Live Concert Review: The Tsujii phenom, Kudo and Zuo
By Mike Winter
[caption id="attachment_723" align="alignnone" width="360" caption="Nobuyuki Tsujii (photo: Altre Media)"]
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By far the warmest audience response to any pianist in the competition thus far (we have heard 12 of the 29) went to 20-year-old Nobuyuki Tsujii last night, and it's easy to see why. "See" here means to understand, of course, and that's just the reason that Tsujuii is a phenom, because even though he has been blind since birth, Mr. Tsujii sees the world of music 20/20. He has achieved an extraordinary level of virtuosity, as shown in his performance of all the Chopin Etudes, Op. 10, the three "Images" of Debussy, Book I, and "La Campanella." Part of the appeal of Tsujuii is his evidence of the mystery of music--how it communicates, even through people with severe handicaps, physical or mental. Think of the mass market attraction of David Helfgott and the movie "Shine," or the more current movie "The Soloist" about Nathaniel, a homeless cellist playing Elgar on the sidewalk. There are case studies of mentally disabled people who become fully alive and competent in the process of music making, whether composing, conducting a chorus, or performing. Mr. Tsujii was guided to and from the piano by his mother, but once there, he really knew his way around. Perhaps the most skillful movement is the initial placement of the hands on the keyboard so that the piece begins correctly: once there, he knows exactly what to do. When the piece requires a big change in hand location, you can see him very briefly feel the keys before he plays them, to be sure he's in the right spot. He always was. The announcer Steve Cumming explained that Tsujii learns his pieces by listening and replicating what he hears, that Braille notation of music is very cumbersome. No matter. In the world of sound, Tsujii sees beautifully.
[caption id="attachment_725" align="alignnone" width="300" caption="Naomi Kudo (photo: Altre Media)"]
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Naomi Kudo is a well-schooled and beautifully polished pianist. Her performances of the Vine Sonata and the Chopin Sonata were very fine, but the short "Triana" from Book II of "Iberia" by Albeniz sounded like a recent addition to her program. Her Largo in the Chopin was long and syrupy, the way I usually like it, but it could benefit from having the second chord of its many cadences played more softly, or in some way differently from the first. The fact that nothing stood out as memorable in her performance could have all to do with me. Extended listening is fatiguing. But that is what the Cliburn involves--a pianist's ability to stand out from the rest, even to tired listeners and judges, and Ms. Kudo simply blended in very nicely with the very high level of performance here.
[caption id="attachment_726" align="alignnone" width="400" caption="Zhang Zuo (photo: Altre Media)"]
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Twenty-year-old Zhang Zou was another matter altogether, a pianist who stands out in every way. Physically she is tall and broad-shouldered. Musically she possesses innately gifted musicality. By this is meant the ability to make every note and chord part of a bigger phrase, starting with the first two chords of the Haydn sonata that opened her program (G major, Hob. XVI 40), and ending with the lowest note on the piano that concluded her recital with a gorgeous performance of the Liszt Sonata. In between we heard an ebullient "Abegg" Variations by Schumann and three etudes, by Liszt, Chopin, and Stravinsky. (Actually, I'm not sure I heard all the notes I was expecting on the first page of Listz's "Feux Follets"--I'll have to check it with the score and her recording--probably fatigue again and the very fast tempo). But with a gift for phrasing like this, with crescendi that build over many measures, I would overlook a lot, because Zou's music-making is as vibrant and wonderful as it is rare. If she doesn't make it back to the Cliburn stage, I will find Zhang Zou and look forward to hearing her again.
Mike Winter
[/caption]
By far the warmest audience response to any pianist in the competition thus far (we have heard 12 of the 29) went to 20-year-old Nobuyuki Tsujii last night, and it's easy to see why. "See" here means to understand, of course, and that's just the reason that Tsujuii is a phenom, because even though he has been blind since birth, Mr. Tsujii sees the world of music 20/20. He has achieved an extraordinary level of virtuosity, as shown in his performance of all the Chopin Etudes, Op. 10, the three "Images" of Debussy, Book I, and "La Campanella." Part of the appeal of Tsujuii is his evidence of the mystery of music--how it communicates, even through people with severe handicaps, physical or mental. Think of the mass market attraction of David Helfgott and the movie "Shine," or the more current movie "The Soloist" about Nathaniel, a homeless cellist playing Elgar on the sidewalk. There are case studies of mentally disabled people who become fully alive and competent in the process of music making, whether composing, conducting a chorus, or performing. Mr. Tsujii was guided to and from the piano by his mother, but once there, he really knew his way around. Perhaps the most skillful movement is the initial placement of the hands on the keyboard so that the piece begins correctly: once there, he knows exactly what to do. When the piece requires a big change in hand location, you can see him very briefly feel the keys before he plays them, to be sure he's in the right spot. He always was. The announcer Steve Cumming explained that Tsujii learns his pieces by listening and replicating what he hears, that Braille notation of music is very cumbersome. No matter. In the world of sound, Tsujii sees beautifully.
[caption id="attachment_725" align="alignnone" width="300" caption="Naomi Kudo (photo: Altre Media)"]
[/caption]
Naomi Kudo is a well-schooled and beautifully polished pianist. Her performances of the Vine Sonata and the Chopin Sonata were very fine, but the short "Triana" from Book II of "Iberia" by Albeniz sounded like a recent addition to her program. Her Largo in the Chopin was long and syrupy, the way I usually like it, but it could benefit from having the second chord of its many cadences played more softly, or in some way differently from the first. The fact that nothing stood out as memorable in her performance could have all to do with me. Extended listening is fatiguing. But that is what the Cliburn involves--a pianist's ability to stand out from the rest, even to tired listeners and judges, and Ms. Kudo simply blended in very nicely with the very high level of performance here.
[caption id="attachment_726" align="alignnone" width="400" caption="Zhang Zuo (photo: Altre Media)"][/caption]
Twenty-year-old Zhang Zou was another matter altogether, a pianist who stands out in every way. Physically she is tall and broad-shouldered. Musically she possesses innately gifted musicality. By this is meant the ability to make every note and chord part of a bigger phrase, starting with the first two chords of the Haydn sonata that opened her program (G major, Hob. XVI 40), and ending with the lowest note on the piano that concluded her recital with a gorgeous performance of the Liszt Sonata. In between we heard an ebullient "Abegg" Variations by Schumann and three etudes, by Liszt, Chopin, and Stravinsky. (Actually, I'm not sure I heard all the notes I was expecting on the first page of Listz's "Feux Follets"--I'll have to check it with the score and her recording--probably fatigue again and the very fast tempo). But with a gift for phrasing like this, with crescendi that build over many measures, I would overlook a lot, because Zou's music-making is as vibrant and wonderful as it is rare. If she doesn't make it back to the Cliburn stage, I will find Zhang Zou and look forward to hearing her again.
Mike Winter
May 24th, 2009 at 11:02 am
20-year-old Zuo Zhang…
NOT “2-year-old Zhang Zou”!!!
May 24th, 2009 at 11:12 am
I am wondering if there is there any established view (and/or personal views) of the 50 minute programme rule. Is it genueinely intended to be a firm top limit? - if so, one competitor has gone over (all time for applause etc not counted). Is there any penalty for that? There is an element of unfairness if other competitors have had to “trim” thier ideal programmes to keep under 50 mins. Clearly nobody should be expected to “fill up” to equal 50 mins - but a couple of contentants were well short, and Kunz a lot short of it. He certainly would have had time for another piece, and possibly would would a couple of others. Do the judges consider the “integrity” of the programme ? if it is short, have the competitors just failed to take full opportunity to show their talents?
May 24th, 2009 at 11:31 am
Tsujii was absolutely phenomenal! I will never forget this young man and his incredible piano playing. He puts me to shame, as I can’t even play the piano like that and I can see!!!
I was in tears after he finished! I wish him well in this competition.
May 24th, 2009 at 11:58 am
That was would even more amazing if she were 2-years-old!
May 24th, 2009 at 12:25 pm
I agree with Mike Winter’s assessment of Zuo Zhang’s performance. It was absolutely riveting from the first chords of the Haydn to the last note of the Liszt Sonata. I watched the archived performances of all 3 (Tsuji, Kudo, and Zuo) and Zuo was a clear standout to me. Much elegance in the Haydn, the amazing long lines in the Schumann, jaw-dropping performance of Feux Follets (although I certainly do not know all the notes), gorgeous phrasing all over, lots of drama in the Liszt Sonata, and from where I am (on the Web, obviously) she seems to command the softest and most delicate pianissimos and powerful fortissimos with no sense of harshness — a stunning performance in my view.
Tsuji’s performance is impressive and the Chopin and the Liszt works certainly fit his technical equipment. It is difficult not to be moved by this amazing young man. I was least impressed with Kuo. I found myself very distracted as she played (so I am not certain if it is exhaustion that made Mike feel the same way), yet I did not feel the same way with the other two. Kudo’s Chopin just did not “speak” to me — it was almost as though this was a new piece for her.
I have had time to watch only a very few of the others live. The bios of the current participants are impressive — with most (all??) already having international careers.
Anyway, thanks to the Cliburn Fdn for the live webcasts.
Vicki
P.S. Where is Carl Tait? Too busy with his twins? I must say I miss his ever thought-provoking commentaries.