#965 喜多直毅&田中信正 “Contigo en La Distancia” ニューアルバム完成記念コンサート
Naoki Kita & Nobumasa Tanaka: Celebrating concert of the release “Contigo en La Distancia”

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Sonorium, Eifuku-cho, Tokyo/July 14(Fri), 2017

Reported by 伏谷佳代 Kayo Fushiya

喜多直毅 (ヴァイオリン) Naoki Kita (violin)
田中信正 (ピアノ) Nobumasa Tanaka (piano)

喜多直毅 Naoki Kita
ピアノハウスエムエムジー Pianohouse mmg
Syntax Japan Inc.、OTTAVA
<フライヤ・デザイン/Flyer Design>
山田真介 Shinsuke Yamada

1. 「難船」Naufrágio (C. Meireles/A.R.B. Oulman)
2. 「オーリャ・マリア」Olha Maria (V.de Moraes/A. C. Jobim – C. Buarque)
3. 「孤独」Soledad (E.F. Jodar)
4. 「ショリーニョ・プラ・エリ」Chorinho Pra Ele (H. Pascoal)
5. 「バチンの少年」Chiquilín de Bachín (H. Ferrer/A. Piazzolla)
6. 「リベルタンゴ」Libertango (A. Piazzola)
7. 「アルフォンシーナと海」Alfonsina y El Mar (F. Luna/Ariel Ramírez)
8. 「遠く離れていても」Contigo en La Distancia (C. P. de la Luz)

「フラーク・ニヒト・ヴァルム・イッヒ・ゲーエ」Frag Nicht Warum Ich Gehe (R. Tauber)



The tense stoic atmosphere of this Contigo en La Distancia concert, celebrating the release of the album of the same title, was closer to a recital, but even so, the tractive effort to pull the audience into the space was unparalleled. No sooner had the opening piece ‘Naufragio’ started than the entire hall began slowly undulating. As with the Kita Quartette, the style was a medley format and with no MC. The program centered on pieces from the album and at the climax, Piazzolla’s ‘Libertango’ took the floor.

With moments of restraint and release as methodical as a beating heart valve, the players were one superbly synchronized entity. Intentions were spreading like leaf veins across the full spectrum of tone colors; an assimilation of extremely original techniques and the human body unfolded the rich nuanced perspective of notes before us; and there was the thrill of contraction in which expanded space time was ruthlessly folded into the beats. After some pieces such as ‘Soledad’ and ‘Chorinho pra Ele’ peppered with an array of individual solos and improvisation, the performance charged into ‘Libertango’, while maintaining a heightened level of feeling; the theme was amplified by an exchange of intense riffs between the string beating and repeated keyboard striking, and with a blending of swirling rage and craving, the excitement of the listeners reached a peak. It was almost the enthusiastic state by rock music. In ‘Alfonsina y El Mar’, the sorrowful reverberation of the piano controlled the hall, and we found a persistent zealous quality like sparking embers in any soft or strong sounds or sound pressure, and although solid and sturdy, the piano playing was supple and filled with delightful soft subtleties. Then, with incomparable image projection the title piece was delivered, affectionately wrapping around the audience, and enchanting them to believe in the omnipresence of souls. Even the singing of insects and bird cries were heard dancing on the edge of line. With scarcely a sidelong glance at the ethnic music boom on the street, Kita’s trajectories were recalled as if from a distant shore surpassing exoticism, and in this one evening such deep emotions revealed themselves. Outstanding performance, the fruit of original practice and maturity, was thrust into the heart of an appreciative audience, and the impact could not possibly be bettered.
(Kayo Fushiya, July15, 2017)

©山本悦子/Etsuko Yamamoto
©山本悦子/Etsuko Yamamoto
©三ケ田美智子/Michiko Mikata




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伏谷佳代 (Kayo Fushiya) 1975年仙台市出身。早稲田大学卒業。幼少時よりクラシック音楽に親しみ、欧州滞在時 (ポルトガル・ドイツ・イタリア) に各地の音楽シーンに通暁。欧州ジャズとクラシックを中心にジャンルを超えて新譜・コンサート/ライヴ評、演奏会プログラムの執筆、翻訳などを手がける。


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