Back in 2013, I heard from a gentleman in Japan about some very positive reviews given to Nobu on his Debussy CD. The reviews appeared in the December 2013 issue of the レコード芸術 "The Record Geijutsu"(Recording Arts), a major magazine in Japan devoted to recorded music. Read here=> The Record Geijutsu" gives Nobuyuki Tsujii a thumbs-up
I was really happy to hear about that review. The Japanese are serious about classical music. In spite of the abundance of tweets and blog posts about Nobu, I have not run into critics' reviews about his works online, although I am sure there are many in their print media.
Now, it seems Nobu has gotten another round of good notices from that well-respected magazine for his"Liszt & Ravel" CD issued earlier this year. On the CD are recordings of Nobu's performances of Liszt's Sonata in B Minor and Ravel's "Gaspard de la nuit"
This CD was released in July -- yes, this magazine takes its time to publish their CD reviews ^_^
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A big thanks to Nobu fan Yuko, who shared the text of the review with us, by two critics, which appear in the September issue of the Record Geijutsu Magazine
![]()
Cover of the September issue of the Record Geijutsu Magazine
Image source: https://www.amazon.com/
[DISCLAIMER: My clumsy translation of the text does not do justice to the original writing, and some of the musical references are entirely beyond my grasps.]
レコード芸術 "The Record Geijutsu"(Recording Arts).
特選盤 Special Edition
September 2016
Jiro Hamada (music writer)
現在の辻井伸行のありかたを知るのに、好適の１枚だと言えよう。ここには、明らかに、ますます自信を深め、己を高めつつある、若き名手の姿が顕在する。
It can be said that this is an appropriate work to assess the current status of Nobuyuki Tsujii. Here, obviously, the emergence of a young master who is increasingly confident and who is increasingly revealing his self.
リストのソナタは非常に明晰で、曖昧さを残さない秀演。作品を形づくる、いくつかの主題ないしモティーフの性格を、彼はしっかりと把握し、複雑さを極めるそれらの現われ、からみ合いをごくすっきりと聴かせてしまう。これは、高い演奏技術と共に、作品全体への深い洞察なしにはできないことだ。
The Liszt Sonata is very clear, a good show with no ambiguity. He firmly grasps the character of some thematic subjects or motifs that make up the work, renders the complexities extremely lucid, and makes the entanglements clearly heard. That, along with the high performance techniques, cannot be done without profound insight into the whole work.
この曲において、私がいつも気にかけて厳しく見る第２主題「グランディオーソ」登場のくだりにおいても、右手親指のH（シ）音をいたずらに響かせることなく、小指のA(ラ）をしっかりと強調して、この主題旋律に正当な姿を与えている。ここは、こう弾かねばならないのだ（ここをおろそかにする名手の多さは、私にとり七不思議のひとつと言ってよい）。
In this work, even on the occasion of the second theme "Grandie Ortho" [the "noble grandiose passage in D major"] which I always carefully watch, he gives a legitimate appearance to the theme melody -- tightly emphasizing the A (La) note of the little finger without sacrificing the H (Shi -- C note?) sound of the right hand thumb. It must be played like this. (The large number of good people who neglect this, to me, can be said to be one of the seven wonders).
ラヴェルもまた、心して聴くべき秀演。＜オンディーヌ＞のいじらしくも神秘な歌、＜絞首台＞の、繰返される変ロ音の不気味な冷たさ。＜スカルボ＞の妖しい変幻も、人一倍豊かなイマジネーションの持ち主でなければこうは弾けまい。
The Ravel work is likewise a good show to listen to. The eccentric mysterious sound of the piece "Ondine"; the "Gallow Platform", with its odd sound of repeated coldness; the strange phantom of "Scarbo". You cannot play this unless you are the owner of a rich imagination.
Tsutomu Nasuda [music writer]
リストのソナタは、入念に磨かれたタッチは弾力性と深みがあり、ハ短調の荘重な主題やアレグロ・エネルジコのニ長調のフレーズ、それを受ける低音部のフォルテの同音反復を含むパッセージから、展開部風の経過部からフォルテ３つのアレグロ・エネルジコ、そしてグランディオーゾの第２主題へと導かれる第１部全体の流れがとても自然。
The Liszt sonata, a carefully polished touch has elasticity and depth, the main theme in C Major or Allegro Energico's D major phrase, from the passage including the homophone iteration of the Forte of the bass part receiving it, from the course of the deployment of Forte three Allegro Energico,and the flow of Part 1, which leads to the second theme of Grandiso, is very natural.
表面的な音はひとつもなく、どれもが心の奥深くから出てくるような説得力がある。長いトリルから音楽が大きく動き出すところも、劇的効果抜群。ステールが大きく、立体的な広がりと見晴らしのよい構成がすばらしい。
There is no superficial sound, There is convincing power that all comes out deeply from the heart . Where music starts to move greatly from a long trill; Excellent dramatic effect. The stair is large; Three-dimensional spreading and a nice perspective with great view is wonderful.
再現部にあたる第３部では、展開部のリリカルな第２主題が美しいが、そこには単なる装飾的な美を超えた、何か本質的なものが感じられる。 そして堂々としたコーダ後に訪れる完璧な静寂。 In the repeating parts in the third movement, the development of the lyrical second theme is beautiful. Beyond mere decorative beauty there, something essential is felt. And there is perfect silence after majestic coda.
＜夜のガスパール＞も暗く重たい演奏ではない。 ＜オンディーヌ＞は相当に遅いテンポだが、ある種の気品が漂い、音楽にひろがりがあり、ここでも音は極限にまで磨き上げられ、一つ一つの音にしっかりとした質感と存在感がある。 ＜絞首台＞も不気味な恐ろしさではなく、ヒューマンな温かさが支配。＜スカルボ＞は前２曲に比べて音のヌケがもう一つだが、連打も力強く燃焼度の高い演奏を聴かせている。
"Gaspard de la nuit" is an ominous and weighty performance. "Ondine" is played at a considerably slow tempo, but there is some sort of elegance; the music spreads, the sound is polished to the limit; there is firm texture and presence in each sound . "Gallow Platform" is an eerie terror, but human warmth dominates. Compared to the two movements preceding it, the sound of "Scarbo" is bare, but the powerful performance is striking and high-octane for a powerful listening.
---------------------------------
I may be jumping to conclusion, but it seems that Nobu's pianism is gradually getting serious appreciation in Japan, where piano virtuosos are truly a dime a dozen. In the case of Nobu, my impression is that his rise to fame in Japan has been somewhat suspect to high-minded connoisseurs, who perhaps take a dim view on his frequent TV appearances and media promotions, and -- I am strictly speculating here -- because Nobu has had no Western training. I hope it is the case that Nobu's genuine virtuosity and musicality is winning them over.
I was really happy to hear about that review. The Japanese are serious about classical music. In spite of the abundance of tweets and blog posts about Nobu, I have not run into critics' reviews about his works online, although I am sure there are many in their print media.
Now, it seems Nobu has gotten another round of good notices from that well-respected magazine for his"Liszt & Ravel" CD issued earlier this year. On the CD are recordings of Nobu's performances of Liszt's Sonata in B Minor and Ravel's "Gaspard de la nuit"
This CD was released in July -- yes, this magazine takes its time to publish their CD reviews ^_^
A big thanks to Nobu fan Yuko, who shared the text of the review with us, by two critics, which appear in the September issue of the Record Geijutsu Magazine
Cover of the September issue of the Record Geijutsu Magazine
Image source: https://www.amazon.com/
[DISCLAIMER: My clumsy translation of the text does not do justice to the original writing, and some of the musical references are entirely beyond my grasps.]
レコード芸術 "The Record Geijutsu"(Recording Arts).
特選盤 Special Edition
September 2016
Jiro Hamada (music writer)
現在の辻井伸行のありかたを知るのに、好適の１枚だと言えよう。ここには、明らかに、ますます自信を深め、己を高めつつある、若き名手の姿が顕在する。
It can be said that this is an appropriate work to assess the current status of Nobuyuki Tsujii. Here, obviously, the emergence of a young master who is increasingly confident and who is increasingly revealing his self.
リストのソナタは非常に明晰で、曖昧さを残さない秀演。作品を形づくる、いくつかの主題ないしモティーフの性格を、彼はしっかりと把握し、複雑さを極めるそれらの現われ、からみ合いをごくすっきりと聴かせてしまう。これは、高い演奏技術と共に、作品全体への深い洞察なしにはできないことだ。
The Liszt Sonata is very clear, a good show with no ambiguity. He firmly grasps the character of some thematic subjects or motifs that make up the work, renders the complexities extremely lucid, and makes the entanglements clearly heard. That, along with the high performance techniques, cannot be done without profound insight into the whole work.
この曲において、私がいつも気にかけて厳しく見る第２主題「グランディオーソ」登場のくだりにおいても、右手親指のH（シ）音をいたずらに響かせることなく、小指のA(ラ）をしっかりと強調して、この主題旋律に正当な姿を与えている。ここは、こう弾かねばならないのだ（ここをおろそかにする名手の多さは、私にとり七不思議のひとつと言ってよい）。
In this work, even on the occasion of the second theme "Grandie Ortho" [the "noble grandiose passage in D major"] which I always carefully watch, he gives a legitimate appearance to the theme melody -- tightly emphasizing the A (La) note of the little finger without sacrificing the H (Shi -- C note?) sound of the right hand thumb. It must be played like this. (The large number of good people who neglect this, to me, can be said to be one of the seven wonders).
ラヴェルもまた、心して聴くべき秀演。＜オンディーヌ＞のいじらしくも神秘な歌、＜絞首台＞の、繰返される変ロ音の不気味な冷たさ。＜スカルボ＞の妖しい変幻も、人一倍豊かなイマジネーションの持ち主でなければこうは弾けまい。
The Ravel work is likewise a good show to listen to. The eccentric mysterious sound of the piece "Ondine"; the "Gallow Platform", with its odd sound of repeated coldness; the strange phantom of "Scarbo". You cannot play this unless you are the owner of a rich imagination.
Tsutomu Nasuda [music writer]
リストのソナタは、入念に磨かれたタッチは弾力性と深みがあり、ハ短調の荘重な主題やアレグロ・エネルジコのニ長調のフレーズ、それを受ける低音部のフォルテの同音反復を含むパッセージから、展開部風の経過部からフォルテ３つのアレグロ・エネルジコ、そしてグランディオーゾの第２主題へと導かれる第１部全体の流れがとても自然。
The Liszt sonata, a carefully polished touch has elasticity and depth, the main theme in C Major or Allegro Energico's D major phrase, from the passage including the homophone iteration of the Forte of the bass part receiving it, from the course of the deployment of Forte three Allegro Energico,and the flow of Part 1, which leads to the second theme of Grandiso, is very natural.
表面的な音はひとつもなく、どれもが心の奥深くから出てくるような説得力がある。長いトリルから音楽が大きく動き出すところも、劇的効果抜群。ステールが大きく、立体的な広がりと見晴らしのよい構成がすばらしい。
There is no superficial sound, There is convincing power that all comes out deeply from the heart . Where music starts to move greatly from a long trill; Excellent dramatic effect. The stair is large; Three-dimensional spreading and a nice perspective with great view is wonderful.
再現部にあたる第３部では、展開部のリリカルな第２主題が美しいが、そこには単なる装飾的な美を超えた、何か本質的なものが感じられる。 そして堂々としたコーダ後に訪れる完璧な静寂。 In the repeating parts in the third movement, the development of the lyrical second theme is beautiful. Beyond mere decorative beauty there, something essential is felt. And there is perfect silence after majestic coda.
＜夜のガスパール＞も暗く重たい演奏ではない。 ＜オンディーヌ＞は相当に遅いテンポだが、ある種の気品が漂い、音楽にひろがりがあり、ここでも音は極限にまで磨き上げられ、一つ一つの音にしっかりとした質感と存在感がある。 ＜絞首台＞も不気味な恐ろしさではなく、ヒューマンな温かさが支配。＜スカルボ＞は前２曲に比べて音のヌケがもう一つだが、連打も力強く燃焼度の高い演奏を聴かせている。
"Gaspard de la nuit" is an ominous and weighty performance. "Ondine" is played at a considerably slow tempo, but there is some sort of elegance; the music spreads, the sound is polished to the limit; there is firm texture and presence in each sound . "Gallow Platform" is an eerie terror, but human warmth dominates. Compared to the two movements preceding it, the sound of "Scarbo" is bare, but the powerful performance is striking and high-octane for a powerful listening.
---------------------------------
I may be jumping to conclusion, but it seems that Nobu's pianism is gradually getting serious appreciation in Japan, where piano virtuosos are truly a dime a dozen. In the case of Nobu, my impression is that his rise to fame in Japan has been somewhat suspect to high-minded connoisseurs, who perhaps take a dim view on his frequent TV appearances and media promotions, and -- I am strictly speculating here -- because Nobu has had no Western training. I hope it is the case that Nobu's genuine virtuosity and musicality is winning them over.