Jazz and Far Beyond

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Concerts/Live ShowsNo. 243

#1016 田崎悦子ピアノリサイタル/三大作曲家の愛と葛藤 2回シリーズ-前編-/Etsuko Tazaki Piano Recital “Love and Conflict of Three Great Composers-first part-

May 26(Sat), 2018 Tokyo Bunka Kaikan Recital Hall

Reported by 伏谷佳代 Kayo Fushiya


Chopin: Polonaise-Fantasie op.61

Schumann: Die Davidsbuendlertaenze op.6
1.Lebhaft 2.Innig 3. Etwas hahnbuechen 4.Ungedultig 5.Einfach 6.Sehr rasch und in sich hinein
7.Nicht schnell mit aeusserst starker Empfinndung 8.Frisch 9.C-dur 10.Balladenmaessig sehr rasch 11.Einfach 12.Mit Humor 13.Wild und lustig
14.Zart und singend 15.Frisch 16.Mit gutem Humor-Etwas bewegter 17.Wie aus der Ferne 18.Nicht schnell

Liszt: Sonate h-moll
Lento assai-Allegro energico-Andante sostenuto-Allegro energico-Lento assai

Chopin: Nocturne





This was the first of two recitals entitled “The Love and Conflict of Three Great Composers.” Chopin, Schumann, and Liszt – three geniuses of the same generation – were stars in a human drama telling the dramatic life story and rivalry of these big-hearted men; the pianist’s approach was not for presenting the conventional and prevailing images of such musical giants.

The program comprising just three great pieces with no cheap tricks started with “Polonaise-Fantaisie,” and Tazaki’s delivery of the music shows her natural attention paid to every detail, and yet, consistently keeping sight of the broad perspective. The music within a magnificent framework does not need to escape into agile and dazzling passages. Every single sound is rooted and releasing a fragrance like the breath of the earth. In her Chopin rendition as well, her listeners’ consciousness was drawn irresistibly to the beauty of multi-layered sedimentation, rather than to a quick dash of colorful sound. The sharp-pointed formation of details steadily accumulates and space time is undergoing a transition like a crustal movement.

Her interpretation “Davidsbuendlertaenzethe” was remarkable; the group of eighteen dances realistically representing the two-faced and contradictory nature of human beings is a treasure trove of emotional subtleties. The audience was torn by the onrush of Tazaki’s passions, which are truly ferocious, with a myriad of conflicting emotions powerfully squirming in the background. A lifeful minor key smashes through sorrow, and a major key with dry brightness resembles total acceptance. Prolonged afterimages and the deep silence of an eloquent reflection; such devices inserted between pieces take on the cosmic dual forces of an epic-scale narrative and devolve between reality and fantasy. The scale of the amplitude of the soft and hard sounds is endless, and the universe created by a single sound is transient, yet deep.

The final piece was “Sonata in B minor.” To counter Liszt’s demonic attempts filled with nobleness and sensuality, Tazaki wedges forward with steady steps, rather than with showy speed and flamboyance. Her muscular and commanding pianism is simultaneously romantic and delicate; there is nothing comparable. A tense outburst just before coming loose in honeydew; the faint line between them is pulled out across a stage tightly packed with moments not easily attainable in life. “I want to live this kind of life”: probably everyone at least once has felt such a moment in which they yearned for that very kind of life and were deeply moved. Her performance can be described as the embodiment of the composer’s life until the fruition of this musical work; it has a trembling-like sensuality and sharpness, which cannot be attained without the artist risking herself in every direction. That is why the listener is overwhelmed by the auditory sensations playing on their skin. (Kayo Fushiya)



伏谷佳代 (Kayo Fushiya) 1975年仙台市出身。早稲田大学卒業。欧州に長期居住し(ポルトガル・ドイツ・イタリア)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(月刊誌/Web媒体)、演奏会プログラムやライナーノーツの執筆・翻訳など多数。


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