London Philharmonic & Nobuyuki Tsujii (Piano) Concert
I usually write my impressions after listening to a classical concert, so I often research after the performance. However, yesterday, I took a different approach: I listened in advance to the pieces that would be played and researched their highlights before heading to Suntory Hall.
Since this concert was a performance by the London Philharmonic, the price for A seats was over 30,000 yen, which was 2.3 times the cost of a typical concert. I didn’t have a strong preference for A seats, so I chose a seat behind the stage, which I had wanted to try for some time. I picked the 7th row because it allowed me to lean forward and feel closer to the performance. Although the stage appears distant in the wide-angle photo, in reality, it spread out beneath me, placing me closer to the performers than seats in the middle or back of the first floor. Although I couldn’t see the performers’ faces, I had a clear view of the conductor’s face.
Five minutes before the start, the musicians gradually appeared on stage. Unlike Japanese orchestras, where musicians often enter together, here they sat down freely in a relaxed manner, reflecting a cultural difference. Compared to last week’s orchestra, there were more players, making the entire ensemble feel larger and more imposing. Soon, the first violinist entered, and after tuning, conductor Robin Ticciati appeared on stage.
Beethoven: Overture to ‘Egmont,’ Op. 84
As the applause subsided and a sense of tension filled the hall, the conductor immediately began waving his baton passionately. With the first strike, there was a momentary pause, and then the powerful “jang” of the strings filled the hall, instantly captivating my heart. The sound reverberated through the space like it was slicing the air, and the depth and power of the music were truly unique to a large orchestra.
The ‘Egmont’ Overture depicts the courage to stand up against oppression and the longing for freedom, unfolding from its dark, heavy tones at the beginning to a gradual emergence of light. From this seat, where I could see the conductor’s expressions and movements, it was clear what he was trying to convey, and that emotion resonated directly with my heart. As the hope for freedom and victory crescendoed, I was overwhelmed with emotion, and before I knew it, tears were streaming down my face.
The conductor led the orchestra, and Beethoven’s strong will rose through the music, filling my heart with warmth. From this vantage point, the waves of sound merged with the visual, allowing me to feel the depth of the music more profoundly than ever before. It was truly unforgettable—Bravo!
Beethoven: Piano Concerto No. 3 in C minor, Op. 37
With the piano now positioned at center stage, Nobuyuki Tsujii made his entrance. Guided by the conductor, he was greeted with overwhelming applause.
Tsujii’s performance seamlessly blended with the orchestra, creating a beautiful harmony. The delicate and graceful melody of the second movement, followed by the lively rhythms and interplay between the piano and orchestra in the third movement, crafted an enjoyable symphony.
The conductor expressed the music with his whole body, his fingertips seemingly releasing waves of sound. For the first time, I truly felt the vivid flow and dimensionality of the live sound—something that could never be captured in a recording. As the music filled the hall, it felt as though time had stopped, and I was under the spell of musical magic. This concerto, woven with Beethoven’s dramatic and profound emotions, shone even brighter through Tsujii’s delicate touch and expressive power. The direct view of the conductor’s face made the time fly by.
And then, Tsujii’s encore!
He performed Beethoven’s Piano Sonata No. 14, ‘Moonlight.’ Known for its stillness and deep emotion, Tsujii played each note carefully, layering silence upon silence within the quiet of the piece. His delicate touch expressed even the softest sounds as if they were dissolving into the air. The entire hall fell silent, intently listening to Tsujii’s performance.
As is customary in classical concerts, there were repeated ins and outs before the conductor finally sat back down, signaling a second encore from Tsujii.
The encore was ‘La Campanella.’ Although I have heard Tsujii play ‘La Campanella’ many times, I couldn’t help but feel a complex wave of emotions, recalling the many times I listened to Fujiko’s ‘La Campanella’ at Suntory Hall before she passed away this year. However, Tsujii’s rendition felt entirely different from Fujiko’s, almost like a different piece altogether. His interpretation and speed—about 1.5 times faster—were distinct. How does Tsujii perceive the sound of the bells in this piece?
Especially striking were the highest bell notes that rang clearly through Suntory Hall, producing such a beautiful sound that I was once again astounded. In stark contrast to ‘Moonlight,’ Tsujii’s playful and free performance in ‘La Campanella’ was infectious, making my heart dance with joy.
It was truly an extraordinary performance. Tsujii’s part concluded, and after a brief intermission, it was time for the ‘Eroica.’
Beethoven: Symphony No. 3 in E-flat major, Op. 55 ‘Eroica’
This symphony, famously composed by Beethoven in admiration of Napoleon, only to have the dedication removed later, is known for being one of the first symphonies to be given a title rather than just a number. Expectations were high for this piece, which so strongly reflects Beethoven’s passion.
When the conductor took the stage, the tension heightened even more, and the performance began instantly. The powerful opening notes, “jang-jang,” were quintessentially Beethoven. The first movement, befitting the title ‘Eroica,’ continued with strong, dignified tones, filling the hall with a heroic atmosphere.
The second movement, featuring the ‘Funeral March,’ spread a solemn and mournful mood. The conductor’s expressions reflected this emotion, as he meticulously guided the orchestra with detailed instructions, focusing even to his fingertips. The violins’ resonance was rich, and it was evident that the musicians were playing with their entire beings.
The mood shifted dramatically in the third movement with its lively rhythms, showcasing vibrant dialogues between the strings and brass. Before I knew it, we were in the fourth movement. Crisp melodies flowed one after another, drawing the audience into a lively and dynamic performance. As the piece neared its conclusion, the music became increasingly energetic, culminating in a magnificent and fervent fanfare, vividly embodying Beethoven’s innovation and passion!
It was a night enveloped in the magic of music. From my seat directly behind the stage, while I couldn’t see the performers’ faces, I could feel the sound waves coursing through my body with thrilling intensity. The conductor’s movements, visible from the front, were like living subtitles for the music. Through his expressive gestures, the intentions behind the music were made clear, enriching and deepening the musical experience.
I also gained a new respect for the musicians’ way of life—navigating the contrasting worlds of daily practice and live performance. As someone who thrives on spontaneous creation, I found their meticulous preparation and dedication to giving their all in the moment of performance refreshingly inspiring. I sensed that perhaps there are untapped possibilities within me as well.
As the curtain fell and the lights came on, I noticed the musicians embracing on stage—a quiet testament to the bonds that music weaves among people.
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