concertoNet.com_2011

This review is about a hodgepodge album concocted for the European Market by Champion Classics.

Written in French by Gilles d’Heyres, this piece appeared on  concertoNet.com, http://www.concertonet.com/scripts/cd.php?ID_cd=2332 in an article about 3 albums by young pianists that include works by Franz Liszt (2011 being the composer's 200th anniversary.)

The review is not complimentary of Nobu's recorded performances of  Rach 2( recorded with Yutaka Sado nad the Berlin Philharmonic in 2008), and three Liszt pieces from the "debut" album (recorded in 2007.)

The original text:

Aveugle de naissance, le jeune pianiste japonais Nobuyuki Tsujii (né en 1988) – qui a notamment remporté le concours Van Cliburn en 2009 – épate par sa musicalité et sa virtuosité. Mais si l’on ne juge que le seul contenu musical du disque, c’est un piano délicat et sobre mais sans identité aucune que l’on entend ici – trop «passe-partout» pour intéresser vraiment –, délicat mais précipité, interprétant le Troisième Rêve d’amour et la Première Méphisto-Valse avec la même humeur et le même caractère. La Deuxième Rhapsodie hongroise paraît totalement à court d’idées par moments (... tel ce trémolo qui s’éternise outre mesure): la technique est certes splendide, mais l’on est plus proche de la Nouvelle-Orléans que de la Hongrie. Signalons enfin que, dans ce CD trop bref (moins d’une heure), le complément constitue en réalité le plat de résistance: un Deuxième Concerto de Rachmaninov pataud, lourd et sans grand intérêt, la poésie se logeant dans l’orchestre (la flûte, la clarinette, l’accompagnement impeccable de Yutaka Sado) – et non au piano.

Google translation:

Blind since birth, the young Japanese pianist Nobuyuki Tsujii (b. 1988) - who  won the Van Cliburn competition in 2009 - impressed by his musicality and virtuosity. But if one considers that the only musical content of the disc is adelicate piano and sober but without any identity is meant here - too much "boilerplate" for really interesting - but difficult precipitate interpreting the third Dream of Love (Liszt)  and the First Mephisto Waltz  (Liszt) with the samehumor and the same character. The Second Hungarian Rhapsody (Liszt)  seems totally out of ideas at times (... as this unduly protracted tremolo): the technique is certainly beautiful, but it is closer to New Orleans than Hungary .Finally, note that in this CD too short (less than an hour), the remainder is in fact the main dish: a Second Concerto of Rachmaninov clumsy, heavy and not very interesting, poetry is staying in the orchestra (the flute, clarinet, coachingflawless Yutaka Sado) - not the piano.

I sent a response to the publication, via  email  at concertonet@yahoo.com

Regarding this article by Gilles d’Heyres:

http://www.concertonet.com/scripts/cd.php?ID_cd=2332

It is a well written and thoughtful piece.  It is refreshing to see a reviewer take  an interest in the works of three emerging young pianists.

As an admirer of Japanese pianist Nobuyuki Tsujii, I would like to respond to his critique of the pianist's album. 

It must be pointed out that the album released as Challenge Classics CC72371 is a concoction for the European market of works from two separate albums previously released in Japan.  The Rachmaninov 2 concerto came from an album recorded in 2008, while the three Liszt pieces came from another album, "debut", recorded in 2007.  Both albums were made when the pianists was in his teens,  before Mr. Tsujii won a gold medal at the 2009 Van Cliburn Competition.  These two albums enjoyed record sales in Japan, in the wake of Mr. Tsujii's Cliburn triumph. 

Mr. Tsujii performed Liszt's Hungarian Rhapsody No. 2 in the final round of the Cliburn Competition, a performance that can be viewed on YouTube.  While that performance is not among my personal favorite of his, I enjoy his interpretation.  Perhaps it is true that the piece is  "beautiful, but closer to New Orleans than Hungary", but so what?  His slightly jazzy take gives an old piece a new take, and as you can see from the comments posted on YouTube, his performance might have brought appreciation from people who were not into classical music.

I am not Japanese, but I personally admire Mr. Tsujii's interpretation of the old standards.  He, unlike most young Asian pianists who have gained international attention, is a pure product of Japan, not having been trained overseas as is the norm.  Additionally,  Mr. Tsujii gives us a rare opportunity to listen to an interpretation of these old works by someone without sight. 

I commend Mr. d’Heyres for drawing attention to Mr. Tsujii's first album released in Europe. I hope he will continue to pay attention to the works of this unique artist.   Champion Classics is soon releasing another album of Mr. Tsujii:  "Mussorgsky's Pictures at An Exhibition", which was released in Japan  in 2010.