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Carnegie Hall, here we come!

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It has been 8 years since Nobuyuki Tsujii made his debut 2011 recital on the Stern Auditorium / Perelman Stage of Carnegie Hall. I was there, and remember the excitements well.
The event was documented by Peter Rosen in the documentary Nobuyuki Tsujii Carnegie Hall Live. It is now viewable on YouTube in its entirety.
Another video,Pianist in Tears, extracted from the documentary,  has been viewed over 25 million times on YouTube.

This Friday, May 10 2019, 8PM, will see Nobu return to that big stage to hold an acclaimed recital that he performed recently in Paris (December 17 2018), London (Jan 30 2019), and Berlin 
(February 2019).


Program
SATIE Trois Gymnopédies
DEBUSSY Images, Book I
RAVEL Sonatine
CHOPIN Scherzo No. 1
CHOPIN Scherzo No. 2
CHOPIN Scherzo No. 3
CHOPIN Scherzo No. 4

This recital came up suddenly.  On short notice, Nobu stepped in for eminent pianist Murray Perahia,  who cancelled his scheduled recital for health reason.  It comes amid a busy month when Nobu was already scheduled for concerts in Japan, France, Germany and Russia.

As of this morning,  tickets are still available in all category, although a good turnout is assured.
Tickets => https://www.carnegiehall.org/Calendar/2019/05/10/Nobuyuki-Tsujii-Piano-0800PM
And, Yours Truly will be among the crowd at the Carnegie Hall  -- along with fellow Nobu fan Linda K. We hope to provide an eyewitness account from New York City.

Meanwhile, we wish Nobu safe journey and great success!


RELATED ARTICLES
Nobuyuki Tsujii recital at Carnegie Hall, May 10 2019
"Nobuyuki Tsujii at the Southbank Centre, London, review: An extraordinary performance by any standards", Michael Church, the U.K. Independent, January 31 2019. 
Carnegie Hall Nov. 10 2011

Nobu at the Carnegie May 10 2019 -- eyewitness account

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Carnegie Hall, here we come!
Reporting from New York City!  News, comments & photos as it happens!
♪ May 10 Friday
It is just after midnight here in New York City, a cool night.  I took a look at the ticket sales page. Looks like we will have a very full house. The second tier has sold out, and only limited seats remain on the ground floor.

 
 ***
♪ May 9 Thursday
Concert posters at Carnegie Hall, seen today


And look who got a even better photo!
https://www.instagram.com/rosenprod/p/BxQuUKMgFk6/
"With my favorite pianist Nobuyuki Tsujii before his Carnegie Hall concert tomorrow night.

***
Nobuyuki Tsujii Carnegie Hall recital
Friday, May 10, 20198 PM at the Stern Auditorium / Perelman Stage. 
Tickets => https://www.carnegiehall.org/Calendar/2019/05/10/Nobuyuki-Tsujii-Piano-0800PM 
Program
SATIE Trois Gymnopédies
DEBUSSY Images, Book I
RAVEL Sonatine
CHOPIN Scherzo No. 1
CHOPIN Scherzo No. 2
CHOPIN Scherzo No. 3
CHOPIN Scherzo No. 4




RELATED ARTICLES
Carnegie Hall, here we come!
Nobuyuki Tsujii recital at Carnegie Hall, May 10 2019
"Nobuyuki Tsujii at the Southbank Centre, London, review: An extraordinary performance by any standards", Michael Church, the U.K. Independent, January 31 2019. 
Carnegie Hall Nov. 10 2011

Nobuyuki Tsujii performances in Liverpool 2020

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No sooner had I arrived in New York City for Nobu's Carnegie Hall recital on May 10 than news came that Nobu will perform in the 2020-21 season opening concerts for the Royal Liverpool Philharmonic (RLPO) & Mo. Vasily Petrenko
Then word came that there is to be, in addition, a recital in Liverpool.
It wasn't until after I have returned home that I had time to do a search on the web to piece together the information.
It turns out that Nobu will be appearing in Liverpool in FOUR concerts in 2020: A recital on May 10 2020, Rachmaninov's Piano Concerto No. 3 on May 14, and  2 performances of Rachmaninov's Piano Concerto no. 2 in September (September 19 and 22).  Details below.
The information was found online, on the orchestra's season brochures, at the following links specifically: 2019-20 brochure  and Accessibility page

Nobu & Mo. Vasily Petrenko and the Liverpool go back a long way, starting in 2014, performing in U.K. and Japan -- most recently they performed in 2018.

Image above, M. Petrenko conducts Nobu & the RLPO at Suntory Hall, 2018.

Below is a list of Nobu's performances in Liverpool that have been announced on the Internet.
*** May 10 7:30 Rectal
Program: Schubert Impromptus op.90, Scriabin sonata no. 5 op. 53, Chopin 4 ballades
Liverpool Philharmonic St George's Hall Concert Room
Image below: screen grab from RLPO 2019-20 season brochure
This recital comes after one in Austria on May 7  and one in Birmingham U.K. on  May 9.

*** May 14 Thursday 7.30 pm
Rachmaninov's Piano Concerto No. 3 with Petrenko and the Liverpool Phil
Nobu performed Rach 3 with the RLPO and Mo. Petrenko for the first time in 2014.  Mostly recently he performed this work with Mo. Yutaka Sado and the Tonkünstler Orchestra in 2015.
Image below: Announcement found in RLPO Accessibility page



Rachmaninov's Piano Concerto No. 2.  
These concerts are part of the "Classic FM Series", and likely will be streamed live.
Image below: Announcement found in RLPO Accessibility page



In July 2018, it was announced that Mo. Petrenko is set to leave the RLPO at the end of the 2020/21 season to take up the role of music director at the Royal Philharmonic Orchestra in London.
So it is especially meaningful that Nobu is invited to perform with the maestro before his departure from Liverpool.

Below: YouTube videoNobuyuki Tsujii plays Rachmaninoff Piano Concerto No.3 (2014)
***
RELATED ARTICLES

Nobuyuki Tsujii plays Liszt's Piano Concerto No. 1

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Nobuyuki Tsujii is on a roll this year (2019).  In the first half of the year alone, he has performed in Japan, U.K.,Berlin, Moscow, Hong Kong, Taiwan, and New York City; with Strasbough (France), Cologne (Germany) and St. Petersburg (Russia) on the horizon.  Suffice it to say that Nobu now requires the support of a large staff, including a team of half-dozen people who take turns traveling with him.

Amid that busy touring schedule, Nobu is adding several new concertos to his repertoire, including these: Beethoven's Piano Concerto No. 2 (performed at the 2019 Rostropovich Festival in Moscow on April 1), Shostakovich's Piano concerto no. 1 (coming up in July, in Japan), and Liszt's piano concerto no. 1 (coming up in October, with Kent Nagano and the Hamburg Phil.

How does he do it?  It boggles the mind.  This May 17 blog post by Japan's classical music writer Yoshiko Ikuma (who writes about Nobu often), gives an idea.

先週末は、宮崎国際音楽祭に出かけたが、明日から20日までは別府アルゲリッチ音楽祭の取材に出かける。
18日は、アルゲリッチのソロ、シャルル・デュトワ指揮によるリストのピアノ協奏曲第1番が組まれている。
 先月、香港出張で辻井伸行と話をしていたとき、彼はいまリストのピアノ協奏曲を練習している最中なので、ぜひこのアルゲリッチの演奏を聴きに行きたいと話していた。
 きっと、大分の会場で会えるに違いない。
 Last weekend I went to the Miyazaki International Music Festival, but from tomorrow to the 20th I will be at the Beppu Argerich Music Festival.
 On the 18th, Argerich will be the soloist for Liszt's piano concerto No. 1 conducted by Charles Dutoit.
 Last month, when I was talking with Nobuyuki Tsujii on a business trip in Hong Kong, he was in the middle of practicing the Liszt piano concert, and he said he wanted to go and listen to this performance of Argerich.
 We might see each other at the Oita venue.

And, according to this May 19 news article: Agerich and Dutoit did make the performance. There is no mentioning of Nobu seen in the audience.  But I wonder ...
***
Nobu is set to play the Liszt concerto for the first time this fall, in Germany and then in Japan, with conductor Kent Nagano and the Hamburg Phil.
 

Franz Liszt's Piano Concerto no. 1is heard often on radio and in concert halls.  It has been performed by all the big names in all the major venus.  But I am inclined to agree with this reddit posting
Does anyone like Liszt's piano concerto no. 1?
I love piano concertos. Chopin, Rachmaninoff, and Greig composed beautiful ones. I think Liszt is okay. I think he shows off a bit too much in his pieces. I just have to say that I'm not fond of his piano concerto at all. I think it's one of the worst ones I've heard. Does anyone else feel this way?

Truthfully, I feel that way about Liszt's music in general. However, I have seen Nobu perform Liszt's works many times, and I must say that it has always been a treat to see those performances. The Japanese in particular never seem to tire of  the 'La Campanella' (regardless who plays it, it seems; but Nobu's performance is an eternal favorite).   I have enjoyed Nobu's playing of the Rigoletto paraphrase, Sonetto 104 del Petrarca,The Fountains of the Villa d'Este (click link to see Nobu's performance), Un Sospiro (a sigh), Hungarian Rhapsody No. 2, etc., at various concerts on different continents, and I submit that his Libestraum No 3 -- which I have not heard live -- is second to no one.  The bottom line is this: Nobu is good at playing Liszt -- he has the technique and the swagger to pull it off, seemingly effortlessly.  I am looking forward to hearing the concerto no. 1 in Hamburg, Germany -- if I manage to get a ticket, that is.  But before that, I need a tutorial on the concerto itself.
***
Liszt has in fact written more than one concerto, but the no.1 is the only one that's heard much, and it is actually referred to as the Liszt concerto. It is a challenging work, as all of Liszt's compositions are, and  has been performed by all the big-name pianists with all the big-name conductors and orchestras. Here is a rendition by Martha Argerich with theVienna Philharmonic in 2017, conducted by Daniel Barenboim.

 

And below are some interesting comments about the concerto by experienced pianists, posted on the pianostreet site:
"This particular concerto really puzzles me...I've not understood a single thing about it, especially not the more obscure piano/triangle duet within...I just cannot really take it seriously.."

"This concerto seems a bit shallow at first. But it has some kind of a hidden depth to it.
Maybe because the basis was written in the earlier years and he kept changing it until the middle of his life. Two of the distinct elements of Liszt are in it. The virtuosity is very bluntly there and the intellectual power is more hidden. The passion element, more developed in Liszts last few years, aren't really in there."

"Unless you have the aid of a conductor, (your) sense of relative timing has to be insanely good.  The first time I did this exercise, I didn't think it would be too difficult, but when I started practicing with a recorded track (on CD), it was a little more difficult than I expected it to be."

But the work definitely has its supporters, such as one who made this learned comment in response to the aforementioned reddit post:
Liszt wasn't just a virtuoso pianist; it's true that that is how he got famous, but then he gave it up to take a fairly low key job in Weimar in order to devote himself more completely to composing.
His Piano Concerto no. 1 is most interesting because of the way it 'pretends' to be a classical symphony in form (fast movement, slow movement, scherzo, fast movement) but is something else completely in its thematic development. Themes are thrown and juggled across movements, appearing where you least expect them, particularly the one that opens the piece. Liszt reputedly attached the words "None of you will understand this" to this theme, so you have to concentrate to see what he's aiming for.
The piece opens in E-flat major, the opening theme (Ii) that will define the piece blasting out from the orchestra before the piano enters with this pattern which will keep returning along with this main theme. Then comes the transition to the second subject in C minor(Iii): so far it's all fairly standard, a modulation to the relative minor being nothing to write home about. Then Liszt gets to the development and squashes the two themes (Ii and Iii) we've heard so far together, using chromatic octaves in the piano and orchestra blended with a version of the clarinet arpeggios. Then the recapitulation which we've been expecting is rattled through at a breakneck speed, the piano goes into a cadenza in F# major (which is a fairly surprising modulation) and Iii is completely forgotten. Then it's the coda (returning to the enharmonic D# major), where instead of a big tutti rendition of the theme and the soloist going crazy with massive chords, Liszt decides to make the pianist imitate a harp and play soft arpeggios while the strings take the main theme (Ii): the first movement concludes in an incredibly un-showy manner. This is an area Liszt excels, making the piano sound like a whole host of other instruments.
There's even more delicacy in the slow movement. Notice as well the fact that it is in B Major, a fairly remote key from E-flat, but it matches exactly what Beethoven does in his 5th Piano Concerto (in E-flat, but modulating to B Major for the second movement) which Liszt adored. The theme of the second movement consists of a rising (IIi) and a falling phrase (IIii), with the falling part leading into one of the most beautiful moments where the flute and clarinet take up this descending phrase while the piano trills in the background. There's also a 'recitative' theme which features later, so I'll term that IIiii
And is there another scherzo in the repertoire that opens with a triangle trying to lure the piano into playing? It's like a game of cat-and-mouse crossed with a bullfight. It again displays Liszt's willingness to throw themes across movements. Here we have a combination of Iii and IIii before the 'joke' stops and the piano repeats Ii in a grim and dark manner before adding IIii on top. The pianist then plays a more active duet with various woodwind instruments as the themes get re-added to the mix in preparation for the almighty finale.
Then it's straight into the final movement and there's no stopping Liszt now. The opening theme is actually IIiii and we're back to E-flat major, so all seems to be in order. Another bit of IIiii is played in the trombones and bassoons before Liszt modulates back to B Major and IIii returns, albeit in a sort of variation. Then the piano really starts taking off, the scherzo comes back to combine briefly with IIii before displacing it (replete with triangle) and at this point you don't really want to analyse it anymore since your head hurts. Chromatic octaves start to leave you bewildered and you just get caught up in the storm Liszt is creating as fragments of past themes whirl around your head. Things abate a little by the coda, where Liszt grabs any theme he can get his hands on, gives it to the orchestra and lets the pianist embellish it. Then it's wild abandon until the finale (including some funky polyrhythms from the piano) with the orchestra graciously being allowed the final two notes to complete the spectacle.
It's an exhausting work, no doubt about that. But that's not because it's just fancy and flashy virtuosity; it's an incredibly intricate piece that you need to listen to on a number of occasions before you start to realise how ingenious Liszt has been in linking together four movements by using fairly basic themes. It's similar to the B Minor Sonata in that respect; on a first listen or even a fifth listen, you're still going to be left in the dark as to exactly how brilliant it is. Once it clicks though, you'll never look back.

Oh, I do look forward to Hamburg!

****
RELATED ARTICLES
Nobuyuki Tsujii, Kent Nagano & Hamburg Phil -- 2019 

Cliburn Competition 10th Anniversary Album

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In conjunction with his upcoming Van Cliburn Competition 10th Anniversary concert tour in Japan, Avex Classics -- the record label of Nobuyuki Tsujii -- is releasing a special limited-edition album.  At ¥2,000, the 2-disc set is a bargain compared to other Nobu albums.
And, it comes with an unusual album image.  ^_^

https://avex.jp/classics/catalogue/detail.php?cd=TUJIN&id=1016822

Nobuyuki Tsujii

Van Cliburn International Piano Competition 10th Anniversary Album


The limited edition production album commemorating the 10th anniversary of the "Van Cliburn International Piano Competition" victory which impressed the world!
(※ Limited production until 20/19/12/31 ) DISC1 contains tracks from his best solo works! Concert 2 tracks of his best concertos.   Two-disc set ¥ 2,000 (excluding tax)

“He is a miracle. His performance has the power to heal people.  It is music that is divine work . ”
    Van Cliburn (2009 Interview with "Star Telegram")

[2CD] Van Cliburn International Piano Competition 10th Anniversary Album
2019-06-12 release date
AVCL-25989-90 ¥ 2,160 (tax included)

DISC 1
01 Mussorgsky: From the "Picture of the Exhibition" Promenade
02 Mozart: Piano Sonata No. 10 in C major K. 330: 1st movement
03 Beethoven: Piano Sonata No. 14 in C minor, Op. 27-2, "Moonlight": 1st movement
04 Beethoven: Piano Sonata No. 8 in C Minor, Op. 13 "Pathetique": 2nd Movement
05 Chopin: Nocturne No. 1 in B Minor Op. 9-1
06 Chopin: Lullaby in D major, Op. 57
07 Chopin: Andante spianato et grande polonaise brillante in E-flat major, Op. 22
08 Liszt: Hungarian Rhapsody No. 2 in C minor [Cadenza]
DISC 2
01 Tchaikovsky: Piano Concerto No. 1 in B minor Op. 23: 1st movement
02 Rachmaninov: Piano Concerto No. 2 in C minor Op. 18: 2nd movement
03 Grieg: Piano Concerto in A Minor, Op. 16: First Movement
04 Chopin: Piano Concerto No. 2 in F Minor, Op. 21: Second Movement
05 Beethoven: Piano Concerto No. 5 in E major Op. 73 "Emperor": 3rd movement
DISC 2
1 Yutaka Sado conducts BBC Philharmonic
2 Yutaka Sado conducts Berlin-Deutsche Symphony Orchestra
3 Vasily Petrenko conducts Royal Royal Liverpool Philharmonic Orchestra
4 Vladimir Ashkenazy conducts Berlin Deustche Symphony Orchestra
5 Orpheus Chamber Orchestra Team 
***
Image below: Photo of Nobu hoisting his Cliburn trophy, 2009

RELATED ARTICLES
Cliburn Competition 10th Anniversary Concerts
A miracle at the Cliburn

Nobuyuki Tsujii in St. Petersburg 2019

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On May 29 -31, Nobuyuki Tsujii returns to the White Nights Festival in St. Petersburg for his third appearance in the prestigious music festival under the direction of Maestro Valery Gergiev.  His appearance at the festival last year (2018), as well as his debut performance in 2012, were great successes.
This year's appearance includes an orchestral performance (Chopin 2)  and a recital (a la May 10 Carnegie Hall).  Details below.
This page collects news, photos and comments about the performances and will be updated as events unfold.

***
May 27 11PM Germany time
Nobu should have just wrapped up his performance with the Orchestre Philharmonique de Strasbourg and conductor Marco Letonj in Colonge, Germany.  This is pure speculation, but my bet is that he and his team will travel to St. Petersburg from there in the morning.  Out of curiosity, I took a look at the travel possibilities.  It seems the group can travel from Cologne to St. Petersburg by air in 5 (Swiss Air) or 7 hours (Lufthansa), among other options.
In any case, we wish Nobu and his travel companions a safe journey!

***
RELATED ARTICLES
Nobuyuki Tsujii at the 2019 White Nights Festival
Nobuyuki Tsujii at White Nights of St. Petersburg 2018
Nobuyuki Tsujii (Нобуюки Цудзи) in St. Petersburg, July 2012

Kind world -- The Orpheus Chamber Orchestra & Nobuyuki Tsujii

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For world-class musicians, traveling comes with the turf.   The touring life is not for the faint of heart -- it is not at all glamorous jetting around the world, checking in and out of hotels for days on end.

I think of that often whenever I travel to see Nobu perform on the big stages of the world, as at the Carnegie Hall earlier this month.  After that trip to New York City, I got to rest at home and take my time to unwind from the excitement.  Meanwhile, Nobu has since traveled to Strasbourg (France), Cologne (Germany) and now St. Petersburg (Russia)!

Busy musicians on tours are like ships that pass in the night -- seldom shall they take the effort to interact with each other, because they are -- understandably -- so caught up in their hectic activities.  So it warms my heart when I heard from Mr. Nick Asano, Nobu's former Avex manager and travel companion, about a happy event that quietly took place last week.

By chance, the paths of the Orpheus Chamber Orchestra and Nobu crossed in Cologne last week. The Orpheus is familiar to us Nobuyuki Tsujii fans, as they are a frequent performing partner of Nobu, most recently on a successful tour in Asia (Hong Kong, Taiwan& Japan.) On May 26, the Orpheus was scheduled to perform at the Kölner Philharmonie with pianist Jan Lisiecki, just one day before Nobu's performance at that very same venue with the Orchestre Philharmonique de Strasbourg. Recalling that some of the Orpheus graciously came to Nobu's May 10 Carnegie Hall recital to show support for Nobu, I made a post some time ago and wondered aloud if they might find time to get-together in Cologne.


I was not the only one who noticed this coincidence.

Early this week, I heard from Mr. Asano.  He wrote: "I had known about this opportunity for a close encounter and I had collaborated with the general manager of Orpheus to invite Nobu to their concert and to introduce him to Mr. Lisiecki, whom I've known for a few years. This is the last 'arrangement' I made at Avex."  He added: "But I had not expected that some of the Orpheus would stay an extra night in Cologne and come to Nobu's concert."

Mr. Asano told me about a photo of the encounter posted on the Facebook page of Orpheus' cellist Melissa Meell Richardson, and sent me a link.  It goes without saying that I clicked on the link immediately, only to discover that the photo was not accessible to the pubic.

I wrote back to Mr. Asano to thank him for the info, and to let him know how happy that it makes me to know about the meeting.  I mentioned the encounter in a post for Nobu fans, citing Mr. Asano as a "reliable source."  I was happy enough with the thought, without seeing the photo.

But that was not the end of it! Today I received two photos from Mr. Asano, as you can see below.

Image 1: On May 26 -- Nobu's day off between Strasbourg & Cologne - he attended the concert of the Orpheus with Jan Lisiecki at the Cologne Symphony Hall. This photo is "by courtesy of Alexander Scheirle", executive director of the Orpheus Chamber Orchestra.


Image 2: On May 27 -- the Orpheus' day off between Cologne & Dresden, a group of them descended upon Nobu backstage at the Cologne Symphony Hall, after Nobu's performance with the Strasbourg Phil. Nobu might have been surprised :-) This photo is "by Courtesy of Melissa Meell" (Orpheus cellist).

As a Nobu fan, I find this news especially heart-warming. In the ultra competitive world of classical music performers, it is rare to see such friendship and graciousness. I like to think that Nobu's genuine goodness engenders the kindness and support that surround him. And my hat is off to the Orpheus -- what a class act!!

Long may their friendship live.

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Nobuyukki Tsujii is special for Russians

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Nobuyuki Tsujii is in St. Petersburg, performing at the White Nights Festival on May 29 and May 31 at the invitation of Mo. Valery Gergiev.
***
In his May 30  blog post, Prof. Masahiro Kawakami -- Nobu's long time piano teacher and mentor who traveled to St. Petersburg on this occasion -- wrote:
"Mr. Tsujii is very happy to be enjoying such a big success in Russia. He is special for Russians, and I think it's really amazing how much he has earned Maestro Gergiev's great credit."

Giant billboard of Nobu at the festival. Image source: May 30  blog post of Professor Kawakami
***
I also recall something that Mr. Nick Asano told me once, that Mo. Gergiev told him, when he [Mr. Asano] asked about Nobu's appeal to the Russians. And the response from the maestro -- he has characterized Nobu's performances as "always an exclamation point" -- is that "In Russia he can invite any number of outstanding pianists to perform with him", but Nobu is special.

Nobu got a hug from Mo. Gergiev, 2018 White Nights Festival. Image source: The Nobuyuki Tsujii Official Website
 ***
There is no question that Nobu's blindness is part of the reason for that special appeal.  And, while I maintain that Nobu's musicality speaks for itself, regardless of his visual impairment, I make an exception in the case of the Russians.  I believe their admiration for Nobu is genuine, not involving condescension nor pity.

I sense this sentiment in the many posts that come up each time after Nobu performs in Russia, especially in St. Petersburg, including a collection from the May 29 performance this year.

As I write, Nobu's sold-out recital is underway in St. Petersburg, and in a few hours I might be busy with yet another stream of comments from concert goers. But meanwhile, I  want to share this heartfelt comment, posted yesterday, that just came up on Facebook.

https://www.facebook.com/permalink.php?story_fbid=2800847003290827&id=100000966647002
Планировала сходить в понедельник на Глинку, оказалась в среду на Шопене. Но, как говорится, Глинка и в Африке Шопен, а совершенно неожиданно довелось услышать Нобуюки Цудзи. Невероятно, до щемления в сердце и резких порывов плача, трогательный, так странно скупо-щедро одаренный природой малыш.
Planned to go on Monday to hear Glinka and Wednesday Chopin ... And, quite unexpectedly, it was possible to hear Nobuyuki Tsuji. Unbelievably, I ended up being crushed in the heart and in sudden gusts of crying, touched by a generously gifted child [deprived of his eyesight by nature].

Я привыкла воспринимать музыку через пальцы пианистов, вообще не равнодушна к красоте длиннопалых рук, особенно мужских. Но, этот японец играет всем телом, переживая от макушки до пяток, а клавиатуру он видит очами, которые расположены на кистях.
I am used to perceiving music through the fingers of pianists; I am not at all indifferent to the beauty of long-fingered hands, especially men's. But, this Japanese man plays with his whole body, experiencing it from head to toe, and he sees the keyboard with his eyes, which are located on the hands.

У Марининой в цикле о Каменской есть притча про слепого старика, который просит не объяснить словами явление, а сыграть ибо воспринимает мир через звуки. Вот это именно тот случай, когда любое красноречие косноязычно и нет возможности передать впечатление от услышанного словами.
In [some part of Russia] there is a parable about a blind old man who asks not to explain the phenomenon in words, but by playing music because he perceives the world through sounds. This is exactly the case when any eloquence is tongue-tied and there is no possibility to convey the impression of what was heard in words.

А один из журналистов как-то сказал мне, что фотоаппарат от лукавого, всё должно оставаться на роговице глаз.
 Не знаю, доведется ли мне еще раз услышать Нобуюки живьем, но спасибо ему за то, что так щедро делится слепком с роговицы своих незрячих глаз. А судьбе за неожиданный подарок, ведь в суете мы частенько забываем, что
And a journalist once told me that the camera is evil, that everything must remain on the cornea of the eyes.
I don’t know if I will ever get to hear Nobuyuki live again, but I thank him for sharing the impression from the cornea of his blind eyes so generously. And the fate of an unexpected gift, which is often forgotten in the bustles of our lives.

The Russians are people known for deep thinking and no-nonsense.  I am glad that they share my  view that Nobu is indeed special.  And I am glad that our shared admiration for an extraordinary artist supersedes the political and cultural boundaries that, in these turbulent times, divide so many countries and people.

RELATED ARTICLES
Nobuyuki Tsujii at the 2019 White Nights Festival St. Petersburg

Nobuyuki Tsujii's Cliburn Competition 10 Year Anniversary Concerts, June 2019

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This month (June 2019) marks the 10th anniversary of the victory of Nobuyuki Tsujii at the Van Cliburn International Piano Competition.  To commemorate the occasion,  Avex Classic is hosting 5 special Cliburn Competition 10th Anniversary Concerts to take place in June (Tokyo, Fukuoka) and August (Hokkaido, Osaka).

On the programs of these concerts are works that Nobu performed during the 2009 competition.  In addition to solo works, he will be joined by a chamber music group (for the Schumann Quintet) that includes his good friend violinist Fumiaki Miura, and by various local orchestras conducted by Mo. Neil Thomson (for the Chopin piano concerto no. 1 and Rachmaninov's piano concerto no. 2).  .
All 5 concerts have sold out quickly. 

This page collects news, photo and comments of the three concerts to take place this month
① 【Tokyo】 Tuesday June 11 2019, 19:00 Suntory Hall
② [Tokyo] Wednesday June 12 2019 14:00 Suntory Hall
Co-starring: Fumiaki Miura, Tamaki Kawakubo, Yoshiko Moto, Mukaiyama Keieko (三浦文彰、川久保賜紀、川本嘉子、向山佳絵子 ) Neil Thomson Conductor, Tokyo Symphony Orchestra
③ [Fukuoka] Saturday June 15, 2019 14:00 Fukuoka Symphony Hall (Acros Fukuoka)
Co-starring: Neil Thomson conducting Kyushu Symphony Orchestra

June 11 Suntory Hall
Pf: Nobuyuki Tsujii
Vn: Fumiaki Miura, Tamaki Kawakubo
Va: Yoshiko Kawamoto
Vc: Kaeko Mukoyama
Cond: Neil Thomson
Tokyo Symphony Orchestra Program
Beethoven: Piano Sonata No.23 “Appassionata”
Schumann: Piano Quintet
Rachmaninov: Piano Concerto No.2

June 12 Suntory Hall
Pf: Nobuyuki Tsujii
Vn: Fumiaki Miura, Tamaki Kawakubo
Va: Yoshiko Kawamoto
Vc: Kaeko Mukoyama
Cond: Neil Thomson
Tokyo Symphony Orchestra Program
Beethoven: Piano Sonata No.23 “Appassionata”
Schumann: Piano Quintet
Chopin: Piano Concerto No.1
TO BE CONTINUED


RELATED ARTICLES
Cliburn Competition 10th Anniversary Concerts
Avex Classics page 

"Cliburn Competition Awards Two Gold Medals" 2009 NPR Report

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The following article, posted by the National Public Radio, U.S.A.,  was accessed at the link
https://www.npr.org/templates/story/story.php?storyId=104883567#strong
The text is preserved below for keepsake.

Cliburn Competition Awards Two Gold Medals


Back story 2: Nobuyuki Tsujii at the 2009 Cliburn Competition

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[This is the second in a series of backstory posts, in commemoration of the 10th Anniversary of Nobu's Cliburn Competition Victory.]

Cliburn victory AVEX press release

On 2/28/2013, a tweeter mentioned a press release from AVEX Classics (Nobu's record label)  dated 6/9/2009/ , two days after the conclusion of the Cliburn  competition.
I looked it up and saw that it is of historical interest, as it details the steps it took and the works performed by Nobu during the competition.
Amazingly, a YouTube video exists for each of the works performed at the competition.   Although some are incomplete and the video quality is not up to today's standard, these videos are precious from a historical perspective; the links to the videos are provided below (in the English text).

http://www.news2u.net/releases/50482 <= [This document still exists and is accessible as of today]
Above: image of Nobu shown  with the press release.

Below is part of the Japanese text, with English translation.

ヴァン・クライバーン国際ピアノコンクール 辻井伸行、優勝!!日本人として史上初の快挙!!
エイベックス・マーケティング株式会社
2009年06月09日 18時00分

Van Cliburn International Piano Competition.  Nobuyuki Tsujii triumphed!!The first ever achievement for a Japanese!!
Avex Marketing Co., Ltd.
June 09, 2009 18:00


テキサス州フォート・ワース、6月7日、名門ヴァン・クライバーン国際ピアノ・コンクール史上初となる日本人優勝者が誕生した。
On June 7, Fort Worth, Texas, the prestigious Van Cliburn International Piano Competition had its first ever Japanese winner.


アジア勢としても初の快挙だ。辻井伸行(20歳)。ブルガリア1名、イタリア1名、中国2名、韓国1名と辻井の6名が参加した決勝。表彰式で最後に「ノブユキ・ツジイ」がコールされると会場に大きな拍手と歓声が沸き起こった。辻井は同時にビヴァリー・テイラー・スミス賞(コンクールのために書かれた新曲の最も優れた演奏に対して授与される)も受賞した。辻井の演奏は予選のスクリーンニング・オーディションから大きな反響を呼び、同コンクールが名前を冠するヴァン・クライバーン氏も『フォート・ワース・スター・テレグラム』で辻井の演奏について「奇跡としか言いようがない」「まさに神業だ」とコメントした。

It was also the first Asian success at the event. Nobuyuki Tsujii (age 20), was among the 6 finalists, along with one contestant from Bulgaria, one from Italy, two from China, and one from Korea.When "Nobuyuki Tsujii" was called last in the award ceremony, big applause and cheers arose in the hall.  Tsujii also won the Beverly Taylor Smith Award for the best performance of a new work written for the competition.Tsujii's performance garnered a big response at the screening audition in the preliminary round, and pianist Van Cliburn, the namesake of the competition, described Tsujii's performance to the "Fort Worth Star Telegram" as a "miracle." "It is a divine work," he was quoted as saying.

6月6日のラフマニノフの協奏曲2番の演奏後はコンクールオフィシャルブログにおいて「このコンクールから出るのは大きな瞬間ばかりだが、これは本当に大きな瞬間だ。」と評された。優勝した辻井には、賞金2万ドルと金メダル、銀製トロフィーに加え、アメリカ内外における3年間のツアー契約と録音契約が用意されている。日本での次公演は13日、スピヴァコフ指揮、ロシア・ナショナル・フィルとラフマニノフ:ピアノ協奏曲2番(下記公演スケジュール参照)。

After his performance of Rachmaninov's Concerto No. 2 on June 6th, this comment appeared on the official blog of the competition: "There are many big moments out of this competition, but this is a really big moment."

As a winner, Tsujii received a $20,000 prize, a gold medal, a silver trophy, and a 3-year tour and recording contract in the United States and abroad.The next performance in Japan will be
on the 13th: Rachmaninoff's Piano Concerto No. 2 conducted by Vladimir Spivakov, with the Russian National Philharmonic Orchestra; see performance schedule below).

【第13回コンクール・スケジュール】

※予選
● 書類審査:総勢225名が応募。
↓  151名(37カ国・地域)が通過 
● 地方予選4カ国5都市(上海、サンクト・ペテルブルク、ルガーノ、フォート・ワース、ニューヨーク)
↓ 40分ずつのソロ・リサイタル
↓ 上位29名が本選に進出 
※以下本選(テキサス州・フォートワース)
★ 本予選 5月22日〜26日 
↓ 55分ずつのソロ・リサイタル
↓ 上位12名がセミ・ファイナルに進出
★ セミ・ファイナル=準決勝 5月28日〜31日 
↓ 60分のソロ・リサイタル(現代曲含む)と、タカーチ弦楽四重奏団とピアノ五重奏曲1曲
↓ 上位6名がファイナルに進出
★ ファイナル=決勝 6月3日〜7日 
↓ 55分のソロ・リサイタルと、ジェイムズ・コンロン指揮フォート・ワース交響楽団と協奏曲
↓ 2曲の共演を行う

☆ 7日 現地時間夕方5時 結果発表後、表彰式とセレモニー
【13th Cliburn Competition Schedule】
※ Qualifying Round
● Document examination: A total of 225 people applied.

151 people (37 countries / regions) passed
● Regional Qualifications: held in 5 cities in 4 countries (Shanghai, St. Petersburg, Lugano, Fort Worth, New York)

40 minutes solo recital
The top 29 advanced to the finals
※ The Main Competition (Texas · Fort Worth)
★  May 22nd-26th

 55 minutes of solo recital
 Top 12 people advance to semi-final
★ Semi-final May 28-31

60-minute solo recital (including contemporary works), one performance of Schumann's Quintet with theTakács Quartet.

Top 6 people advance to final
★ Final June 3-7

A 55-minute solo recital and a concert with James Conlon and the Fort Worth Symphony Orchestra
at which two works were performed [Chopin's piano concerto no. 1 and Rach 2, on separate days.]

☆ Award Ceremony June 7 5:00 pm local time.


第1位: 辻井伸行(日本)・Haochen Zhang(中国)
第2位:Yeol Eum Son(韓国)
第3位:該当なし
第4位〜第6位:Di Wu(中国)・Evgeni Bozhanov(ブルガリア)・Mariangela Vacatello(イタリア)
その他賞
ビヴァリー・テイラー・スミス賞 :辻井伸行(日本)
ジョン・ジョルダーノ審査委員長特別賞:Alessandro Deljavan(イタリア) ほか
First place : Nobuyuki Sakurai (Japan) · Haochen Zhang (China)
Second place: Yeol Eum Son (Korea)
Third place: Not applicable
Fourth to sixth place: Di Wu (China), Evgeni Bozhanov (Bulgaria), Mariangela Vacatello (Italy)
Other awards:
Beverly Taylor Smith Award: Nobuyuki Tsujii (Japan)
John Giordano Jury Special Award: Alessandro Deljavan (Italy), etc.

 
【辻井伸行 本選演奏曲目】
本予選
<5月23日 リサイタル>
ショパン:12の練習曲 Op.10
ドビュッシー:映像 第1集
リスト:パガニーニによる大練習曲 第3番嬰ト短調 「ラ・カンパネラ」
セミ・ファイナル
<5月29日 室内楽>
シューマン:ピアノ五重奏曲
共演:タカーチ弦楽四重奏団
<31日 リサイタル>
ベートーヴェン:ピアノ・ソナタ第29番<ハンマークラヴィア>
マスト:インプロヴィゼーションとフーガ(現代曲)
ファイナル
<6月4日 協奏曲>
ショパン:ピアノ協奏曲第1番
<6月6日 協奏曲>
ラフマニノフ:ピアノ協奏曲第2番
<6月7日 リサイタル>
ベートーヴェン:ピアノ・ソナタ第23番《熱情》
ショパン:子守歌
リスト:ハンガリー狂詩曲第2番
【Works performed by Nobuyuki Tsujii】-- CLINK EACH LINK TO SEE YouTube video
Qualifying
<May 23 Recital>
Chopin: 12 etudes Op. 10<- click to see YouTube video
Debussy: Image book Vol. 1
Liszt:  Paganini etudes No.3 in G minor "La Campanella"
Semifinal
<May 29 Chamber music>
Schumann: Piano Quintet
Co-starring: The Takac String Quartet
<31st Recital>
Beethoven: Piano Sonata No. 29 <Hammerkavia> 
***
The rest of the article includes a dense schedule of Nobu's upcoming performances in Japan, a detailed biography and discography for Nobu, and ends with a paragraph about the Cliburn Competition and pianist Van Cliburn, concluding with this paragraph

日本人の入賞者は?
第1回(1962年)に弘中孝が第8位入賞、第3回(1969年)に野島稔が第2位、藤沼美智子が第6位入賞。
Past Japanese winners?
Takanaka Hironaka won the eighth place in the first competition(1962), Nojima Minoru won the second place in the third (1969), and Michiko Fujinuma won the sixth place.
RELATED ARTICLES

Backstory 3: News clippings of Nobuyuki Tsujii at the 2009 Cliburn Competition

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[This is the third in a series of backstory posts, in commemoration of the 10th Anniversary of Nobu's Cliburn Competition Victory.]
  
This may come as a surprise, but I am generally not a fan of music competitions.
Although I was aware of the Cliburn Piano Competition, in 2009 I heard nothing about Nobuyuki Tsujii and missed out on all the excitements of his Cliburn win.  It was not until after I Caught "Nobu Fever" in 2010 that I combed the web for reports about Nobu at the Cliburn.  Thankfully, the Fort Worth Star Telegram covered the competition extensively. Below are some of the gems that I gleaned. (Sadly, many of these articles no longer exist on the web.)  I think they convey the unmistakable impression that Nobu was a sensation and a star at the competition
***
辻井伸行 (Tsujii Nobuyuki) was already a well-known name in Japan, but months before the 2009 Cliburn competition, he arrived in Texas as an "unknown" for an audition.
His performance at the audition on March 1, 2009, was mentioned in a news account published in the Fort Worth Star Telegram", with a photo of Nobu in performance:
REVIEW | CLIBURN AUDITIONS
... Sunday's best: "During Sunday's matinee session, Nobuyuki Tsujii, 20, from Japan wowed the crowd with fantastic fingerwork during his braruva reading of the 12 Etudes, Op. 10 by Chopin. Tsujii is blind ...


It turns out that Nobu was not the only blind competitor at the audition.  An article, Cliburn welcomes blind pianists, appears on March 4 2009 in Art and Seek:

In a Fort Worth auditorium, 20-year-old Tokyo native Nobuyuki Tsujii is led by an assistant to the piano bench and sits. Head bobbing slightly, his fingers lightly, silently, skim the keyboard, just to get his bearings. When ready, he plays.

The audience gathered at the audition for this spring's Van Cliburn International Piano Competition heard Tsujii play Chopin’s 12 Etudes Opus 10. Many of the dozen pieces in this demanding, landmark composition are encore dazzlers. Through interpreter Keiko Couch, Tsujii says these Etudes are tough to play.

TSUJII (through Couch): “If you notice he checks where he has to stop. He touches the end of the piano keys and he finds where to start.”

The Japanese pianist flew to Fort Worth between his own concert dates just to audition. He already knew a few of the Chopin pieces and learned the rest in three weeks. He couldn’t have learned them that fast with Braille.

TSUJII (through Couch): “In music school he completely went by ear. Because Braille was way too much trouble. Just trying to figure out all the pages. So he just hears it. & his teacher plays it. Then he puts his own interpretation of it.”

Hungarian pianist Tamas Erdi says he also learns by listening and memorizing.

ERDI: “Braille score is very difficult. It could take one year to learn piano concerto from Braille score. If I know well the piece, I hear different interpretations and figure it out in my imagination from the piece.”

Erdi, who is 29 and prefers wearing dark glasses, featured music by noted Hungarians, including a dance by Zoltan Kodaly.

Erdi and Tsujii both garnered standing ovations in Fort Worth. But nearly all the pianists sparkled. Many have released critically acclaimed recordings and regularly give concerts in their parts of the world. Cliburn Foundation President Richard Rodzinski says the Cliburn competition can make their careers international.

RODZINSKI: “What we’re looking for are young professionals ready to have that push, that door being open to them. Not beginners, not students.”

It’s the judge’s job to identify those players ready for the next big step. This time, they’re also listening to blind competitors. So how might they deal with a human inclination to judge them more favorably than the others, given of all they’ve already overcome? The Cliburn Foundation’s General Manager, Maria Guralnik, says that’s no concern.

GURALNIK: “The main issue for the jury is being able to identify young artists who will perform at the highest level and move audiences with their music. And if any of the young men and women we hear do that:… they will be advanced to the competition.”

Guralnik says that’s the judges won’t be influenced by anything else they see or don’t onstage.

Mr. Erdi did not advance.  But Nobu did, and he was among the 29 competitors that arrived in Texas for the Cliburn Competition when it opened in May of 2009.

A report by Tim Madigan of the Fort-Worth Star-Telegram (http://startelegram.typepad.com/notes_from_the_cliburn/page/5/) describes Nobu's appearance at the preliminary round.

Less than 25 minutes until one of the most anticipated preliminary round recitals in recent Cliburn history. Blind pianist Nobuyuki Tsujii brought the house down during his Fort Worth audition and will probably do the same tonight. Particularly impressive is his opening music, Chopin's 12 Etudes. Will he be up to the hype? We will soon know

For the preliminary round, Tsujii played Chopin’s twelve etudes (all twelve, successively), Debussy Images, Book I, and Liszt’s “La Campanella”, wowing the audience in the concert hall as well as those who watched the webcast. His performance of the twelve etudes prompted comments such as “I am aghast. This is a man who cannot see and he can dash off twelve of the most challenging pieces for piano, back to back to back. Puts all the rest of us to shame!” Many also found his La Campanella astonishing. Wrote one commenter on youTube: "Not only is he wonderfully accurate and totally gets Liszt, he plays this a(t) the break-neck speed that Cziffra did without breaking a sweat. I too wonder how on earth he ever learned such a complex and demanding piece, much less all the other pieces he played at the Cliburn."

Another report by Tim Madigan of the Fort-Worth Star-Telegram (http://startelegram.typepad.com/notes_from_the_cliburn/page/5/)

Nobu Mania?
Critic Chris Shull [whose unfavorable review of Nobu's La Campanella is mentioned in the documentary "A Surprise in Texas"] was less enamored, obviously. But during Nobuyuki Tsujii's Chopin, I had the sensation that his two hands were producing something approaching the sound of full orchestra, such depth, richness and nuance. There was also a humility about him that made his playing all the more endearing.

After Nobu's performance, I watched Linda Yax leave Bass Hall with her hand over her heart, looking almost stricken.

"I'm overwhelmed," said Yax, who is visiting Fort Worth from Buffalo, N.Y. "I just can't believe it. He seems so young. For someone to play that way must require a special kind of talent."

Also, from Andrew Marton of the Fort-Worth Star-Telegram:
Only minutes after Nobuyuki Tsujii's emotional performance in the lead-off program for the night session, Van Cliburn was spotted for the first time at his namesake event, just outside the East portal of Bass Hall, grabbing a quick smoke and deep in conversation with several friends. What he was talking about, as it turns out, was the singular performance by Tsujii, the contest's only blind performer and, now, clear audience favorite. "He was absolutely miraculous," Cliburn gushed. "His performance had the power of a healing service. It was truly divine." --

June 7 Fort Worth Telegram article
June 07, 2009
A peek into Tsujii's final 2 days at the Cliburn

Getting personal: Nobuyuki Tsujii, the blind Japanese competitor, was winding up his post-performance chat with reporters when documentary filmmaker Peter Rosen asked him a question he wasn’t quite prepared for: “Do you have a girlfriend?” Silence. Kay Nakamoto of Bedford, professional interpreter who has been volunteering at the Cliburn, whispered to the 20-year-old pianist that he didn’t have to reply if he didn’t want to. She looked imploringly toward Furuki Kaburaki, one of Tsujii’s managers, who remained speechless. The young competitor still did not answer. Again she whispered that he need not say anything.Finally, Tsujii said, “I have no girlfriend but a friend at my school.” What is her name?, Rosen asked. “Maria.”

Ambassador of music: A surprise visitor at the stage door was former U.S. Ambassador to Japan, Tom Schieffer, who told the blind Japanese competitor Nobuyuki Tsujii, “I’m really pulling for you. “Americans have really taken you to their hearts. ”It’s not known how much Cliburn clout is carried by the former envoy and onetime partner of George W. Bush in the Texas Rangers ball club. But the Fort Worth-bred Schieffer gave Tsujii a prediction that “you will have an impact on music for decades to come.”

Cowtown souvenirs: Before the awards ceremony, Tsujii said his happiest moment was receiving a pair of cowboy boots – gifts to all the competitors from Justin Boots – at the Fort Worth Zoo party for participants, where he wore a cowboy hat given him by his host family, Carol and John Davidson of Fort Worth.

Worldwide attention: Tsujii had the largest entourage of any of the competitors, and it grew. Aside from his mother Itsuko, who was permitted to stay with the host family because of his disability, a teaching assistant flew in from Tokyo, as did two managers. Then his main teacher, Tokyo-based concert pianist Yukio Yokoyama, flew in for a 24-hour whirlwind visit for some last minute mentoring. Then came the pinstripe-suited chairman of 105-year-old Ueno Gakuin University, where Tsujii is in his junior year. This weekend, a Japanese TV crew arrived to shoot the final day for the TV Asahi network. TV Asahi did a documentary on Tsujii five years ago and the Cliburn footage will be used in a new, updated version program, said Naoyuki “Nick” Asano, part of the team. -- Barry Shlachter

A bonus of the article is the mentioning of several names that I would come to know well: Itsuko Tsujii (Nobu's mother), Peter Rosen (documentary maker), Kay Nakamoto (interpreter), Yuko Yokoyama (Nobu's professor), Carol and John Davidson (host family), and Naoyuki "Nick" Asano, Nobu's erstwhile manager and travel companion
***
FOOTNOTE:
I don't have the source of this photo, and it cannot be enlarged, but it is a photo of Nobu being fitted with the cowboy boots mentioned in one of the articles :-)

And, here is a photo of Nobu -- in his Texas cowboy outfit --  with Mr. Van Cliburn.

Image below: Nobu at the competition, with from left, Kay Nakamoto(volunteer interpreter, in pink), teaching assistant who flew in from Tokyo, Mrs. Itsuko Tsujii (in orange), and Mrs. Carol Davidson (host family)

 

RELATED ARTICLES
"Cliburn Competition Awards Two Gold Medals" 2009 NPR Report
Back story 2 : 辻井伸行 Nobuyuki Tsujii at the 2009 Cliburn Competition
Cliburn Competition 10th Anniversary Concerts

Backstory 4: Nobu's support at the 2009 Cliburn Competition

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This is the fourth in a series of backstory posts, in commemoration of the 10th Anniversary of Nobuyuki Tsujii's Cliburn Competition Victory. In this article, we acknowledge some of the people whose support for Nobu contributed to his victory at the Competition.


On June 7 2009, this paragraph appears in a Fort Worth Telegram article
... Tsujii had the largest entourage of any of the competitors, and it grew. Aside from his mother Itsuko, who was permitted to stay with the host family because of his disability, a teaching assistant flew in from Tokyo, as did two managers. Then his main teacher, Tokyo-based concert pianist Yukio Yokoyama, flew in for a 24-hour whirlwind visit for some last minute mentoring. Then came the pinstripe-suited chairman of 105-year-old Ueno Gakuin University, where Tsujii is in his junior year. This weekend, a Japanese TV crew arrived to shoot the final day for the TV Asahi network. TV Asahi did a documentary on Tsujii five years ago and the Cliburn footage will be used in a new, updated version program, said Naoyuki “Nick” Asano, part of the team. -- Barry Shlachter
It describes well the support that Nobu received at the competition, which eventually led to his victory.  Below I list those (whom I am aware of) who contributed to Nobu's success at the competition -- I am sure I have left out some people, and I apologize in advance.

***  
Mr. Van Cliburn
As reported byAndrew Marton of the Fort-Worth Star-Telegram,
Only minutes after Nobuyuki Tsujii's emotional performance in the lead-off program for the night session [of the preliminary round], Van Cliburn was spotted for the first time at his namesake event, just outside the East portal of Bass Hall, grabbing a quick smoke and deep in conversation with several friends. What he was talking about, as it turns out, was the singular performance by Tsujii, the contest's only blind performer and, now, clear audience favorite. "He was absolutely miraculous," Cliburn gushed. "His performance had the power of a healing service. It was truly divine." --
Mr. Clbiurn's support for Nobu never wavered. He gave lavish praise to Nobu at his 2011 Carnegie Hall debut, and the Clbiurn Foundation arranged for a private meeting of Nobu with Mr. Cliburn at his home two month before his death.  Nobu issued a moving eulogy upon the passing of Mr. Cliburn in 2013.

Below: a screen grab from the 2009 Cliburn Competition documentary, of the moment when Mr. Cliburn calls out the name of Nobu.  I always feel that he took extra pleasure in that announcement.

 ***  
Mr. Richard Rodzinski  --
Mr. Rodzinski was President and Executive Director of the Van Cliburn Foundation for twenty-three years.  After the 2009 Cliburn Competition, he moved on to head the International Tchaikovsky Competition. 

Image below: Mr. Rodzinski with Nobu at the award ceremony; his joy for Nobu is unmistakable.

And along with Mr. Rodzinski, the entire Jury -- including the esteemed Menahem Pressler -- are to be commended for their recognition of Nobu's musicality and their collective courage to defy the foreseeable controversy of naming a sightless winner, of which more will be said in my next post.
Image: The Cliburn winners and some of the jurors on stage, still photo from the documentary.
 
***
Mr. Peter Rosen, documentary maker, was responsible for the 2009 Cliburn documentary "A Surprise in Texas." It was through watching the documentary on TV that I became a Nobu fan in 2010. Mr. Rosen went on to make two more documentaries about Nobu ("Nobuyuki Tsujii Carnegie Debut Live" (2011) and "Touching the Sound"(2014).  I was especially happy to see Mr. Rosen at Nobu's Carnegie Hall recital last month (May 10 2019), photo below.
 
***
Mrs. & Mr. Carol and John Davidson (host family)
Mr. and Mrs. Davidson cast an unforgetable impression on me, when in 2010 I watched Mr. Rosen's documentary of the competition. They were the host family with whom Nobu and his mother stayed during the competition.
Image: Mrs. Davidson (leftmost) and Mr. Davidson (pushing luggage) after meeting Nobu (holding a guiding cane) and mother Itsuko (in orange) at the Dallas-Fortworth airport. 
 
Image: Jubilant Mr. and Mrs. Davidson with Nobu and his trophy.
 
In a 2010 documentary aired on Japan TV, there is footage (now viewable on YouTube) of Nobu revisiting his host family.  I was surprised that the Davidson home is a modest condominium and not the palatial mansion as I had pictured, and my respect for them grew even more.  I can hardly imagine opening my own home in such a way, especially given that Nobu, reportedly, practiced on the grand piano (on loan from the competition) until wee hour!.

In 2015, I was delighted to read that the Davidsons came to a concert on Nobu's "Appassionata" recital tour in Japan. This is said in the concert report posted on Nobu's official site: "[Translated from Japanese] On this day [March 26 2015], Mr. and Mrs. Davidson, at whose home I stayed at the 2009 Van Cliburn International Piano Competition, came to Japan and we invited them to the concert. Because of their busy schedudle, it has been difficult to meet them even when I travel to the United States ... this was our first get-together for the first time in a long time, and we had a most enjoyable time."  The report comes with this happy photo of Nobu and the Davidsons.

I cannot find the article just now, but I recall reading in a recent (2018?) interview where Nobu said one of the things that has stayed with him the most from the Competition is the generosity of the host family.
*** 
Ms. Kay Nakamoto (interpreter)
She is the lady seen by the side of Nobu in the documentary on stage at the award ceremony (image below).  A gracious Japanese woman who volunteered to be the interpreter for Nobu at the competition.  In 2014, when Nobu performed with the Orpheus in Carnegie Hall for the first time, I had the pleasure of meeting Ms. Nakamoto in person, and expressed my appreciation to her of what she did for Nobu.
 
***
Mrs. Itsuko Tsujj Mr. Takashi Tsujii (Nobu's parents) 

Mrs. Tsujii is seen in the image above upon her arrival in Tokyo with son Nobu, after the competition, to a hero's welcome.  In the photo, Nobu has on the Texas cowboy hat bestowed on him by the Davidsons, and Mrs. Tsujii is seen in a tangerine-colored suit.  Orange is the color that she wore throughout the Compeition -- said to be Nobu's lucky color.  
In the preliminary round, it was Mrs. Tusjii -- in her tailored orange suit -- who made a rare stage appearance to escort Nobu back to the wings after his stunning performance, perhaps at the urging of competition organizers. 
Mr. Tsujii -- Nobu's father --  did not travel to America for the competition, but I have seen footage of him being interviewed on Japan TV, soon after the news of Nobu's victory.  The hard-working father, a medical doctor who heads an obstetric clinic in Japan, was in tears.
*** 
Mr. Furuki Kaburaki, business manager
Mr. Kaburaki was one of the two managers who accompanied Nobu at the competition, and was the stage escort for Nobu (photo below) at most of his performances.  In a video of Nobu's rehearsal with conductor James Conlon, it is he who stepped up to inform the maestro that Nobu can hear a conductor's breathing and sync up with the music that way.
 
***
Mr.  Naoyuki "Nick" Asano, Avex manager
Mr. Asano does not appear in the competition documentary.  But he shared with me this photo of him seated with Nobu at the award ceremony -- judging from the empty seats all around them, they must have arrived at the hall very early!

In years to come, Mr. Asano would become Nobu's travel companion all over the world and play a large role in Nobu's subsequent successes, and it is through him that I made contact with Nobu.  Sadly, Mr. Asano parted ways with Nobu in late 2018, but he has not been forgotten
***   
Professor Yukio Yokoyama
Professor Yokoyama, a former Chopin Piano Competition prize winner, is a renowned pianist in Japan. Called in at the last minute to coach Nobu on his orchestra performances at the final round of the Competition, Mr. Y graciously complied, flying in from Tokyo --  between his own concerts -- to lend a hand. In the competition documentary, we see him coaching Nobu on two side-by-side pianos.
Some time after Nobu's return to Tokyo, Mr. Y and Nobu gave a duo concert at a Yamaha piano studio, seen in the photos below.

 
*** 
Female Teaching assistant
I am sorry that I never found out her name, but she is seen in the documentary, the lady who comes to the Davidson home to assist Nobu -- perhaps in his practices and in preparing for his performances. She is also seen at the award ceremony (image below) and celebrates with Mrs. Tsujii with genuine emotion.


***
Professor Masahiro Kawakami
Mr. Kawakawami was Nobu's childhood piano teacher. He accompanied Nobu to the 2005 Chopin Piano Competition in Poland (at which Nobu reached the penultimate round), but he was not with Nobu at the Cliburn Competition.
Even so, in the 2009 Cliburn documentary, it was to Mr. Kawakami that Nobu is seen in one scene in the documentary, speaking vehemently on the phone after learning that he is among the finalists.  In a subsequent interview, Mr. Kawakami said that he was happier to have received that call than when he eventually learned of Nobu's gold medal.  In 2012, Mr. Kawakami and Nobu appeared in a TV Show that pays tribute to Mr. Kawakami (image below).

Happily, Mr. Kawakami continues to be a mentor of Nobu.  Most recently in May 2019, he traveled to Europe and Russia for Nobu's performances.  Mr. Kawakai, a specialist in Russian composer Nikolai Kapustin, is enjoying a thriving career of his own as a pianist, professor and academician.
***
Being a gracious Japanese, Nobu himself has perhaps given thanks to all the people mentioned above.  As someone who has derived so much pleasure from his successes in the wake of the Cliburn Competition, I too feel indebted to them.
Thank you, thank you!

***
RELATED ARTICLES
"Cliburn Competition Awards Two Gold Medals" 2009 NPR Report
Back story 2 : 辻井伸行 Nobuyuki Tsujii at the 2009 Cliburn Competition
Backstory 3: News clippings of 辻井伸行 Nobuyuki Tsujii at the 2009 Cliburn Competition
A miracle at the Cliburn
Nobuyuki's Cliburn Playlist, 2009 Cliburn Competition Jurors
Cliburn Competition 10th Anniversary Concerts

Nobuyuki Tsujii's Cliburn Competition Win -- 10 Years Later

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This month ten years ago, on June 7 2009,  the late great pianist Van Cliburn bestowed a gold medal to 20-years old Nobuyuki Tsujii at the Cliburn International Piano Competition.

The victory changed the life of the young Japanese pianist forever.  In Japan, it sparked a "Nobu Fever"-- sales exploded for his "Debut" CD album, his concert tickets became the hottest commodity in town, and he was sought after.  "That win instantly led to more opportunities to play, not only in Japan, but also in the US and Europe. From the time I was young, it was my dream to play piano around the world, and the competition made my dream come true,” so says Nobu in a 2018 article published in the in-flight magazine of ANA (All Nippon Airways, a major sponsor of Nobu).

Nobu was asked about the competition in another 2018 interview that appeared on the website of his alma mater, Ueno Gakuen University.

[Translated from Japanese]
Q: It has been nearly 10 years since you won the gold medal of the International Piano Competition of Van Cliburn. What did you think back then?
A: I never thought that I would win the top prize, but I was very happy. It was pretty difficult to prepare for it, and it was quite last-minute, but I did well and was thrilled to be able to be successful with such a tough competition. I was really surprised [by the victory] myself.

Q: How did you prepare for the competition?
A: From around the year before the competition, I began to think about it. There were also recommendations from people around me. Although I was worried, I decided to do it for my own development.  In the contest, I played an American composer's new work (John Musta's "Improvisation  and Fugue") for the new works competition, but I was only given the score a month prior. Of course we had to prepare for a lot of other works, so I was really on the piano all day. It was a hardship far beyond my expectation (laugh).

I saw Nobu in person for the first time, in 2010, when he held a recital in the small town of Arcata in Northern California, on a small university campus.  Rude American that I am, I asked Nobu's manager, Mr. Nick Asano (whom I had just met), why Nobu -- a big star in Japan -- would travel such a long way to perform in such a tiny venue.  Mr. Asano's reply?  Nobu felt he was indebted to the Competition for making him world famous. 

Here is the thing.  "As a winner, Tsujii received a $20,000 prize, a gold medal, a silver trophy, and a 3-year tour and recording contract in the United States and abroad," according to a press release issued by Avex Classics (Nobu's record label).  All very nice. However, the 3-year tour for Cliburn is not as glamorous as one might think.  These Cliburn tour engagements dispatched Nobu to far-flung corners, often in small towns and sometimes with very sparse accommodations.  They may be a good launching pad for a budding pianist, but for someone like Nobu, the obligation of these concert appearances, in my humble opinion, verged on servitude.  Suffice it to say that Nobu's star-turn performances, such as his Carnegie Hall recital (2011) and his BBC Proms debut (2013), were not part of the Cliburn tour.       


But for three yearsafter the competition win, Nobu gamelysoldiered on, traveling hither and thither to fulfill concert engagements arranged by the Competition, performing in small theaters when he could easily sell out concert halls of 2,000 seats in Japan.  I believe Nobu was driven by his genuine love to perform for an audience, and also that he takes seriously these words reportedly imparted to him by Van Cliburn: as a Cliburn winner, he has a responsibility to "make a strong impression on others to attract them to classical music" and to "become a pianist who can give a live performance even to an audience unfamiliar with classical music." 

Ten years passed by all too quickly, and while the fever is no longer red-hot, Nobu' popularity in his homeland is undiminished.  This is said in the aforementioned 2018 ANA article:
The music world is filled with talented artists, so Nobu’s victory would not be enough to sustain his presence on center stage for the next decade. Yet, his schedule remains full, and his performances regularly sell out. In fact, among classical pianists, tickets to his concerts are among the most difficult to acquire.
Case in point: tickets sold out instantly for his five upcoming special concerts to commemorate the Cliburn victory.
 
Outside of Japan, the impact of the Cliburn victory is less evident. Now represented by the prestigious firm Harrison Parrott, Nobu has established recognition in large European cities: London, Paris, Berlin and St. Petersburg, etc. Professor Masahiro Kawakami (Nobu's childhood teacher and long-time mentor) was in St. Petersburg last month for Nobu's concerts at the White Nights Festival, and he posted on his blog the photo below of a giant billboard of Nobu, noting [translated from Japanese]: "Mr. Nobuyuki Tsujii can now be said to be a big name that can be deployed throughout the world!"


My own eyeglasses are not as rose-tinted as Professor Kawakami's.  I was happy to witness an enthusiastic audience in U.K. in January when Nobu held a recital in London's QEB Hall, followed by a glowing critic's review. And again, just last month (May 10), a triumph at the Carnegie Hall. Yet, truth be told: in the West-- where the market of classical music is anemic, where traditions are rigid and long-standing connections prevail -- Nobu's recognition remains under the radar, his recordings difficult to obtain, and he has yet to receive invitations to perform with orchestras such as the Berlin Philharmonic or the Vienna Phil.  On the other hand, Nobu's videos -- especially on YouTube -- has garnered an impressive following.  A video of Nobu tearfully playing his own Elegy to Tsunami Victims, at Carnegie Hall in 2011, has chalked up 25 million views in 5 years.

Which brings me to the conclusion of this wandering down the memory lane of Nobu's Cliburn victory.  Was the gold medal the turning-point of Nobu's career, as he himself sees it?
In a 2011 TV documentary about Nobu's performance at the Antalya Festival, Turkish pianist Fazil Say reminisced about a backstage visit by a very young Nobu and his mother, at which Nobu played on a piano for Say.  The outspoken pianist says (paraphrasing) that he knew then and there that Nobu would make it big, and that Nobu didn't have to enter a competition to prove himself.
I myself am not a big fan of music competitions, which all too often seems an exploitation of young talents. The Cliburn Competition is by far the best known competition in the U.S.; its reputation is above reproach, but its significance has always been down-played on the two coasts (New York and California), the stronghold of what little remains of the classical music market in this country.  As of the NPR (National Public Radio), U.S.A. put it in 2009:
... as glorified as the Cliburn appears, it's still a piano competition, and for some musicians and critics, that in itself is a dirty word. Skeptics routinely point to an array of past competition winners whose careers have flopped or faded prematurely, after being hailed as the next great thing. And there's a steady stream of complaints about timid jurists who reward only the "safe" performers, while the individualists eventually get weeded out
Still, winning the Cliburn -- or even placing second or third –- can launch a healthy, if not lasting career. Past gold medalists, from Radu Lupu in 1966 to Jon Nakamatsu in 1997 and Olga Kern in 2001, have carved out secure places for themselves in the piano pantheon.

And a healthy and lasting career is what Nobu seems to be enjoying.
In retrospect, I think the biggest thing that the competition did for Nobu is the exposure that it gave him in video, especially on social media.  It so happened that 2009 was the first year that the Competition deployed technology in a big way, including live webcasts of the entire competition that included all performances and backstage interviews with the musicians. The webcasts were widely watched and eagerly commented on.   Videos extracted from those webcasts have attracted a lot of eyeballs and comments, to this day.

In my own case, I missed all the webcasts of the competition, but one fine evening in 2010, I happened to catch the broadcast of Peter Rosen's documentary of the competition, "A Surprise in Texas."  And, my world too was irrevocably changed as a result. In the decade that I have since followed Nobu's career, gleaning vicarious pleasures from his triumphs, I have witnessed the gradual transformation of a shaggy-haired youngster -- rough-hewn but of unmistakable talent and allure -- to a polished, self-assured world-class performer.  And his performances have given me the impetus to travel around the world to places and concert halls that I would otherwise have no interest to visit.  I consider myself fortunate and I too have the Cliburn Competition to thank.
***
Photo below: Nobuyuki Tsujii at the Carnegie Hall, May 10 2019.
Source: Nobuyuki Tsujii English Wikipedia Page

***
RELATED ARTICLES
Cliburn Competition Awards Two Gold Medals" 2009 NPR Report
Nobuyuki Tsujii's Cliburn Competition Win -- 10 Years Later
Back story 2 : 辻井伸行 Nobuyuki Tsujii at the 2009 Cliburn Competition
Backstory 3: News clippings of 辻井伸行 Nobuyuki Tsujii at the 2009 Cliburn Competition
Backstory 4: Nobu's support at the 2009 Cliburn Competition
A miracle at the Cliburn
Nobuyuki's Cliburn Playlist, 2009 Cliburn Competition Jurors
Cliburn Competition 10th Anniversary Concerts
 

2019 Piano and Arts Concerts

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I am not a big fan of concerts with big-screen projections, but I might make an exception for this:  Music and Painting Concert "Impressionism"音楽と絵画コンサート≪印象派≫ -- A Japan tour of concerts that feature large screen projection of masterpiece art works as Nobu performs solo works.
 
Three Tokyo-area concerts (Nov 24, Nov 25, Dec 1) have now been revealed, in addition to previously announced concerts in Hiroshima (Nov 21), Mie Prefecture (Nov 20) and Nagoya (Dec 8).  Please scroll down for a full list.

TicketSpace Announcement


These are the known performances:
http://www.ints.co.jp/tsujii-music-art2019/index.htm
Nov 21 19:00 広島文化学園HBGホール Hiroshima Bunka Gakuen HBG Hall info
November 24 (Sun) 14:00 Suntory Hall
November 25 (Mon) 19:00 Bunkamura Orchard Hall 
Nov 3015:00 三重 Mie Prefecture Cultural Hall Large Hall
December 1st (Sun) 14:00  Sumida Triphony Hall
Dec 8 Sunday 15:00 Toyota City Concert Hall, Nagoya Toyota Performance
Additional shows in  Osaka and Shizuoka are to be announced.

The planned program, per the Toyota Performance, is as follows:
[Part 1] 
<Debussy × Impressionists Renoir, Degas & Hokusai Katsushika"The Great Wave">
Debussy: Deux Arabesques, Suite Bergamasque, Image Book 1
[Part 2]
<Satie and Ravel × Impressionists Monet,, etc >
Satie: Three Gymnopédies
Ravel : Pavane for the late princess, water play, sonatine

This is not the first time that Nobu performs these concerts.  Most recently he held a  2017 Music and Painting Concert Japan tour

Previous concerts proved very popular.  This year, Hokusai Katsushika (of  "The Great Wave" fame) is added as a featured artist.
***
RELATED ARTICLES
2017 Music and Painting Concert  

Summer thrill: Shostakovich's Piano Concerto No. 1

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What do you do for thrills, if you were Nobuyuki Tsujii?
Why, play something impossibly challenging on the piano.  Like whipping up the fiendish 'La Campanella' for an encore to drive his adoring audience to a frenzy.   Or learning in a month to play the diabolic Prokofiev's Piano Concerto No. 3 for the first time ever in London in 2012.  Ditto for Rachmaninov's Piano Concerto No. 3 in Liverpool, 2014, not to mention playing Ravel's Gaspard de la Nuit at a recital that very same year (2014).

It is summer 2019, and it is time for another Nobu thriller. Next month (July) will see him play Shostakovich's Piano & Trumpet Concerto No. 1, with the Orchestra Ensemble Kanazawa (OEK), conductor Patrick Hahn and Trumpet Lucienne Renaudin Vary.

As piano concertos go, this one is not considered among the most technically impossible.  But nothing ever composed by Dmitri Shostakovich is for the musically faint of heart.  This is how the Russian composer is described on wikipedia:
A polystylist, Shostakovich developed a hybrid voice, combining a variety of different musical techniques into his works. His music is characterized by sharp contrasts, elements of the grotesque, and ambivalent tonality; the composer was also heavily influenced by the neo-classical style pioneered by Igor Stravinsky, and (especially in his symphonies) by the late Romanticism of Gustav Mahler

The Shostakovich piano concerto No. 1 was "an experimentation with a neo-baroque combination of instruments."  In particular, the work calls for the rare combination of a piano soloist and a trumpet soloist.  The opus was completed in 1933 and, at its première, the composer himself performed as piano soloist with the Leningrad Philharmonic Orchestra.

Quoting Wikipedia again:
The concerto comprises either three or four movements, depending on the interpretation:
1. Allegro moderato
2. Lento
3. Moderato
4. Allegro con brio
The Moderato is sometimes seen as an introductory passage to the Allegro con brio rather than as a separate movement. However, it is usually considered to be the third of four movements, as the moods of the two are very different. While the "Moderato" is of a serious nature, the "Allegro con brio" is in a somewhat lighter tone. Some recordings feature only three movements, with the last marked as Moderato – Allegro con brio.
The concerto is concluded by a brief but intense cadenza, with the strings reentering to build tension near the finish. The movement comes to a close with short C Major bursts of the strings and piano, accompanied by the humorous trumpet.
Below: YouTube video of Martha Argerich performing the concerto with Trumpet David Guerrier.
 

In an article entitled"10 seriously underrated pieces for piano and orchestra" posted by CBC (Canada Broadcast Corp), this is said:
... this comical concerto mixes long lyrical melodies and teasingly witty, fast motifs. Audiences at the premiere were astounded by Shostakovich’s brilliant piano playing and the concerto’s unusual ensemble comprising two soloists — pianist and trumpeter — against a string orchestra. As soloists, trumpet and piano have equal roles, complementing each other in dialogue. Adding to the fun, Shostakovich quotes Beethoven, Haydn and even a Viennese folk song.

Fun??  Here is what wikipedia says of  challenges posed by the work:
In several places, synchronization with the orchestra can be very difficult, due to the orchestral part often being offbeat to the soloist part.
The second and third movements contain no significant technical difficulties, except perhaps for a more minor one in the form of awkward 16th note runs in both hands in the middle of the second movement.
The greatest technical difficulty in the first movement is the 3 pages of continuous, rapid leaps in the form of 3-note chords stretched out over two octaves in 8th note triplets in the left hand, sometimes even surpassing two octaves, accompanied by quicksilver 8th note rapidly leaping triplet octaves, in the right hand, all at a tempo of presto.
The final cadenza of the fourth movement is very difficult, containing the typical, very awkward fast runs, with big leaps and passages requiring 4th finger independence.
Arguably the most difficult section, albeit a very short one, is a series of quick leaps, first in the left hand in the stride piano style, and then in both hands - with the second-to-last leap spanning three octaves in the left hand and two octaves in the right hand, followed immediately by the final, fast leap, spanning four octaves in the left hand and two octaves in the right hand - at the very end of the piece. The section is brilliantly virtuosic, with the composer himself known to be able to play it exactly as written.

Conductor Kenneth Woods had this to say about the work in a 2007 piece:
... Throughout the work, the piano writing is extremely sparse- much closer to Mozart than Rachmaninoff, rarely going beyond two parts at once. It intentionally never even approaches the orchestral fullness of earlier Russian composers. The orchestration is also minimal- only strings and solo trumpet, who helps highlight the comedic content of the work. Shostakovich wrote the trumpet part with the principal trumpet player of the Leningrad Philharmonic, Alexander Schmidt, in mind.
Even in this early work, one can detect the unlikely influence of Mahler in the way Shostakovich constantly juxtaposes humour and grotesquery on the one hand with the deepest tragedy and vulnerability on the other. The second movement, a Lento, is one of his saddest and most heart-wrenching creations, and yet the piece ends with a musical joke that surely would have drawn a smile from the ultimate musical humourist, Haydn.
- Explore the Score: Shostakovich Piano Concerto no. 1 by Kenneth Woods - conductor

So, friends, this is no Grieg Concerto or Rachmaninov No. 2.
I hope the audience in Japan will be psychologically prepared.  The Japan tour starts on July 17 and travels to 9 venues.  In addition to the musical challenges of the concerto, Nobu will be performing with two European musical prodigies for the first time: Austrian conductor-composer-pianist Patrick Hahn (age 24) and trumpist Lucienne Renaudin Vary (age 20). The orchestra, the Orchestra Ensemble Kanazawa (OEK), is a frequent partner of Nobu.

As of this writing (June 17),  most of the 9 shows have not completely sold out.  The Japanese audience generally prefer Nobu's recitals, where they can see more of Nobu at lower ticket prices.  Additionally, quirky concertos, I believe, are not their preferred cup of tea -- as compared to sweeping  romantic works such as Chopin's concertos or Rach 2.  (Notably, Nobu has yet to perform Prokofiev 3 in Japan.)

But, if I had wings, I would be there in the concert halls in a heart beat --  on the edge of my seat -- to hear Nobu play his first Shostakovich work, ever, and to witness those impossible runs on the keyboard!

***
RELATED ARTICLES
Nobuyuki Tsujii plays Shotakovich Piano & Trumpet Concerto No. 1
Shostakovich's Piano [and Trumpet] Concerto No. 1 - wikipedia

"I am so blessed to have a son like you"

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A Japanese Instagram user watched the English version of The Cliburn 2009 documentary (different from Japanese version) for the first time, and posted a clip of the ending, with a heartfelt message.

https://www.instagram.com/p/ByzIc33jKCn/
結果は分かっているのに、10年も前のイベントなのに、ビデオ“A surprise in Texas”を見ていて胃が痛くなる思いがした。
それほど参加者達は過酷な3週間のコンテスト期間を過ごした。その中にあって審査員や聴衆を魅了し続けた辻井さんは優勝し、本当に輝いて見えた✨
彼はその才能で世界を驚かせた。
ビデオのエンディングがお母さま、いつ子さんの言葉で終わるのが素敵だった。
-------------------------------------———————
Knowing the result already and that it happened 10 years ago, still I had a knot in my stomach while watching the DVD “A surprise in Texas.” It was such a tough process participants had to go through for as long as 3 weeks.
Nobu, who won the joint gold medal always attracting jurors and audiences, looked shining✨ He surprised the world with his genuine music.
I love the way the DVD ended: his mother Itsuko mentioned, “I’m so really, really happy Nobuyuki came this far. I’m so blessed to have a son like you.”
Please click this link (and not the still photo below)  to see the video clip that comes with the post => https://www.instagram.com/p/ByzIc33jKCn/


I too remember that ending well, watching the documentary through tears in 2010.   
It wasn't until days later that I figured out that the music playing in the background is Nobu's own  川のささやき "Whisper of the River", composed by Nobu when he was in high school to express his love for his father after the two took a walk on the Kanda River in Tokyo.  It is a track on Nobu's "debut" CD"


Also seen in that short clip are: Carol and John Davidson (host family) and Ms. Kay Nakamoto (interpreter). As I recall, the very end of the DVD (not in the clip) shows Nobu trying on a top hat, as Mr. Richard Rodzinski, then president of the Cliburn Foundation, looks on.

That ending is a loving gesture by the maker of the documentary, Mr. Peter Rosen.


 

Nobuyuki Tsujii & Friends at the Yatsugatake, 2019

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This October, Nobuyuki Tsujii will participate in a number of chamber music concerts in Japan, at three different "festivals":

The Yatsugatake Lodge 八ヶ岳高原ロッジis a resort in the mountains of Nagano, with a small but prestigious concert hall. Nobu has performed there in past summers, in sold-out concerts, most recently in 2017, in duo recitals with his good friend Fumiaki Miura (violinist).


This year, Nobu and Fumi will be back there for the Yatsugatake Chamber Music Festival.
According to a tweet today (June 18), tickets for the festival will be by lottery:
https://www.yatsugatake.co.jp/event/concert/2019/1013/
辻井伸行・三浦文彰&フレンズ
八ヶ岳室内楽フェスティバル
抽選予約受付のご案内
本公演は、多数のお申し込みが予想されますので、下記の内容での抽選予約とさせていただきます...
Nobuyuki Tsujii, Fumiaki Miura & Friends
Yatsugatake Chamber Music Festival
Information for lottery reservation acceptance
There will be a large number of applications for this show, so let's make a lottery reservation as follows ...
Imagine that -- lottery for tickets to CHAMBER MUSIC concerts!


[Casts]
Nobuyuki Tsujii (piano), Fumiaki Miura (violin), Aori Satoru (violin), Koichi Yokomizo (viola), Jonathan Roseman (cello [performed in 2018 Ark Concerts and will perform in 2019 Ark Concerts]), Yuta Kato (contrabass)
[Lunch time & lobby concert appearance]
Maiura Miura (piano [a sister of Fumi, I have been told] ), Karin Kido (violin), Yusuke Yabe (cello)

【program】
Day 1: Nobuyuki Tsujii solo; Franck: Violin Sonata;
Chopin: Piano Concerto No. 2 (Chamber Edition), and more
Day 2: Nobuyuki Tsujii  solo; Brahms: first violin sonata;
Schumann: Piano Quintet and others
***
In the past, Nobu has enjoyed activities at the Yatsugatake resort --  such as hiking, fishing  and pottery making.
Photo: Fishing with pal Fumiaki, 2017
 
Photo: Pottery making, 2016 -- still photos from 2016 "Studio Park" episode

It makes me happy to think that Nobu will be at the resort this time accompanied by friends and fellow musicians of his own age.  Among the group will be young European cellist Jonathan Roseman, who apparently struck up a friendship with Nobu and Fumi last year at the 2018 Ark Concerts, as seen in this video below of Nobu rehearsing Chopin Piano Concerto no. 2 with friends
[The videos shows footage of Nobu rehearsing with a small ensemble of friends to play Chopin's Piano Concerto No. 2 for Suntory Hall's Ark Concerts last fall (2018). It is especially good to see the camaraderie among the players. There is one scene shown of the young cellist Roseman (age 21), standing, talking to Nobu and Fumi, seated, just before Nobu and Fumi were to go on stage to play their duet. We don't hear what is said but whatever the young man said was so amusing that Nobu and Fumi both broke out laughing, and Nobu slapped his thighs. Then they show the two going on stage as the cellist said something like 'break a leg' to them and Nobu replied with something in Japanese. ]

I hope the gang will have a jolly good time in the mountains of Nagano!

***
RELATED ARTICLES
2019 Ark Classics Concerts at Suntory Hall

To the Black Sea. Nobuyuki Tsujii, Fall 2019

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This September, Nobuyuki Tsujii will perform in a region of the world that many people -- myself included -- know little about.  Please read on.

THE BLACK SEA

How's your world geography?  Where is  the Black Sea on the world map?  Is it a 'sea' or a 'lake'  Do you know the countries surrounding it?

If, like me, your answers are no, then this YouTube video may help (yes, there really is a YouTube video for EVERYTHING!)

And here is a map of the countries around the Black Sea. 
What's with the red arrow?  Well, that's a trip -- Armenia to Romania -- that Nobu will make this September, according to concert information that has shown up on the web.  Please read on.

NOBU THE GLOBETROTTER

Romania and Armenia are countries that are, well, off the beaten paths of star pianists. But Nobu, our beloved road warrior, is not one who shies away from far-flung corners of the world. Why, just last summer he braved an European heat wave to perform at summer festivals in Friedrichshafe and Biarritz. I imagine somewhere in the Tsujii household there is a world map mounted on the wall, dotted with pushpins for cities/countries that Nobu has performed in ...

According to wikipedia: Japan has an embassy in Bucharest (capital of Romania) as well as in Yerevan (capital of Armenia).

As the crow flies, the distance between Armenia and Romania is 1070 miles (1720 km).  Travel by air between the two countries takes over 7 hours (and the carrier won't be the All-Nippon-Airways, Nobu's sponsor!)

More likely is that Nobu and his team will travel to Vienna, from where  Romania can be reached by flight in 2 hours, and Armenia can be reached by flight in 4 hours.

THE CONCERTS

For some time now, there has been web postings about Nobu's debut in Romania, at the the 2019 George Enescu Festival in Romania (schedule below, click here for details.)
September 10 20:00 Rach 2 with conductor Michael Sanderling & the Romanian Youth Orchestra at the Grand Palace Hall, Bucharest, Romania
September 12, 14 recital 

Today, this page showed up on my daily Nobu news search

It has a black-and-white photo of a facial close up of Nobu (one of the Harrisonparrott Artist publicity photos) superimposed with the word "yuki" (as in Nobuyuki, but ... it should be "nobu"!)

The English says "September 7 Friday 19:30 Aram Khachaturian Concert Hall," but the rest of 
the language in the text is unfamiliar.  Thankfully, GoogleTranslate has no problem recognizing it as Armanian:
Սեպտեմբերի 6-ին Արամ Խաչատրյան համերգասրահում տեղի կունենա հայտնի դաշնակահար Նոբույուկի Ցուջիի համերգը:
Ծրագրում՝ Դեբյուսի, Ռավել, Շոպեն:
Տոմսերի արժեքը՝ 3000-15000 դր.:

[On September 6, Aram Khachaturian Concert Hall will host a concert by renowned pianist Nobuyuk Tsujii.
In the program: Debussy, Ravel, Chopin.
Ticket price: 3000-15000 AMD.]

The Aram Khachaturian Concert Hall (1,300 seats) is "one of the architectural pearls of Yerevan", and it is the home of the Armenian National Philharmonic Orchestra.


 
Image above: Map of Armenia - image source https://www.123rf.com/ 

Safe journey, Tsujii-san!


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Nobuyuki Tsujii & the Orpheus in Hong Kong. highlight video

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In April 2019, Nobu joined the Orpheus Chamber Orchestra, his New-York based frequent partner, on the orchestra's Asia tour, and performed in  Hong Kong & Taiwan,  followed by a nationwide tour in Japan.

The tour was a great success. I had thought we had heard the last of it.  But yesterday (June 20 2019) there was a delightful surprise.
A big thanks to Hong Kong University MUSE -- the organizer of the events in Hong Kong, for uploading an excellent video of "Nobuyuki Tsujii & Orpheus Chamber Orchestra - Highlights" to YouTube:
"The 2018/19 season is over but great music lasts 😎
Highlights of Nobuyuki Tsujii & Orpheus Chamber Orchestra are here! For more information visit https://muse.hku.hk/"
Image below: YouTube screen grab.  Please scroll down to view the video itself.

In case you have forgotten, Nobu performed in Hong Kong in April => Nobuyuki Tsujii & Orpheus in Hong Kong & Taiwan, April 12 - 16 2019

THE HIGHLIGHT VIDEO

The video is viewable on YouTube - embedded below.   It includes brief footage of what Nobu and Mr. Alexendar Scheirle, executive director of the Orpheus, said at their talk sessions held before the Hong Kong performance.  The dialog is of interest.
For the benefits of those who do not understand Japanese and cannot read the English subtitles of what Nobu said, I made a transcript.  Please scroll down to read.
Below: video of "Nobuyuki Tsujii & Orpheus Chamber Orchestra - Highlights"

TRANSCRIPT

Time-mark 2:00
MUSIC IN WORDS WITH NOBUYUKI TSUJII
Moderators" Dr. Giorgio Biancorosso and Dr. Yoshiko Nakano
NOBUYUKI TSUJII
Pianist
Conventionally, the conductor is the one who brings the orchestra together and leads the musicians as they perform. I think it is really different when every single musician performs on their own without a conductor.
Time-mark 2:28
Footage of performance of PIANO CONCERTO NO. 2 IN F MINOR, OP. 21 Frederic Chopin (arr. Shuying Li)
Time-mark 2:28
ALEXANDER SCHEIRLE 
Executive Director
Orpheus Chamber Orchestra
When you have a conductor, the conductor doesn't make noise.  But he's in between, so Nobu can't see the conductor.  And, with traditional orchestras, during a performance the musicians look at the conductor, and the conductor looks at Nobu.  Because we don't have a conductor, everyone looks at Nobu.  And it's a much more direct collaboration. Nobu loves it, and we do too, because we are so close.
Time-mark 3:09
Nobu
When I first performed without a conductor, I did not know what would happen and of course felt nervous.  But now I believe you would definitely enjoy our concert as Orpheus is a wonderful top class orchestra.
The video ends with Footage of the conclusion of the performance.

U.S. pianist Linda Kipps, big Nobu fan who is visually impaired, wrote:
" Nobu and the orchestra sounds fabulous! Whoever recorded this did a great job!"

I agree.  The team at Hong Kong University MUSE (photo below, from Nobu's concert April 13 concert report ) are indeed impressive.  This Hong Kong expat tips her hat to them -- BRAVOS!

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Nobuyuki Tsujii debuts in Hong Kong April 2019
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Nobuyuki Tsujii & the Orpheus in Taipei, April 16 2019
2019 Orpheus Chamber Orchestra Japan Tour
Orpheus Chamber Orchestra with Nobuyuki Tsujii & Fumiaki Muira in Japan 2019

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