Rudolf Furmanov (film actor born 1938). And he introduced the musician, whom he invited to perform this evening - a blind Japanese pianist Nobuyuki Tsuji. The musician who appeared on the previous evening at a recital in the Concert Hall of the Mariinsky Theater himself actually repeated his program: Chopin, Debussy, Ravel, Liszt, Gershwin [actually, Kapustin ^_^ and the program is slightly different from the recital] ... And the encores, after which Sokurov in Japanese thanked the 29-year-old pianist. The musician played the works with such soulful feeling and so surpassed any expectation that even men were crying out in the hall, not hesitating to admit it after the concert. To play "Moonlight" - in general, not even a minor work - so that he caused such a strong experience - a unique talent.

At the end of the evening, the maestro promised that this meeting in the chamber format would start a number of similar ones - "including on this site." Already after, on the sidelines, in answer to the clarifying questions of Fontanka, "Well, when?" And "where do listeners watch the announcements?" Gergiev made it clear that at first these meetings would be spontaneous, and a full-fledged opening is yet to come.

"We will finish all the works, and then we will declare," he assured. - as the process proceeds, and every measure should be completely completed - for safety of visitors. Of course, there will still be open concerts here. We've already had 300 people, 400 people each - it's just that we give these concerts to friends of the theater; it's a non-commercial platform. "

In other words, if you want to get to the Gergiev's dacha - be on friendly terms with the Mariinsky Theater. At least on social networks.

Alina Tsiopa, "Fontanka.ru"

PS: Let's remember, Valery Gergiev did not publish his income for 2017 year.

------ END OF ARTICLE ------

RELATED ARTICLES
Nobusyukis Tsujii's bonus performance in St. Petersburg June 25 2018
Nobuyuki Tsujii at White Nights of St. Petersburg 2018
Gergiev is building a concert hall in his garden (April 20, 2017 by Norman Lebrecht)
Visit to new concert hall in Repino, Russia's President News, June 3 2017

On June 25, 2018, Nobuyuki Tsujii performed a recital in Repino, Saint Petersburg, as an extension of his engagements at the White Nights of St. Petersburg 2018 on June 20 and 24 and at the request of Maestro Valery Gergiev.

The following posting was found on the Internet on June 26, 2018.
Source https://vk.com/wall-40330725_3111 [Valery Gergiev's Posting announcing the Repino concert on the Russian version of facebook?]

Above: One of the photos posted as comments to the Gergiev post -- it shows Nobu holding a bouquet that was presented to him after the concert, as seen by someone in the audience.

The following poem, also posted as a comment to the Gergiev post, is by Natalya Dudko. A very shabby English translation follows the original Russian text.

https://vk.com/wall-40330725_3111?reply=3117
Песочная, что в Репино, и зал,
Весь в дереве, мятущиеся звуки,-
Слепой маэстро здесь мне показал
Как мир возделывают руки.
И как вдали от шумной суеты
И от щедрот зажравшегося века
Счастливым можешь стать и ты -
Лишь, часть того - из глины - человека.
Ты часть того, что было чистотой,
Любовью с радостью, покоем и утехой...
И всё - без слов! Лишь, музыка - для той,
Что и не знала пошлости успеха!
Мир - неизбывным горестям людским!
Им несть числа, в сукони и в порфире,
А суета, ныряющая в дым,
Пусть захлебнётся в этом мутном мире!..
И пусть для всех, оставшихся в живых,
Всех тех, кто ценит головы и руки,
На обгорелых камнях шробовых
Преподают улыбчивые звуки!..
Там будут гимны утренней звезде
Под песнь дудука, скрипки и курая
О соловьях, что учатся в гнезде
Летать и петь в тенистых кущах рая...

[The translation of the Russian is entirely over my head (and that of online translators), but I think we can read between the lines to get an idea of what the poet tried to convey.]
Sand, that in Repino, and the hall,
All in the trees, rumbling sounds, - The
blind maestro here showed me
How the world grows hands [cultivate friendship?].
And as far from the noisy bustle
And from the bounties of the zhazhravsheysya [tumultuous?] century
You can become happy and you -
Only a part of that - from clay - a man.
You are part of what is purity,
Love with joy, peace and joy ...
And all without words! Only, music - for those who
do not know the triviality of success!
Peace - to the incessant human sorrows!
They are innumerable, in cloth and in purple,
Vanity diving into the smoke,
Let them choke in this troubled world! ..
And let all survivors,
All those who appreciate heads and hands,
On scorched stones
enjoy the smiling sounds! ..
There will be hymns to the morning star.
Under the songs of duduk [ancient reed instrument], violin and quray [a flute ]
About nightingales that learn in the nest to
Fly and sing in the shady booths of paradise ...

Photo: landscape seen from the concert hall ground, posted here

RELATED ARTICLES
"The Concert Hall of Valery Gergiev" article on "Fontanka.ru"

Nobusyukis Tsujii's bonus performance in St. Petersburg June 25 2018
Nobuyuki Tsujii at White Nights of St. Petersburg 2018
Gergiev is building a concert hall in his garden (April 20, 2017 by Norman Lebrecht)
Visit to new concert hall in Repino, Russia's President News, June 3 2017

The month of June is drawing to a close, and by now I think Nobu is back in his Tokyo home and taking a much deserved rest. But what a month this has been. I was fortunate to enjoy some of the excitement in Vienna at the very beginning of the month; little did I imagine what was yet to unfold ahead.

Even before the month started, I knew that there would be much to look forward to for him and his fans, and prepared a page for each event. Suffice it to say that now, weeks later, I have not even finished unpacking after my Vienna trip, having been kept busy around the clock to keep up with Nobu's news!

Here is a run-down of the key events of the month
June 2-5 with Yutaka Sado & the Vienna Tonkuenstler Orchestra in Austria (leftmost photo top row)
June 9 "Untitled Concert" broadcast (2nd photo top row)
June 11 Tokyo Orchard Hall Super Soloist concert Mozart Piano Concertos with the Tokyo Philharmonic and conductor Kazuyoshi Akiyama.
June 13 Tokyo Suntory Hall Special concert for the film "Forest of Wool & Steel"(leftmost photo bottom row)
June 14 Performance with Yutaka Sado at 南宗寺 Nanshū-ji Temple, Osaka
June 15 Appearance on Asahi TV Music Stations s-- "Dream of Lambs"
June 20-25 Nobuyuki Tsujii at White Nights of St. Petersburg 2018(2nd photo bottom row and large photo on right)

That long list hardly hints at the whirlwind of activities that actually unfolded! It began with four performances in Austria, where, with his long-time mentor Yutaka Sado and his Tonkünstler Orchester, Nobu performed Ravel's Piano Concerto and brought down the house in concert halls in Grafenegg, St. Pölten, and Vienna (Wien Musikverein) -- during a heat wave that enveloped Austria that week, no less. Professor Massahiro Kawakami was at the final performance in the Golden Hall, and Nobu gifted his long-time teacher with playing an etude of Nicholai Kapustin for encore -- Mr. Kawakami studied music in Vienna, considers it his second home, and is an evangelist of composer Kapustin; he wrote in his blog, "I got so excited that I was yelling along with others in the concert hall."

Soon after his return to Japan, on June 9, Nobus's fans were treated to the broadcast on the long-running TV program "Untitled Concert" of a thrilling performance of Franck's violin sonata that he and his violinist friend Fumiaki Miura performed and filmed in front of a live audience back in April.

On June 11, Nobu appeared in Tokyo's Orchard Hall in a Super Soloist concert to play two Mozart Piano Concertos with the Tokyo Philharmonic and conductor Kazuyoshi Akiyama, a leftover commitment from the previous year, but taken seriously by Nobu just the same, judging from comments posted online.

Only two days later, on June 13, Nobu headlined and performed in Suntory Hall at a Special concert for the film "Forest of Wool & Steel". This was a much anticipated concert with famous Composer Joe Hisaishi as guest conductor, although it was Nobu who shouldered the majority of the concert performing solo pieces. Looking from afar, it seems to me this was a concert that was more fanfare than substance, but as always, Nobu gave it his all and left no doubt of his sincerity for the film, for composer Hisaishi and for the audience.

Only a day later, on June 14, Nobu was in Osaka making an unusual performance with Yutaka Sado at 南宗寺 Nanshū-ji Temple, Osaka -- apparently to promote an upcoming concert venue still under construction. Little was heard from the event, but Nobu and Sado-san have a large fan base in Japan, and some of them would probably gladly pay good money to have seen their co-performance, such as reportedly an encore played of Elgar's "Salute to Love" -- with Nobu on piano and Sado on flute!

The very next day, June 15, Nobu made a live appearance on Asahi TV's popular program Music Stations -- apparently a program normally featuring punk rock and J-pop stars. Nobu was in the studio with the lead actor of the film "Forest of Wool & Steel", and performed the theme music "Dream of the Lambs" in the studio.

Then it was off to Russia the next week. The return engagements for the "Stars of the White Nights" festival came up very suddenly, according to Mr. Masahiro Kawakami, who wrote that he absolutely would have loved to travel with Nobu to St Petersburg but his schedule would not allow it. I cannot speak for Mr. K, but if were me, I would have dropped everything to go. I suspect that in light of what ensued, the professor -- who expressed great admiration for maestro Valery Gergiev, might really be regretting that decision. By all accounts, this visit to St Petersburg, impromptu as it may have been, was by far Nobu's best yet. The accolades for each performance came almost immediately --loud cheers, standing ovations, and many encores; and reports came of post-concert celebrations hosted by Maestro Gergiev that went into the wee hours of the white night. But I suspect what Mr. Masahiro most regret that he missed would be the unscheduled concert that took place on the last day, Nobu's mini-recital at Masestro Gergiev's own concert hall in Repino, perhaps a once-in-a-lifetime opportunity to hear Nobu play Chopin, Liszt, Debussy, Ravel and especially Kapustin in a venue that few people outside Russia may get to visit.

It was a wild month. Nobu has accomplished in one month more than many of us in a life time. A head-spinning experience like that might inflate the ego of most people, but I trust that Nobu's down-to-earthiness and sincerity will spare him of that. It should be said that Nobu would not possibly have been able to do that without the loyal support of his family (his mother Mrs. Itsukos Tsujii was with him in both Austria and Russia) and his staff (Mr. Nick Asano and his colleagues) -- but what thrill and excitement that they get in return!

Thankfully, Nobu's public schedule for the rest of the summer is relatively quiet. Except for a brief stint of summer festivals in Germany (August 5) and France (August 8), he will stay put in Japan, where he will make performances with Fumiaki Miura (July) and with fellow Avex artists Les Frees & Fazil Say (August). Last week, a Nobu fan wrote to say that the depressing hot and humid summer weather has already started in Tokyo. Then again, the weather was like that in Vienna and again in St Petersburg. In weather like that, the concert halls would become a convenient refuge.

Well done, Mr. Tsujii! Please get some rest and stay cool this summer!

It is July 1 2018, and the excitement for Nobu fans this month is his Duo Recital Japan Tour with violinist Fumiaki Miura, July 14-28.

There are 8 performances. At each show, the two artists (and good friends) will play a solo piece each (Bach's Partita No. 3 and Beethoven's 'Moonlight' sonata respectively) in the first half, followed by a duet in the second half: Franck's violin sonata (Program B) OR Brahms' Violin Sonata No. 1 in G major (program A)

By now we are familiar with their performance of Franck's sonata, a rendition of which was aired on Japan television just last month and can be viewed on YouTube.

The Brahms sonata is the novelty on this tour, a new addition to Nobu's repertoire. Chamber music is frankly not my chosen cup of tea, and I suspect the same is true for most of Nobu's fans and perhaps even for Nobu himself up until now. His performance of Schumann's Piano Quintet with the Takacs Quartet at the 2009 Cliburn Competition was, reportedly, Nobu's first ever public performance of chamber music (see this YouTube video). But Fumiaki Miura apparently is keen on that music genre, perhaps because of his training in Germany (where he studied and rose to fame after winning the Hannover violin competition), and, although he is younger than Nobu by years, apparently Miura has managed to exert his influence to steer Nobu in that direction. In addition to this tour, the two of them are "artistic leaders" for the ARK Hills Music Week this fall, a chamber-music festival co-sponsored by Suntory Hall and Avex Classics.

I suspect that if one were to interview Nobu's fans on what they would most like to hear the two play together, it would be the theme music of the hit 2016 NHK "river drama"'Sanada Maru', which the two performed on TV on 2017 New Year's Eve, to great acclaims. But their duet of Franck's sonata has also proved popular: last April, people packed the Tokyo Opera House to see their performance of a recording session for the "Untitled Concert" TV program. Brahm's sonatas, however, is less familiar than the Franck (which has a easily recognized tune in the final movement), and arguably less accessible.

Tellingly, there are not many videos of the Brahms work on YouTube. A video of a fine vintage performance of it exists, by two classical-music giants: Itzhak Perlman & Vladimir Ashkenazy. Unfoertunately, the video is really only a soundtrack, as there is no footage shown of the performance itself.

Avideo of a relatively recent performance I found is one by violinist Anne-Sophie Mutter and pianist Lambert Orkis.
https://www.youtube.com/watch?v=CjdT4UMpBzg
The video contains all three of Brahms' violin sonatas and begins with sonata no. 2; the no. 1 (the one that Nobu and Fumi will perform) starts at time-mark 21:10.

As you may tell from the video, these sonatas by Brahms are serious works for serious listeners.
This is how one writer put it on the site classical.net
http://www.classical.net/music/recs/reviews/e/ess01085a.php

The [three] violin sonatas [by Brahms] all come from his maturity and give off an unrivalled richness. Nevertheless, complete recordings of all three have tended to come along rarely, for some reason. They speak of the best of their time, and not just in music. I listen to them and think of writers like Eliot, Dickens, and Tolstoy – the complex textures, the depth of thought. They strike me as hard for a player to crack – not technically, but emotionally and structurally. There's so much going on in all of them, that they confront musicians (both violinists and pianists) with an overwhelming array of choices to create a coherent shape. The musical coherence is the more important, but the emotional choices determine the individuality of the interpretation. "

Of the first sonata, the writer wrote:

"The opening movement of the first sonata – actually, the composer's fifth; he destroyed no less than four earlier ones – always reminds me of a large ship leaving the harbor. It hardly seems to move, yet one senses a powerful drive underneath, as in the opening to the Brahms fourth symphony. Soon the movement launches out with a sense of inevitability and a forward impulse that may relax but never quits. The overall mood is a gentle one, but occasionally a more rapturous and a more agitated temper (in the development) breaks through. The second movement, in A-B-A form, inhabits a space somewhere between chorale and song, very close in its lyricism (and in time) to the Violin Concerto. Even here, however, one senses now and then a deep sadness in the music, not always caught by players. The third movement shows affinities with not only the first movement, especially with the first few notes – a variant of the head of the opening theme – but with the Sturm und Drang ["storm and stress"; extreme emotions] of the final movement of the first piano concerto. In the motific manipulation, we see the strong influence of Beethoven, especially with something like the Fifth Symphony. When the movement gets going – a rondo, incidentally – we hear the Brahms song Regenlied ("rain-song"), which led to the sonata's nickname, Regen. The song provides the material of the movement. Unlike its cousin in the piano concerto, however, this movement hints at grand passion without the acting-out of the earlier work. "

From Wikipedia:

Each of the three movements of this sonata shares common motivic ideas or thematic materials from the principal motif of Brahms's two songs "Regenlied" and "Nachklang", Op. 59, and this is why this sonata is also called the "Rain Sonata" (Regen-Sonate).^[2]
The first movement, Vivace ma non troppo is written in sonata form in G major; the second movement, Adagio— Più andante— Adagio, is an expanded ternary form in E♭ major, and the third movement, Allegro molto moderato is a rondo in G minor with coda in G major. The dotted rhythm motif from the two songs is not only directly quoted as a leading theme in the third movement of this sonata but also constantly appearing as fragmented rhythmic motif throughout the all three movements of the sonata so that the entire sonata has a certain coherency. The rhythm of the rain motif appearing in the middle section of the second movement is adapted to a funeral march. The two disruptive appearances of the main theme of the Adagio in the third movement also represent cyclic form used in this sonata.

So, this work poses considerable challenge to our two young players. In the aforementioned YouTube video of performance by Anne-Sophie Mutter/ Lambert Orkis, the performers are seasoned musicians and, even so, there are snide comments that refer to the violinist's "bare shoulders" instead of their musicianship. As Nobu and Fumi will have no "bare shoulders" to offer as "eye candy"^_^, it may be a challenge for them to sustain the attention a live audience. Thankfully, the concert-goers in Japan are unerringly courteous, although we can expect there will be some who can not manage to keep their eyes open and doze off at some points during the performance. But Nobu and Fumi have a contingent of loyal fans, some of whom went through battles to get tickets for these concerts. I only hope they will take time to understand the works beforehand, so that they may appreciate the performance as it should be heard.

Sadly, those of us outside Japan will not likely get to see these duo recitals any time soon. Chamber music is a hard sell, especially in my country, the U.S., where their performances are usually confined to very small venues. I hope I am wrong on that.

RELATED ARTICLES
Miura Fumiaki × Nobuyuki Tsujii 2018 Duo Recital
Ticket battle for Nobuyuki Tsujii & Fumiaki Miura recital
Violin Sonata No. 1 (Brahms), wikipedia
Johannes Brahms Violin Sonatas, classical.net

We have known for some time that Nobu will be performing recitals in Europe this winter, including stops in Paris, Berlin and Stuttgarts (see Nobuyuki Tsujii recitals in Europe - Winter 2018/19.)

Just today (July 4 2018), this performance showed up on the "Overseas Schedule" on the official website of Nobuyuki Tsujii

http://www.muenchenmusik.de/veranstaltungen/Mariinsky_Orchester_St._Petersburg-4232.html

Valery Gergiev, the Mariinsky Theatre orchestra, Nobuyuki Tsujii
All Tchaikovsky concert.
Philharmonie, Munich, Feb 8 20:00

Nobu plays Tchai 1. Nobu has performed with Maestro Gergiev in Munich before, in 2015 - I was there! But this is the first time with the Mariinsky Theatre Orchestra.

Announcements (revelations) of these winter European performances are trickling in -- perhaps with more to come. I will post them on this page as they show up.
Thus far, this is the list of performances that I am aware of:

Nobuyuki Tsujii in Europe,winter 2019 [this page]

Nobuyuki Tsujii recital at Queen E Hall, London, 1.30.2019
January 30 19:30
Queen Elizabeth Hall, London
Satie, Debussy & Chopin recital
https://www.ents24.com/london-events/queen-elizabeth-hall/nobuyuki-tsujii/5256757

February 8 20:00

Philharmonie, Munich, Germany

Tchai 1 with Valery Gergiev and the Mariinsky Theatre Orchestra

http://www.muenchenmusik.de/veranstaltungen/Mariinsky_Orchester_St._Petersburg-4232.html

February 14 20:00 recital (Satie, Debussy, Ravel, Chopin 4 scherzos)
Kammermusiksaal Philharmonie, Berlin, Germany

February 16 20:00 recital - most likely same program as in Berlin

Liederhale Stuttgart

http://www.stuttgartkonzert.de/veranstaltungen/Nobu_Tsujii-819.html

Feb 17 - Fürth - Stadttheater Fürth https://www.stadttheater.de/stf/home.nsf/contentview/5E78B4A6EAF246ABC1258282004F9FED?Open&showId=6018&

Nobu does have a scheduled concert in Japan on February 22 (19:00 Tokyo Art Theater "Music & Painting" concert).

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