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[ 2010. 12/24 ]
Sebastian MANZ,Clarinet
Member of KCM Represented Artists (exclusively for Japan and East Asia)
We at Kojima Concert Management Co., Ltd. wish to extend a warm welcome to Sebastian Manz as our exclusive artist. In 2008 at the age of 22, Manz was the first clarinettist in 40 years to win the first prize at the ARD International Music Competition in Munich, known for occasionally not awarding 1st prizes.
Manz, under the tutelage of internationally renowned clarinettist Sabine Meyer, has been appointed principal clarinettist of Radio-Sinfonieorchester Stuttgart des SWR, Stuttgart Radio Symphony Orchestra from the 2010/11 season. We will be very much looking forward to his future activities with the orchestra.
In December 2011 as well as in late November to early December 2012, Sebastian Manz will be scheduled to perform in Japan with the Stuttgart-based Lotus String Quartet.
Sebastian MANZ Biography
Concerto Repertoire
[ 2010. 10/28 ]
Charles Olivieri-Munroe Moscow Debut
Charles Olivieri-Munroe's debut concerts last week with the Moscow Philharmonic, the Independent MOSCOW NEWS wrote:
" The debut of Charles Olivieri-Munroe.. In the space of four days what a difference he made! Sure of what they were doing, the [Moscow Philharmonic] orchestra created a beautiful, focused and mighty sound; you could really tell that they had a common vision. It was evident from watching him that he knew the music inside out, plus he knew exactly what he wanted from each instrument in the orchestra. Charles' approach is just what is needed... he can make a huge difference."
Charles Olivieri-Munroe will receive an immediate re-invitation for 2011/12.
Charles Olivieri-Munroe with Nagoya Philharmonic Orchestra
2010 Nov.18 Aichi Perfectural Art Theater Concert Hall
Mozart : Overture to "Don Giovanni"
Chopin : Piano Concerto No.1 (Soloist : Akiyoshi Sako)
Dvorák : Symphony No.8 G-dur op.88
Charles Olivieri-Munroe Biography
[ 2010. 10/9 ]
Asako Urushihara Plays Schumann
Ongaku no Tomo, September 2010
Asako Urushihara, violin
Barry Snyder, piano
Urushihara Plays Schumann's Three Violin Sonatas and Three Romances.
Schumann composed all of his violin sonatas after he reached forty. Unfortunately, all of them have been underappreciated. One of the reasons is that the violin part is written in the range where the instrument is hardly sonorous. Also, the piano's harmony is so thick that it obscures the melody. Overall, the sonatas have a somber impression. Asako Urushihara, however, finds the composer's innate artistic depth there. She says, "I think Schumann's music has a substantial width. When I play his work, I feel like my whole body is embraced deep in his music. It's like I explore the deep inside of myself. I don't feel that I have to play this way or that. It's more like I express using my own words what Schumann tells us in his smooth breathing. For example, there are phrases that abruptly transform. Schumann did not do that intentionally. Rather, he altered phrases because his mood suddenly changed. Let expressions change as music flows, otherwise you may make it unnatural."
This is the third time that Urushihara featured all of Schumann's three sonatas as well as Three Romances in her recital. The first was eight years ago in Kobe with pianist Barry Snyder. The recording from that recital has been released as a CD. "It is true that prosaic Sonata No. 3 is very difficult to play. There are phrases which make you think that Schumann focused on creating beautiful music so deeply that he forgot that he was dealing with violin when he was writing this piece. When you play such phrases, you need to try to deepen the nuance of expressions by emphasizing the substance, depth and power of sound rather than depending on the range," says Urushihara.
Performing in Europe, Urushihara has acquired natural approach toward her music. These days, she feels very close to Schumann. "You rarely perform all of Schumann's works for violin and piano in an evening. On this fortunate occasion, I would like to express what I have experienced and how I have developed. I appreciate the life is not easy. I am experiencing more difficulties, happiness, and troubles than when I was younger. Of course, my torment is nothing compared with Schumann. However, I can appreciate the meaning of being alive and present more deeply than I used to. And, I hope I can pass these feelings to my audience.
By Takaaki Aozawa
Ongaku no Tomo, September 2010
Concerts
Asako Urushihara Biography
[ 2010. 10/1 ]
Dorian Wilson,Cond.
CSO opens season on strong note
The search for a new maestro for the Chattanooga Symphony & Opera extends into its second year as guest conductor Dorian Wilson ascended the podium at the Tivoli Theatre last week to kick off the symphony's current season.
Wilson boasts a daunting resume that includes prizes at most of the world's conducting competitions. A student of Leonard Bernstein, Maestro Wilson's repertoire spans an impressive range of operas, ballets, and orchestral works - both standard and neglected - and the list of European orchestras he has conducted is notable, with special connections to the finest Russian ensembles.
Two works occupied the program - Franz Schubert's and Dimitri Shostakovich's 5th symphonies. For a very young Schubert - age 19 - his "Symphony No. 5 in Bb Major, D. 485" may reflect doubts about the merits of the stormy Beethoven who had inspired his "tragic" Symphony No. 4. The work is subdued in both spirit and musical resources as the chamber-sized ensemble requires only five woodwinds, two horns and strings.
The work was lost after Schubert's death, only to have been discovered nearly 40 years later by Arthur Sullivan (of Gilbert and Sullivan fame). This is a deservedly popular jewel, characterized by the composer's wonderful grace and a wealth of melodic material.
Wilson led the ensemble sans baton, carefully sculpting the Mozartean-sounding lines with graceful, circular gestures. The orchestra played well with the second slow movement showcasing its delicate, perfectly balanced lines. Wilson seemed to coax the most profound beauty from the simplest of musical ideas. This movement was a musical revelation and Schubert at its best.
In stark contrast to the sunny Schubert stands the censored Shostakovich. In the midst of widespread success in his native Russia, he was stunned when Stalin walked out on one of his performances. Days later, the official Communist newspaper Pravda denounced his music as un-Soviet, cheap, and tuneless. He was "urged" to write music that was more tuneful, optimistic, heroic and appealing to the masses.
The resulting "Symphony No. 5, Op 47" remains one of music's great enigmas. Described by the composer as a "creative reply to just criticism," it seemed to reflect Shostakovich's re-education to proper Soviet values, yet many music critics have viewed the work as harboring hidden anti-Soviet elements. Whatever the composer's intentions, the symphony became a huge success in Russia and around the world.
For this tour-de-force the Maestro picked up a baton and led his enlarged forces with bold and dramatic gestures, certainly what one would expect from a student of the more choreographic Leonard Bernstein. Shostakovich's sprawling symphony often lurches between sections of brooding and bombast, tenderness and teasing, or seriousness and sarcasm. Again, Wilson was in total control with large, clear, expressive patterns-conducting right on the beat. And again, the slow movement - his time the third - seemed to rise above the others with its haunting swell of emotion. The maestro deftly controlled the flow of tension, reflecting the pain and suffering that seemed to well up from the depths of the human condition.
The final raucous march movement revealed Wilson leading the charge, balancing dispirit and disjointed ideas into a purposeful and fully satisfying musical romp. The audience erupted into a standing ovation. As this season's first guest artist, Wilson proved that he has something important to say and knows how to say it. A strong beginning to a new season.
22 Sep. 2010 Chattanooga Times Free Press
By Mel R. Wilhoit
Dorian Wilson Biography
[ 2010. 9/28 ]
"Leif Segerstam in London & Amsterdam"
Leif Segerstam has three concerts soon with the Philharmonia Orchestra. His concert with them at London's Royal Festival Hall is on Sunday, 10th October at 3 p.m. where the programme will be:
Stravinsky : Firebird Suite (1919)
Rachmaninov : Rhapsody on a Theme of Paganini (soloist: Alice Sara Ott)
Mussorgsky : Pictures at an Exhibition (arr. Ravel)
Later that week he will be conducting the orchestra of the Royal Academy of Music in London for a programme that includes the 5th symphonies by Sibelius and Nielsen in Duke's Hall at the RAM on Friday, 15th October at 7.30 p.m.
Very recent reviews for him conducting a concert performance of Prokoviev's "Fiery Angel" in Amsterdam's Concertgebouw with The Nederlands Radio Philharmonic Orchestra included these comments in the reviews:
"He reveals the dark inner life in great detail, less brutal than the depressing example of Gergjev's rather unadorned and sometimes even slightly impressionistic rendition, but ultimately very effective ........ "
Eddie Vetter / De Telegraaf
" Conductor Segerstam made the virtuoso Radio Philharmonic play with a great cleverness which very rarely covered the singers."
Peter van der Lint / Trouw, 6th September 2010
" ....... this led the Finn Leif Segerstam to calmly whip up a shattering performance ......."
Frits van der Waa / De Volkskrant, 6th September 2010
Leif Segerstam returned to the Concertgebouw one week later bringing this review headed "Radio Philharmonic peaks with Segerstam" that included:
" ....... led by the Finnish conductor Leif Segerstam the Radio Philharmonic Orchestra was in top form. ......... he exudes the natural force of nature that belongs to the Great Conductor. It led to performance of works by Sibelius and an interpretation of Wotan's Abschied that was so exciting to make Wagner seem to be everything in the world."
Roeland Hazendonk / Het Parool, 14th September 2010
Leif Segerstam Biography
The Works of Leif Segerstam
Concert Review
[ 2010. 9/2 ]
Kojima Concert Management presents
Chen Lin to Orchetre de Picardie in France
Since joining AEAA (European Association of Artist Managers) in November 2009, Kojima Concert Management has been rapidly expanding its contact with European orchestras and artists.
One recent interesting case is of our conductor Chen Lin (former Music Director of Cincinnati College-Conservatory of Music Concert Orchestra; and current Professor of Beijing Central Conservatory of Music) to Orchestre de Picardie in France.
All this began in January of this year when an e-mail suddenly arrived from the General Manager of Orchestre de Picardie extending an invitation to KCM's represented artist conductor Ms. Chen Lin. Ms. Chen Lin had previously won high honours (2nd prize) at Fitelberg International Conducting Competition held in Poland, 2007.
KCM, as Ms. Chen Lin's representative, immediately entered negotiations with Orchestre de Picardie and her debut to France will soon be realized.
Concerts are as follows;
2nd October, 2010 (Saturday) 20:30 ~ RUBEMPRE
3rd October, 2010 (Sunday) 17:00 ~ ABBEVILLE
Louis Hector Berlioz Prelude "La fuite en Egypte"
Jean-François Lesure Predule "La Grotte"
Jean René Désiré Françaix L'horloge de Flore
Francine Aubin Saxophone Concerto
Georges Bizet Symphony in C major
Soloist : Daniel Gremelle (Saxophone)
Orchestra : Orchetre de Picardie
Conductor : Chen Lin
Chen Lin Biography
[ 2010. 3/19 ]
Joseph Wolfe (conductor)
*His performance at the Sapporo Symphony Orchestra's subscription concert in January 2010 won critical acclaim (the review can be seen below).
*The first CD to be released as part of his CD project!
Elgar: Symphony No. 1 with the Japan Philharmonic Orchestra.
*To be invited for the subscription concerts of the orchestras in Tokyo and Osaka in 2011.
Joseph Wolfe, a prince of the conductors in the UK, appeared in the subscription concert of the Sapporo Symphony Orchestra in January 2010 following the excellent performance with the Japan Philharmonic Orchestra and the Century Orchestra Osaka last year.
In Sapporo, he performed Berlioz: Overture 'Le corsaire' and Sibelius: Symphony No. 2', which are a specialty of his father Sir Colin Davis, and others. His outstanding leadership and musicianship enabled high-quality performance, which won the highest praise.
He is also invited as a conductor of the subscription concerts of the orchestras in Tokyo and Osaka in 2011.
His CD of Elgar: Symphony No. 1 performed at the subscription concert of the Japan Philharmonic Orchestra in March 2009 at the Suntory Hall is now in preparation toward a release.
The CD will be released only in Japan for the time being. However, it is expected to be released worldwide eventually.
What is going on in the future attracts a great deal of attention.
Review about Joseph Wolfe and his performance with the Sapporo Symphony Orchestra:
Joseph Wolfe Review
Joseph Wolfe Biography
[ 2010. 3/19 ]
Douglas Boyd (conductor)
Music Director of Manchester Camerata
Principal Guest Conductor of City of London Sinfonia
Principal Guest Conductor of the Colorado Symphony Orchestra etc.
Joined in the KCM Represented Artist List (Japan & East Asia)
Douglas Boyd joined in the KCM Represented Artist List after making his very successful debut at the subscription concert of the Nagoya Philharmonic Orchestra in January 2010.
He was born in Glasgow, Scotland, in 1959. He was a founding member of the Chamber Orchestra of Europe organized by Claudio Abbado in 1981.
Since his early 20s he had been a great oboist of the chamber orchestra and attracted considerable attention worldwide.
It is widely known that he released many discs as a soloist from several labels including Deutsche Grammophon.
After resigning as Principal Oboist in 2002, he turned to a conductor. While he has several positions at the orchestras in the UK and US, he is also busy in guest-conducting the leading orchestras in Europe and America.
At the request of the Nagoya Philharmonic Orchestra, KCM invited Douglas Boyd as a guest conductor of the subscription concert of the orchestra. This led to the continuous cooperation between him and KCM in the future.
His performance is very attractive because of his distinguished skill as a conductor, which seems to be significantly influenced by Claudio Abbado, and his excellent musicianship supported by his abundant experience gained from working with Nikolaus Harnoncourt and Colin Davis.
Review about Douglas Boyd and his performance with the Nagoya Philharmonic Orchestra:
Douglas Boyd Review
Douglas Boyd Biography
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