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Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosaís Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint SaŽns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
SYMPHONY REVIEW
Mastercard Performance Series / Friday, May 01, 2015
Nobuyuki Tsujii, piano

Pianist Nobuyuki Tsujii

MOUNT TSUJII ERUPTS AT THE GREEN MUSIC CENTER

by Nicki Bell
Friday, May 01, 2015

A great painter changes the way we see and understand the world. The extraordinary Nobuyuki Tsujii, a 25-year-old Japanese pianist blind since birth, changes the way we hear music. He has a transformative power. Formidable technique, a staggering mastery of pianistic and tonal color, surprising tempo surges and lingerings, intense musicality--all these phrases hardly begin to describe the uniqueness of his musical voice and the thrilling nature of his performances, including the one at the Green Music Center on Friday evening, May 1, which featured gems by Chopin, Liszt and Beethoven.

Tsujii pulled the audience into his world with the opening notes of Chopin's Nocturne, Op. 9, No. 1. The whisper of pianissimos, the quick surges of intensity, the extreme and instantaneous dynamic shifts--they all made perfect musical sense. The subsequent Nocturne (Op. 9, No. 2) had moments of such limpid quietude that the full house seemed to stop breathing so as not to lose a moment of the magic. Tsujii's concentration is extreme. With his isolation from visual distraction and the focused attention of his listening, the clarity of his playing is thrilling.

With his formidable technique, Tsujii brought moments of ecstasy to Chopin's late Barcarolle in F-sharp major. His exquisite trills were a blur of sound, just a vibration. Using his left hand as an engine, he displayed phenomenal power in the driving middle section.

The Consolation No. 3, written by a grieving Franz Liszt after Chopin's death, was exquisite. Liszt's Mephisto Waltz No. 1, "The Dance in the Village Inn," had the devil in it, every extreme, from playing as fast as humanly possible to blessed quietude and back to staggering passion. Tsujii conveyed the colors and fullness of sound of a complete orchestra. He literally filled the hall, and the audience went crazy.

After intermission, Tsujii started Beethoven's "Pathetique" Sonata so slowly, so quietly, so daringly that you could not anticipate the speed, even though you knew what was coming. No matter how often you have heard this sonata--and it is often played--it becomes a new world in this young master's hands. So too with Beethoven's "Appassionata" Sonata, a huge work with mountains of difficulty, one of the composer's most violent and passionate creations. In Tsujii's hands, the tonal and emotional contrasts of the three movements kept building and building all the way to the thrilling conclusion.

The audience did not want to let Tsujii go, so he played three encores. The first was his own rendition of Stephen Foster's "I Dream of Jeanie," the second his own sweetly lyrical song, and the third a magnificent rendition of Liszt's "La Campanella." The only way for Tsujii to leave the stage was to close the lid of the piano's keyboard.