This article appeared on April 3, 2011, in advance of Nobuyuki's concert at Fresno State University, California, on April 6.

Tough times for Japanese pianist visiting Fresno

Posted at 12:00 AM on Sunday, Apr. 03, 2011

By Donald Munro / The Fresno Bee

These have been tough times for Nobuyuki Tsujii.

The Japanese pianist -- who has been blind since birth and received worldwide attention as a gold medal co-winner at the 2009 Van Cliburn International Piano Competition -- was performing in Japan with the BBC Philharmonic when the earthquake hit.

"This was a very difficult and painful experience," Tsujii says. "With so many aftershocks, even in Tokyo, it was difficult for us to do anything. And now, the ongoing crisis at the nuclear power plant doesn't allow us to be optimistic."

Despite the tragedy, Tsujii has continued with his planned five-week American/Canadian tour, which Wednesday brings him to Fresno, even as he continues to worry. "Everyday I think about my family I left in Tokyo," he says.

His performance is part of the Philip Lorenz Memorial Keyboard Concert Series at Fresno State. Nabbing the 22-year-old sensation is a coup for the series. The concert is nearly sold out, but arrangements are being made for overflow seating with video access in the adjoining band room. A percentage of CD sales will go toward the Japanese relief effort, and donations will be accepted.

We caught up with Tsujii via email for an interview through an interpreter. For the extended version of the interview, go to fresnobeehive.com/author/donald_munro.

Question: Can you tell us a little about the program?

Answer: I always have a long "wish list" of music I want to play to the public, and I pick up some of them to build the season's program.

I have long wished to play Mozart sonatas and the [Piano Sonata No. 10] is the first one. I like its lovely joyous character.

Beethoven is one of my favorite composers along with Chopin and Debussy. I had played some of his sonatas, and this season, the No. 17 ("Tempest") is added.

Mussorgsky has been on my program since last spring. Since I listened to the "Pictures at an Exhibition" when I was a small child, this piece has been on the top of my "wish list." It was Evgeny Kissin, one of my idols, who played the piece in the concert, but it doesn't mean I was influenced by his interpretation. My "Pictures" is my own. I hope you enjoy it.

Describe your process of learning by ear.

I ask my assistants to record the music to cassette tape by hand. One tape with right hand, and another with left hand. When they record it, they split the music into small sections such as several bars, and also record with verbal comments about markings and instructions by the composer.

I ask them to avoid recording with their own interpretation, to give me as precise view of the music as possible.

After memorizing these tapes, I combine both hands and start interpreting the music to make it my own.

Normally it takes one month to learn a large scale sonata or concerto, if I could concentrate on it.

Thoughts about the Japanese crisis?

For the moment, what I can do to support people in the stricken area is very, very limited, but I would like to keep on asking for the consideration and support to Japan from the people I meet.

How encouraging for people in Japan to see people abroad think about them and lending hands to them.

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Following is a longer version of this interview http://fresnobeehive.com/2011/04/the_beehive_int_6.html

Winning the gold medal in the Van Cliburn International Piano Competition is an instant route to world renown. That's what happened to Nobuyuki Tsujii of Japan, who shared the top prize in 2009. On top of his obvious virtuoso mastery of the keyboard, Tsujii brings an amazing personal tale: He's been blind since birth and learns all his music by ear.

On top of all that, the recent earthquake in Japan makes Tsujii even more newsworthy. He was performing in the country when it hit, and he's still processing the experience. He worries about his family still in Tokyo.

All this combines for intense interest in Tsujii's upcoming performance Wednesday at Fresno State as part of the Philip Lorenz Memorial Keyboard Concerts series. (A percentage of CD sales will go toward the Japanese relief effot, and donations will be accepted.) The performance is sold out, but artistic director Andreas Werz has made arrangements for overflow seating with video access in the adjoining band room.

I caught up with the personable Tsujii via email through an interpreter. There's an abridged version of the interview in Sunday's 7 section. Here's the whole thing.

Question: Are you on an extended American tour? Where are a few of the interesting places you've played on this tour?

I am just starting a five-week US/Canada tour, my first concert is tonight (Thursday, March 31) at Macky Auditorium in Boulder, Colorado. I like this town very much, and I am looking forward to meeting the audience in each city.

Think back to when you shared the first prize at the Van Cliburn competition Were you nervous? What was your reaction when the announcement was made?

I was not nervous, not at all. When I entered the competition, I had fixed my mind to enjoy playing music as much as possible instead of competing with others. It was nothing but a pleasure to play to such a warm and enthusiastic audience. I really enjoyed playing and when I finished, I just thanked those who gave me such opportunity.

When my name was announced, I was very much surprised. First, I was awarded for the Best Performance of New Work, and I was surprised and satisfied with it. When Haochen Zhang was announced to be the Gold Medalist, I thought everything was over, and I was happy to have won a prize. Then, my name was called, and I was simply surprised, so were my interpreter and my mother. It was one of the most exciting and moving moments in my life; I can hardly explain what I felt.

I thanked my parents and my teachers who supported and encouraged me to play piano. All that said, the preparation was tough, because a huge quantity and variety of high quality music was required.

How has your life changed since winning the Van Cliburn competition?

Since I was very young, at the age of 10, it has been my dream to travel abroad and play to audiences all over the world. At that moment, I was dreaming to be a Jazz pianist or Classical pianist. The Cliburn Competition opened the door. I enjoy it very much.

In Japan, lots of press output caused a phenomenal reaction, and I found myself very famous overnight. People immediately recognize me and talk to me. I thank them for precious encouragement.

I understand winning a competition is not a goal for an artist, but just the beginning of professional career. I have to work more intensely to enrich and deepen my repertoire.

You'll be performing works by Mozart, Beethoven and Mussorgsky when you come to Fresno. Can you tell us a little about the program?

I always have a long "wish list" of music I want to play to the public, and I pick up some of them to build the season's program.

I have long wished to play Mozart sonatas and C major K.330 is the first one. I like its lovely joyous character.

Beethoven is one of my favorite composers along with Chopin and Debussy. I had played some of his sonatas, and this season, No.17 "Tempest" is added. Although this sonata comes from Beethoven's middle period, I feel its first movement is not as straightforward as other middle period sonatas, and its complexity is very interesting to me.

Mussorgsky has been on my program since last spring. Since I listened to the "Pictures" when I was a small child, this piece has been on the top of my "wish list". It was Evgeny Kissin, one of my idols, who played the piece in the concert, but it doesn't mean I was influenced by his interpretation. My "Pictures" is my own. I hope you enjoy it.

You began your formal study of piano at age 4. Do you remember that?

My mother bought me a toy piano when I was 1 year old, and I played it all day long imitating my mother's singing and improvising. At the age of 4, I was introduced to a professional teacher.

In Japan, there are some established and widely acknowledged systems of guiding young pianists, but my teacher never forced me to follow them and encouraged me to play what I wanted to play. Thanks to her, I never got tired of practicing piano.

How old were you when you realized you had what it took to be an international concert pianist?

As I wrote above, I have a video in which 10 years old I say "I want to be a Jazz pianist or Classical pianist and travel abroad". It has been my dream. Actually, it was not me but the jury of Van Cliburn Competition who "realized", or found that I was prepared to start an international career.

Describe your process of learning by ear. Do you do so by listening to recordings or by someone playing for you? How long does it take for you to master a work with the complexity and length of, say, Beethoven's "Hammerklavier" Sonata no. 29, one of his most difficult?

I ask my assistants to record the music to cassette tape by hand. One tape with right hand, and another with left hand. When they record it, they split the music into small sections such as several bars, and also record with verbal comments about markings and instructions by the composer.

I ask them to avoid recording with their own interpretation, to give me as precise view of the music as possible. After memorizing these tapes, I combine both hands and start interpreting the music to make it my own.

Normally it takes one month to learn a large scale sonata or concerto, if I could concentrate on it. If I have to work on other repertoire, it takes longer.

Your sense of hearing is acute. Are you able to tell when an audience is particularly moved or restless?

Yes, I catch various signs from the audience such as excitement, moving, surprise, etc.

If I catch positive reactions from the audience, it encourages me a lot.

The recent disasters in Japan must have been hard on you. How have you been coping?

This is a very difficult and painful experience. I was touring Japan with UK-based BBC Philharmonic when the earthquake hit the east cost of Japan. The damage caused by tsunami was more than I could imagine. With so many aftershocks, even in Tokyo, it was difficult for us to do anything.

I express the deepest sorrow and most sincere sympathy for the victims and their families and relatives. And now, the ongoing crisis at nuclear power plant doesn't allow us to be optimistic. Every day I think about my family I left in Tokyo.

We rediscovered the preciousness of safety and security that enables us to share the music peacefully.

For the moment, what I can do to support people in stricken area is very, very limited, but I would like to keep on asking for the consideration and support to Japan from the people I meet. How encouraging for people in Japan to see people abroad think about them and lending hands to them.

When you aren't playing the piano, what do you like to do for fun?

As I have never tired of playing piano, I don't feel the need to leave it. Though, I like swimming very much to refresh myself.

If I have time, I love to go out to the suburbs and to listen to the songs of birds and murmuring of the rivers, feeling the breeze. Sometimes, I get inspiration to compose short pieces from them.

Anything else you'd like to say?

I am very much looking forward to meeting the audience in Fresno. See you soon. Thank you!