By Mike Winter

Nobuyuki Tsujii, the 20-year-old blind pianist who became one of the 12 semifinalists and a media centerpiece, showed how he can play in ensembles.  Basically he leads the group: the first violinist watches Tsujii, and the other members watch the first violinist, Edward Dusinberre.  When Tsujii gives an emphatic up-and-down nod, off they go.  The cue is not to be confused with the ongoing circular motion of Tsujii’s head as he plays, and it never was–the performance was very solid.  As long as Tsujii is the leader, any ensemble can work this way, but the Schumann chugs right along, fermata-free, making things a little easier.  The audience loved it; Tsujii has a fine facility, no doubt about it.

The highpoint of Kyu Yeon Kim’s recital was an outstanding performance of Mussourgsky’s “Pictures at an Exhibition,”  which suits her power and sound: it tends to get steely above mezzo forte.  But once I got used to that, I found that her Beethoven Sonata, Op. 101, had many beautiful parts, especially the adagio and the following fugue.  Hearing the Hagen Suite a second time was also rewarding.  The first movement is fast and punchy, the second movement meanders a bit for me, and the third is enjoyable.  Her “Pictures” were given a reading that was deeply felt.  This piece is a favorite of her teacher, Gary Graffman, and her playing reminded me of his two recordings, especially in the speedy “Gnomus,” a real virtuoso showpiece.  It got away from her as she passed over a repeat, and she added an octave in “Tuilleries.”  (That’s a spelling guess–we don’t have movement names in the 222-page competition program book).  Otherwise the performance was more than expected.  The best parts were a troubador song any baritone would be pleased to emulate, on oxcart that marched along briskly, whirling kids at play in the park, the darkest and spookiest of catacombs, and a thundering Gate of Kiev.  When you get used to her sound, Kim is a marvelous pianist.

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