UPDATE - July 2
I think it is entirely a coincidence ^_^, but according to Nobu fan Shinobu who was at the first performance in Kawaguichi today, Nobu said to the audience: 『今日は初日で初披露もあり緊張もしましたが、皆さんが集中して聴いてくださったのでリラックスして弾けました。無事弾き終えて今はホッとしています。聴き応えのあるプログラムだったのでアンコールもいらないくらいお腹一杯だと思いますが、ショパンを。』 "Today was the first day and I was also nervous, but as you all concentrated and listened, I could relax and play. I'm relieved now after finishing playing safely. Because it was a program that requires deep listening, I think that you do not need an encore, but I think Chopin."
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The photo shows a sign that says the encore was Chopin's nocturne No. 8, Op. 27-2 [My favorite!!] -----
Today is the kick-off of Nobu's 2017 Premium Recitals, 10 performances in exclusive smaller venues in Japan. The audiences pay a premium for a more intimate setting. As in years past, these performances sold out quickly, and soon I will be collecting comments on them (see Nobuyuki Tsujii 2017 Premium Recitals - news, photos & comments).
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And, as with past Premium Recitals, the program is a challenging one, notably three pieces from Liszt's Transcendental Etudes. Felix Medelssohn is said to have written that the works of Franz Liszt are "only calculated for virtuosos" -- I quite agree. A bonafide virtuoso, Nobu is perfectly at home with Liszt's works, and has performed them to great acclaims in past recitals. I look forward to hearing the transcendental etudes in due time.
But for now, the thought turned to the encores. As the Liszt etudes are the highlight of this recital program (which has been re-ordered to end with those pieces), it is perhaps to be expected that Nobu would play some Liszt in the encores. I know this is considered very rude by the always courteous Japanese, but I (an American barbarian :-) wrote in a previous posting that perhaps it's time to give "La Campanella" a rest. Another avid Nobu fan readily agreed, suggesting the same for Chopin's Revolution etude.
Other Nobu fans wrote to say that they enjoy whatever Nobu has to offer, hinting that perhaps it is churlish to make such negative suggestions. So, I gave the matter some more thought.
Here is the thing. When I first started to follow Nobu's career, his encores used to be quite varied: Liszt's Rigoletto, un sospiro (A sigh), Chopin's Nocturne No. 8 and No. 2 were among them. When he played Prokofiev's third piano concerto in London in 2012, I needed help from long-time Nobu fan Miyuki to identify the encore: Rachmaninov's prelude in G sharp minor, which I dearly love. And, in 2013, I was truly delighted when he played Grieg's "To Spring" for encore in Japan, which he later changed up with Sibelius'"Spruce" when he performed Grieg's Concerto in U.K. None of these pieces he plays for encore any more! I clearly remember that the concertmaster of BBC Philharmonic praised Nobu, when they toured in Japan in 2012, for playing something different for encore at each performance. Last year, when he was on tour with the Orpheus Chamber Orchestra, Nobu himself was quoted as saying that he strives to vary his encores for the benefit of the orchestra members.
In recent years, especially the last two, things have gotten quite formulaic. On his last tour in Japan, the 2017 Ultimate Concerto Concerts with violinist Mone Hattori, I believe he played the same encores at every one of the 12 performances. And on his regular recital tour (Bach/Mozart/Beethoven) in Japan that started late last year, I think the encores were essentially limited to "House of Wind" (his own), "La Campanella" and the "Farewell" etude. Even when he performs overseas, "La Campanella" and "Revolution" have become the staple encores, to the point that I cannot recall what he played for encores in the recent performances of his that I attended: they all blend into the same.
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I did some research on encores. It turns out that performing encores is tricky. Some performers do not do encores (Elvis Presley -- true, he's no classical musician -- is said to be one); some perform generous numbers.
One bloggerwrote on the U.K. Guardian: "Encore? Encore? Enough of this crushingly predictable gig ritual. I don't know about you, but boring, planned encores are the bane of my concert-going life. Only a few bands do really spontaneous ones ..."
There is a recent New York Times article on the subject: "The desire to listen again to something we liked the first time, or to hear more from artists we’ve enjoyed, almost certainly goes back as far as there’s been music. But the precise concept of our encore — French for 'again' (though the French themselves tend to shout 'bis,' Latin for 'twice') — is far newer."
Some encores bring the house down (Nobu's "La Campanella" often does), others are "bombs" that send some audience to the exits. Sometimes no encore is the best choice. In the New York Times article, it is said that after a rigorous performance, a certain pianist "was greeted with applause strong enough to bring him back for another bow. Then, somehow, everyone seemed to know that it was proper to stop clapping. As I wrote then, the fact that the crowd didn’t demand an encore was the greatest praise it could have given."
Nobu is generous with his encores, playing as many as 5 at some performances. The choice of encores is tricky. It must not be too taxing on the performer, and it cannot be too lengthy (especially when an entire orchestra is kept in their seats). Ideally, it should blend in with the rest of the concert program. And, the most difficult of all, it should be interesting to the audience.
Even the most spectacular diamond loses its luster if it's shown off too many times. Violinist Hilary Hahn took to commissioning compositions specifically for her encores, so that she would have something unfamiliar and interesting to offer to her devoted fans. For me, Nobu's "La Campanella" and "Revolution" have become all too familiar.
However, it has been pointed out to me that NOT everyone feels that way. Whenever Nobu plays La Campanella for encore, especially in Japan where the piece seems to have a special appeal regardless of the performer -- people gasp audibly and some would cheer or smile in recognition of the first note. At Nobu' s debut Sydney recital last May, someone yelled out for it (and Nobu obliged, to the crowd's delight). I think the problem is not Nobu's, but lies with me and other frequent goers of Nobu 's concerts. We have become like the orchestra members who witness Nobu's encores day after day on a tour. Perhaps we should be mindful that we are in the minority, that most of others in the audience do not go to so many of his performances, and, many are truly thrilled to hear his La Campanella for the first time.
Furthermore, I recall that on one of the "Pianists" tours in Japan, some fans complained that an extra encore was played in large cities. So perhaps that may explain why Nobu feels he has to play the same encores everywhere.
I think we Nobu fans should keep things in perspective. Encores are bonuses. It is beyond the call of duty for Nobu to play these extra pieces, especially after a strenuous program such as the one he will be performing starting today -- the Japanese praise the generous encores for his "service spirit." At the same time, I do think encores -- if performed at all -- should be of interest and not become a routine, "crushingly predictable gig ritual."
So, upon reflection, I have a proposal. Perhaps it is not necessary for Nobu to play so many encores. Play "La Campanella" for people who yearn for it (and they do in Japan, as evidenced on Twitter, every day), and, for his loyal supporters like me, one surprise piece that changes from performance to performance: Liszt's Rigoletto Paraphase, Un sospiro, Liebesträume (perhaps shortened); the 3rd movement of Beethoven's "Tempest" or even his "fur elise"! Keep us guessing and it will be a pleasant surprise.
I could go on, but because I want to post this piece in time for his first performance of the Premium Recital, I am going to stop here. At the end of the day, what is important is for Nobu to enjoy what he plays for encore. I can take it even if he plays La Companella for the thousandth time. I wish Tsujii-san yet another great success on this recital tour, no matter what encores he plays.
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Image source: http://media.istockphoto.com/illustrations/best-wishes-greeting-card-illustration-id545993834
I think it is entirely a coincidence ^_^, but according to Nobu fan Shinobu who was at the first performance in Kawaguichi today, Nobu said to the audience: 『今日は初日で初披露もあり緊張もしましたが、皆さんが集中して聴いてくださったのでリラックスして弾けました。無事弾き終えて今はホッとしています。聴き応えのあるプログラムだったのでアンコールもいらないくらいお腹一杯だと思いますが、ショパンを。』 "Today was the first day and I was also nervous, but as you all concentrated and listened, I could relax and play. I'm relieved now after finishing playing safely. Because it was a program that requires deep listening, I think that you do not need an encore, but I think Chopin."
Today is the kick-off of Nobu's 2017 Premium Recitals, 10 performances in exclusive smaller venues in Japan. The audiences pay a premium for a more intimate setting. As in years past, these performances sold out quickly, and soon I will be collecting comments on them (see Nobuyuki Tsujii 2017 Premium Recitals - news, photos & comments).
But for now, the thought turned to the encores. As the Liszt etudes are the highlight of this recital program (which has been re-ordered to end with those pieces), it is perhaps to be expected that Nobu would play some Liszt in the encores. I know this is considered very rude by the always courteous Japanese, but I (an American barbarian :-) wrote in a previous posting that perhaps it's time to give "La Campanella" a rest. Another avid Nobu fan readily agreed, suggesting the same for Chopin's Revolution etude.
Other Nobu fans wrote to say that they enjoy whatever Nobu has to offer, hinting that perhaps it is churlish to make such negative suggestions. So, I gave the matter some more thought.
Here is the thing. When I first started to follow Nobu's career, his encores used to be quite varied: Liszt's Rigoletto, un sospiro (A sigh), Chopin's Nocturne No. 8 and No. 2 were among them. When he played Prokofiev's third piano concerto in London in 2012, I needed help from long-time Nobu fan Miyuki to identify the encore: Rachmaninov's prelude in G sharp minor, which I dearly love. And, in 2013, I was truly delighted when he played Grieg's "To Spring" for encore in Japan, which he later changed up with Sibelius'"Spruce" when he performed Grieg's Concerto in U.K. None of these pieces he plays for encore any more! I clearly remember that the concertmaster of BBC Philharmonic praised Nobu, when they toured in Japan in 2012, for playing something different for encore at each performance. Last year, when he was on tour with the Orpheus Chamber Orchestra, Nobu himself was quoted as saying that he strives to vary his encores for the benefit of the orchestra members.
In recent years, especially the last two, things have gotten quite formulaic. On his last tour in Japan, the 2017 Ultimate Concerto Concerts with violinist Mone Hattori, I believe he played the same encores at every one of the 12 performances. And on his regular recital tour (Bach/Mozart/Beethoven) in Japan that started late last year, I think the encores were essentially limited to "House of Wind" (his own), "La Campanella" and the "Farewell" etude. Even when he performs overseas, "La Campanella" and "Revolution" have become the staple encores, to the point that I cannot recall what he played for encores in the recent performances of his that I attended: they all blend into the same.
I did some research on encores. It turns out that performing encores is tricky. Some performers do not do encores (Elvis Presley -- true, he's no classical musician -- is said to be one); some perform generous numbers.
One bloggerwrote on the U.K. Guardian: "Encore? Encore? Enough of this crushingly predictable gig ritual. I don't know about you, but boring, planned encores are the bane of my concert-going life. Only a few bands do really spontaneous ones ..."
There is a recent New York Times article on the subject: "The desire to listen again to something we liked the first time, or to hear more from artists we’ve enjoyed, almost certainly goes back as far as there’s been music. But the precise concept of our encore — French for 'again' (though the French themselves tend to shout 'bis,' Latin for 'twice') — is far newer."
Some encores bring the house down (Nobu's "La Campanella" often does), others are "bombs" that send some audience to the exits. Sometimes no encore is the best choice. In the New York Times article, it is said that after a rigorous performance, a certain pianist "was greeted with applause strong enough to bring him back for another bow. Then, somehow, everyone seemed to know that it was proper to stop clapping. As I wrote then, the fact that the crowd didn’t demand an encore was the greatest praise it could have given."
Nobu is generous with his encores, playing as many as 5 at some performances. The choice of encores is tricky. It must not be too taxing on the performer, and it cannot be too lengthy (especially when an entire orchestra is kept in their seats). Ideally, it should blend in with the rest of the concert program. And, the most difficult of all, it should be interesting to the audience.
Even the most spectacular diamond loses its luster if it's shown off too many times. Violinist Hilary Hahn took to commissioning compositions specifically for her encores, so that she would have something unfamiliar and interesting to offer to her devoted fans. For me, Nobu's "La Campanella" and "Revolution" have become all too familiar.
However, it has been pointed out to me that NOT everyone feels that way. Whenever Nobu plays La Campanella for encore, especially in Japan where the piece seems to have a special appeal regardless of the performer -- people gasp audibly and some would cheer or smile in recognition of the first note. At Nobu' s debut Sydney recital last May, someone yelled out for it (and Nobu obliged, to the crowd's delight). I think the problem is not Nobu's, but lies with me and other frequent goers of Nobu 's concerts. We have become like the orchestra members who witness Nobu's encores day after day on a tour. Perhaps we should be mindful that we are in the minority, that most of others in the audience do not go to so many of his performances, and, many are truly thrilled to hear his La Campanella for the first time.
Furthermore, I recall that on one of the "Pianists" tours in Japan, some fans complained that an extra encore was played in large cities. So perhaps that may explain why Nobu feels he has to play the same encores everywhere.
I think we Nobu fans should keep things in perspective. Encores are bonuses. It is beyond the call of duty for Nobu to play these extra pieces, especially after a strenuous program such as the one he will be performing starting today -- the Japanese praise the generous encores for his "service spirit." At the same time, I do think encores -- if performed at all -- should be of interest and not become a routine, "crushingly predictable gig ritual."
So, upon reflection, I have a proposal. Perhaps it is not necessary for Nobu to play so many encores. Play "La Campanella" for people who yearn for it (and they do in Japan, as evidenced on Twitter, every day), and, for his loyal supporters like me, one surprise piece that changes from performance to performance: Liszt's Rigoletto Paraphase, Un sospiro, Liebesträume (perhaps shortened); the 3rd movement of Beethoven's "Tempest" or even his "fur elise"! Keep us guessing and it will be a pleasant surprise.
I could go on, but because I want to post this piece in time for his first performance of the Premium Recital, I am going to stop here. At the end of the day, what is important is for Nobu to enjoy what he plays for encore. I can take it even if he plays La Companella for the thousandth time. I wish Tsujii-san yet another great success on this recital tour, no matter what encores he plays.
