http://kimiko-piano.com/news.cfm Sun, 12 May 2013 23:25:17 GMT http://bandzoogle.com Kimiko Ishizaka reviews for Mozart and Beethoven piano concerti http://kimiko-piano.com/news.cfm?feature=2981032&postid=4259761 Kimiko Ishizaka is an experienced soloist with orchestra, even if her focus in recent times has been on the solo piano repertoire. Here are reviews from performances of Mozart and Beethoven piano concerti from some years ago. Kimiko's concerto repertoire also includes the Grieg Concerto, Gershwin's "Rhapsody in Blue", Rachmaninoff Concerto No. 3, and Brahms Concerto No. 1 1996, Classical Philharmonie Telekom, Mozart Piano Concerti No. 3 (KV 40) in D major, No. 4 (KV 41) in G major a proper fire was sparked by the young pianist from Bonn, Kimiko Ishizaka, and illustrated what kinds of possibilities of interpretation lie within both piano concerti (KV 40 and 41), which can factually be counted among the lighter and more playful repertoire. She bravely tackled her part, enchanted through coy and peppery playfulness, mastered the trills and figurework perfectly securely, and in the cadenzas, developed a measure of bravura, without crossing the borders of so-called good taste. Her sensitive cultured touch revealed itself especially in the andante movements, in which she was completely able to convey the mood of the later concerti. For the encore, she shaped the first movement of the Haydn Sonate in B Minor, No. 32 in her own style, dry and energetic. 1999, Hofgartenorchester, University Bonn, Beethoven Concerto No. 4 The orchestra managed to obtain the pianist Kimiko Ishizaka, from Bonn, whose interpretation gave her part its own dimensions. With technical bravado, she proved great courage and energy, especially in the extended solo cadenza in the frist movement, where she showed her intuition for the sounding out of extremes, reaching from the starkly lyrical to the incessently insistant moments.
1996, Classical Philharmonie Telekom, Mozart Piano Concerti No. 3 (KV 40) in D major, No. 4 (KV 41) in G major

a proper fire was sparked by the young pianist from Bonn, Kimiko Ishizaka, and illustrated what kinds of possibilities of interpretation lie within both piano concerti (KV 40 and 41), which can factually be counted among the lighter and more playful repertoire. She bravely tackled her part, enchanted through coy and peppery playfulness, mastered the trills and figurework perfectly securely, and in the cadenzas, developed a measure of bravura, without crossing the borders of so-called good taste.

Her sensitive cultured touch revealed itself especially in the andante movements, in which she was completely able to convey the mood of the later concerti. For the encore, she shaped the first movement of the Haydn Sonate in B Minor, No. 32 in her own style, dry and energetic.

1999, Hofgartenorchester, University Bonn, Beethoven Concerto No. 4

The orchestra managed to obtain the pianist Kimiko Ishizaka, from Bonn, whose interpretation gave her part its own dimensions. With technical bravado, she proved great courage and energy, especially in the extended solo cadenza in the frist movement, where she showed her intuition for the sounding out of extremes, reaching from the starkly lyrical to the incessently insistant moments.



]]> Sun, 12 May 2013 23:25:17 GMT AE9F7FD0C012E87D2F141C02864D77CC Chopin Etudes op. 10 well received in Königswinter http://kimiko-piano.com/news.cfm?feature=2981032&postid=4008214 Kimiko Ishizaka's premiere performance of the Chopin Etudes op. 10 (#1-8) was <a href="http://www.general-anzeiger-bonn.de/region/rhein-sieg-kreis/koenigswinter/Kimiko-Ishizaka-spielt-Goldberg-Variationen-article1030021.html">well received by music critic&nbsp;Guido Krawinkel writing for the Bonner General-Anzeiger. The concert took place on April 14, 2013, in Haus Bachem, K&ouml;nigswinter, and featured 10 of the 24 Pr&eacute;ludes by Chopin, as well as Bach's Goldberg Variations. [Ishizaka] opened the evening with excerpts from Chopin's Pr&eacute;ludes op. 28 and Etudes op. 10 and showed not only her formidable technique, but also much feeling and sensibility for the subtle tones between the notes. But Ishizaka's virtuosic opening wasn't just an athletic showcase. The passionate weightlifter, who after all made it all the way to German Vice-champion, proved herself to be less a muscle man than a sensitive interpreter.&nbsp; And of her Goldberg Variations: Here Ishizaka was naturally in her element, and played the 30 variations with a vast freshness and capacity for feeling well received by music critic Guido Krawinkel writing for the Bonner General-Anzeiger. The concert took place on April 14, 2013, in Haus Bachem, Königswinter, and featured 10 of the 24 Préludes by Chopin, as well as Bach's Goldberg Variations.

[Ishizaka] opened the evening with excerpts from Chopin's Préludes op. 28 and Etudes op. 10 and showed not only her formidable technique, but also much feeling and sensibility for the subtle tones between the notes.

But Ishizaka's virtuosic opening wasn't just an athletic showcase. The passionate weightlifter, who after all made it all the way to German Vice-champion, proved herself to be less a muscle man than a sensitive interpreter. 

And of her Goldberg Variations:

Here Ishizaka was naturally in her element, and played the 30 variations with a vast freshness and capacity for feeling

]]> Tue, 16 Apr 2013 11:28:32 GMT 24851B83A3D804C0D379342796345E0E Success with Bach in London http://kimiko-piano.com/news.cfm?feature=2981032&postid=3386006 With Kimiko's final performance of the Well-Tempered Clavier in the <a href="http://www.1901artsclub.com/diary-of-events-01.html#a1302">1901 Arts Club on January 30, 2013, the world tour has finished. The reviews of the London performance were all very positive, here are some excerpts: <a href="http://www.planethugill.com/2013/01/bachs-well-tempered-clavier-volume-1.html">Robert Hugill wrote: &quot;This was an evening of contrasts, because innately Ishizaka seems a very intense, poetic player and her rendering of some of the preludes was intensely moving and not a little romantic. But her command of structure in the fugues went beyond impressive, she was able to bring poetry to the fugues without blurring their structure. Some of the minor key fugues in particular were most glorious in their intensity. She was also open to the other-worldly and mysterious aspects of Bach's art, bringing out the strange intense worlds which some of the fugues go into.&quot; Great power &amp; structural beauty: @<a href="https://twitter.com/kimikoishizaka">kimikoishizaka in Bach's Welltempered Clavier Vol1 Complete at @<a href="https://twitter.com/1901artsclub">1901artsclub My rvw: <a href="http://t.co/UEy38S0C" title="http://www.planethugill.com/2013/01/bachs-well-tempered-clavier-volume-1.html?spref=tw">planethugill.com/2013/01/bachs-...&mdash; Robert Hugill (@RobertHugill) <a href="https://twitter.com/RobertHugill/status/296900068542402560">January 31, 2013 <a href="http://crosseyedpianist.com/2013/01/31/concert-review-kimiko-ishizaka-at-the-1901-arts-club/">Frances Wilson wrote: &quot;Ms Ishizaka eschewed the pedal throughout, though not through any wish to present a historically authentic performance. Rather, she did not need it: her superior legato technique created some exquisite cantabile playing, especially in the slow movements, while sprightly passagework and lively tempi gave the suggestion of the harpsichord in the rapid movements.&quot; <a href="http://www.remotegoat.co.uk/review_view.php?uid=9398">And Susan Moisan wrote: &quot;Ishizaka confidently and with great style demonstrated the beauty of the flow, whilst maintaining the integrity of the separate pieces and captivating her audience so that they responded with a passion for the music that was plain to see and demonstrated by a standing ovation.&quot; 1901 Arts Club on January 30, 2013, the world tour has finished. The reviews of the London performance were all very positive, here are some excerpts:

Robert Hugill wrote: "This was an evening of contrasts, because innately Ishizaka seems a very intense, poetic player and her rendering of some of the preludes was intensely moving and not a little romantic. But her command of structure in the fugues went beyond impressive, she was able to bring poetry to the fugues without blurring their structure. Some of the minor key fugues in particular were most glorious in their intensity. She was also open to the other-worldly and mysterious aspects of Bach's art, bringing out the strange intense worlds which some of the fugues go into."

Frances Wilson wrote: "Ms Ishizaka eschewed the pedal throughout, though not through any wish to present a historically authentic performance. Rather, she did not need it: her superior legato technique created some exquisite cantabile playing, especially in the slow movements, while sprightly passagework and lively tempi gave the suggestion of the harpsichord in the rapid movements."

And Susan Moisan wrote: "Ishizaka confidently and with great style demonstrated the beauty of the flow, whilst maintaining the integrity of the separate pieces and captivating her audience so that they responded with a passion for the music that was plain to see and demonstrated by a standing ovation."]]> Sun, 03 Feb 2013 04:45:00 GMT DB657FD9733916ECF0F6F22E4D6DBAF1 Kimiko Ishizaka Interview: Meet the Artist http://kimiko-piano.com/news.cfm?feature=2981032&postid=3355330 On the eve of the final concert in the <a href="http://www.kickstarter.com/projects/293573191/kimiko-ishizaka-well-tempered-clavier-tour">Well-Tempered Clavier world tour, the <a href="http://crosseyedpianist.com/2013/01/28/meet-the-artist-kimiko-ishizaka/">CrossEyedPiano blog has posted an interview with Kimiko Ishizaka exploring her early influences and the connection between sports and music. The inspiration to play piano came to me at the age of four when my mother first placed my tiny hands on the keyboard and pushed my fingers down with hers, thus teaching me the first piece I learned, the Minuet BWV 114 from Anna Magdalena&rsquo;s Notebook, which at that time we still believed to be a piece by J.S. Bach. I say inspiration, but really it was a decision: a decision, that I would be a pianist, which was probably made before I was born. Read the rest at <a href="http://crosseyedpianist.com/2013/01/28/meet-the-artist-kimiko-ishizaka/">CrossEyedPiano.com. Some tickets are still available for Wednesday's <a href="http://www.ticketsource.co.uk/date/45953">concert at the 1901 Arts Club, London. Well-Tempered Clavier world tour, the CrossEyedPiano blog has posted an interview with Kimiko Ishizaka exploring her early influences and the connection between sports and music.

The inspiration to play piano came to me at the age of four when my mother first placed my tiny hands on the keyboard and pushed my fingers down with hers, thus teaching me the first piece I learned, the Minuet BWV 114 from Anna Magdalena’s Notebook, which at that time we still believed to be a piece by J.S. Bach. I say inspiration, but really it was a decision: a decision, that I would be a pianist, which was probably made before I was born.

Read the rest at CrossEyedPiano.com. Some tickets are still available for Wednesday's concert at the 1901 Arts Club, London.]]> Tue, 29 Jan 2013 01:36:04 GMT ECA493E1496CE0BBBE347A607DF6F105 Kimiko Ishizaka adds the Chopin Preludes to repertoire, 4 performances planned http://kimiko-piano.com/news.cfm?feature=2981032&postid=3087912 <a href="http://en.wikipedia.org/wiki/Preludes_(Chopin)">Chopin's 24 Preludes, op. 28, are said to be inspired by Bach's own cycles through all of the major and minor keys. Audiences in Germany will have the chance to enjoy both works on the same program, three times in December 2012, and once in March 2013. The works are the newest addition to Kimiko Ishizaka's performance repertoire, and provide a rich, passionate, and virtuostic conclusion to the program that features a selection of preludes and fugues from The Well-Tempered Clavier, Volume 1. These performances are currently planned: December 10, private concert in the <a href="http://bilder.laeden.me/foto/redoute-bonn-bad-godesberg-9303687.html">Redoute of Bad-Godesberg December 28, <a href="http://ws.freunde-schloss-benrath.de/index.php?option=com_content&amp;view=article&amp;id=148:2-2012&amp;catid=35:aktuelletermine&amp;Itemid=95">Schloss-Benrath December 31,&nbsp;<a href="http://www.facebook.com/events/275616709226453/?ref=nf">Fischerkirche, Born a. Dar&szlig; March 24, 2013, Haus Bachem (Rathaus) in K&ouml;nigswinter Chopin's 24 Preludes, op. 28, are said to be inspired by Bach's own cycles through all of the major and minor keys. Audiences in Germany will have the chance to enjoy both works on the same program, three times in December 2012, and once in March 2013. The works are the newest addition to Kimiko Ishizaka's performance repertoire, and provide a rich, passionate, and virtuostic conclusion to the program that features a selection of preludes and fugues from The Well-Tempered Clavier, Volume 1.

These performances are currently planned: ]]> Mon, 03 Dec 2012 01:35:00 GMT 63FB2F84862BB6F870C09D03A6C83C0D Positive reviews for the Well Tempered Clavier tour http://kimiko-piano.com/news.cfm?feature=2981032&postid=3087857 Kimiko Ishizaka's Well Tempered Clavier, Book 1, was reviewed in both K&ouml;ln, Germany, and New York City.&nbsp; The reviewer in K&ouml;ln, <a href="http://www.general-anzeiger-bonn.de/region/koeln/Bonner-Pianistin-in-St-Aposteln-article841166.html">Fritz Herzog writing for the General Anzeiger, called Kimiko the &quot;exegete of Bach&quot; (an expounder or interpreter of Bach), likened her performance to one by Sviatoslav Richter from deacades earlier, and said &quot;Ishizaka vividly carves out the individual characteristics, contrasts, and relationships of the 48 pieces from the rather lyric sounding instrument and thus creates an understandable cyclic context that is far from sounding academically settled in. &quot;Mit musikalischer Sorgfalt arbeitet Ishizaka auf diesem eher lyrisch klingenden Instrument die jeweiligen Charakteristika, Bez&uuml;ge und Kontraste der 48 Teile plastisch heraus und schafft so einen fern ab aller Akademik angesiedelten und nachvollziehbaren zyklischen Kontext.&quot; After attending Kimiko's performance in the WMP Concert Hall in New York,&nbsp;<a href="http://www.nytimes.com/2012/09/26/arts/music/kimiko-ishizaka.html">James R. Oestreich, writing for the New York Times, called her &quot;a gifted and obviously devoted Bachian&quot;, and added &quot;Ms. Ishizaka kept things moving nicely and raised the energy level after intermission, occasionally rising to a touch of virtuosic flair, as in the A major Fugue, which she ended with a private little smile.&quot;
The reviewer in Köln, Fritz Herzog writing for the General Anzeiger, called Kimiko the "exegete of Bach" (an expounder or interpreter of Bach), likened her performance to one by Sviatoslav Richter from deacades earlier, and said "Ishizaka vividly carves out the individual characteristics, contrasts, and relationships of the 48 pieces from the rather lyric sounding instrument and thus creates an understandable cyclic context that is far from sounding academically settled in.

"Mit musikalischer Sorgfalt arbeitet Ishizaka auf diesem eher lyrisch klingenden Instrument die jeweiligen Charakteristika, Bezüge und Kontraste der 48 Teile plastisch heraus und schafft so einen fern ab aller Akademik angesiedelten und nachvollziehbaren zyklischen Kontext."
After attending Kimiko's performance in the WMP Concert Hall in New York, James R. Oestreich, writing for the New York Times, called her "a gifted and obviously devoted Bachian", and added "Ms. Ishizaka kept things moving nicely and raised the energy level after intermission, occasionally rising to a touch of virtuosic flair, as in the A major Fugue, which she ended with a private little smile."


]]> Mon, 03 Dec 2012 01:20:00 GMT EA8E2EBAB93C562DB56660D9BBC0BB0B Open Goldberg Variations receive great reviews from Gramophone, Fanfare, others http://kimiko-piano.com/news.cfm?feature=2981032&postid=3087805 Kimiko Ishizaka's recording of <a href="http://www.amazon.com/Bach-Goldberg-Variations-BWV-Open/dp/B008XGZZL2">J. S. Bach's Goldberg Variations was released in May, 2012. It has since been reviewed numerous times. Here are some highlights: Ishizaka's interpretation is characterised by straightforward musicianship, immaculate technical aplomb, and a warm, beautifully modulated sonority. Counterpoint passes back and forth between the hands in a conversational and judiciously balanced manner, while a strong lyrical impulse informs the cross-handed variations' rapid, bravura passages. --Jed Distler, Gramophone Magazine She has the fleet fingers to speed through the virtuoso variations with compelling clarity and the sensitivity to probe the dramatic potential of the slower, more profound numbers, pleasurably aided by her consistently lovely tone. --Robert Schulslaper, Fanfare Magazine ... there is always a feeling of spontaneity and life in her performances; if anything, one feels that the pianist sees many of these variations almost like Baroque dance movements ... Variation 9, the canon at the third, and Variation 13 are both lovely examples of her style with its dips in dynamcs, subtle rubato, and slight ornamentation on the repeats, aspects that work in her performance because they all feel very natural. --Scott Noriega, Fanfare Magazine The sound quality of the recording is top notch, which is a testament to both executive producer Anne-Marie Sylvestre's skill and the Teldex Studio's acoustics. It isn't too dry but the room's influence is deftly controlled. The sound isn't too bright either, which probably reflects the dark sound of the Bosendorfer piano. It makes the recording sound a tad tame on cheap headphones but allows top-notch stereo systems to play the album without brittleness. In fact, the album's an audiophile gem. &nbsp;--Christopher Lim, The Business Times J. S. Bach's Goldberg Variations was released in May, 2012. It has since been reviewed numerous times. Here are some highlights:

Ishizaka's interpretation is characterised by straightforward musicianship, immaculate technical aplomb, and a warm, beautifully modulated sonority. Counterpoint passes back and forth between the hands in a conversational and judiciously balanced manner, while a strong lyrical impulse informs the cross-handed variations' rapid, bravura passages. --Jed Distler, Gramophone Magazine

She has the fleet fingers to speed through the virtuoso variations with compelling clarity and the sensitivity to probe the dramatic potential of the slower, more profound numbers, pleasurably aided by her consistently lovely tone. --Robert Schulslaper, Fanfare Magazine

... there is always a feeling of spontaneity and life in her performances; if anything, one feels that the pianist sees many of these variations almost like Baroque dance movements ... Variation 9, the canon at the third, and Variation 13 are both lovely examples of her style with its dips in dynamcs, subtle rubato, and slight ornamentation on the repeats, aspects that work in her performance because they all feel very natural. --Scott Noriega, Fanfare Magazine

The sound quality of the recording is top notch, which is a testament to both executive producer Anne-Marie Sylvestre's skill and the Teldex Studio's acoustics. It isn't too dry but the room's influence is deftly controlled. The sound isn't too bright either, which probably reflects the dark sound of the Bosendorfer piano. It makes the recording sound a tad tame on cheap headphones but allows top-notch stereo systems to play the album without brittleness.

In fact, the album's an audiophile gem.  --Christopher Lim, The Business Times


]]> Mon, 03 Dec 2012 01:00:00 GMT DB829F8C9626A910D5EA3EDA27F3C833 German press release for Well Tempered Clavier Tour http://kimiko-piano.com/news.cfm?feature=2981032&postid=2385342 K&ouml;ln, 02.08.2012. Die Pianistin Kimiko Ishizaka, die aktuell mit der lizenzfreien Aufnahme von Bach's Goldberg Variationen die Musikwelt aufhorchen liess, hat heute ihr n&auml;chstes Projekt bekanntgegeben: Das Wohltemperierte Klavier (BWV 846-893) von Johann Sebastian Bach, Buch 1. Auf einer fan-?nanzierten Konzerttour in Europa&nbsp;und den USA wird die K&uuml;nstlerin ihre Interpretation des Meisterwerkes einem ausgew&auml;hlten Publikum vorstellen. Finanziert wird die Tour von Fans und Unterst&uuml;tzern &uuml;ber die crowd-sourcing Plattform Kickstarter.com, mit deren Hilfe bereits die aufw&auml;ndige Neuaufnahme von Bach's Goldberg Variationen erfolgreich erm&ouml;glicht wurde, die die K&uuml;nstlerin der &Ouml;ffentlichkeit vor kurzem ohne Lizenzeinschr&auml;nkungen&nbsp;frei zur Verf&uuml;gung gestellt hat. Read the<a href="./files/Pressrelease_GER_final_01082012.pdf"> full press release here. See also: <a href="./files/Medienecho_OpenGoldbergProjekt_01082012.pdf">Medienecho -&nbsp;Stimmen aus der Fachwelt
Read the full press release here.
See also: Medienecho - Stimmen aus der Fachwelt

]]> Thu, 02 Aug 2012 14:30:00 GMT CD5A6C97A66FE0AB59E5786E54823ED8 Kimiko Ishizaka announces world tour, performing Bach's Well Tempered Clavier, Volume 1 http://kimiko-piano.com/news.cfm?feature=2981032&postid=2381396 &nbsp;From August 2012 to January 2013, Kimiko Ishizaka, the Open Goldberg Variations pianist, will perform Bach's Well Tempered Clavier, Volume 1, in six cities. To promote the concert series, a Kickstarter campaign has been launched. Backers will get early access to concert tickets as well as a copy of the exclusive &quot;Best of the Tour&quot; Digital Recording. Visit the <a href="http://www.kickstarter.com/projects/293573191/kimiko-ishizaka-well-tempered-clavier-tour">Kickstarter project for more details and to order tickets. Kickstarter project for more details and to order tickets.

]]> Thu, 02 Aug 2012 04:27:12 GMT A6EF8CD11C2DC5722D3DE2B0E312C6C5 Open Goldberg Variations review in The Business Times http://kimiko-piano.com/news.cfm?feature=2981032&postid=2307052 &nbsp;The Business Times has reviewed the Open Goldberg Variations: <a href="http://www.businesstimes.com.sg/archive/saturday/lifestyle/entertainmentmusic/opening-goldberg">http://www.businesstimes.com.sg/archive/saturday/lifestyle/entertainmentmusic/opening-goldberg The full review is behind a paywall but here are the sentences I liked the most :-) &quot;Most importantly, the playing is excellent. Taken together with its no-cost availability and its reliance on a new freely available score, the Open Goldberg is now the obvious first stop for anyone approaching the Goldberg Variations for the first time.&quot; &quot;The sound quality of the recording is top notch&quot; &quot;In fact, the album's an audiophile gem.&quot; http://www.businesstimes.com.sg/archive/saturday/lifestyle/entertainmentmusic/opening-goldberg

The full review is behind a paywall but here are the sentences I liked the most :-)

"Most importantly, the playing is excellent. Taken together with its no-cost availability and its reliance on a new freely available score, the Open Goldberg is now the obvious first stop for anyone approaching the Goldberg Variations for the first time."

"The sound quality of the recording is top notch"

"In fact, the album's an audiophile gem."]]> Sat, 21 Jul 2012 20:50:00 GMT 56F387F391E57E68267DCE7339D136EC Kimiko Ishizaka Interview (Open Goldberg-Variationen) http://kimiko-piano.com/news.cfm?feature=2981032&postid=2087568 Kimiko discussing her Open Goldberg Variations project (auf Deutsch). Kimiko discussing her Open Goldberg Variations project (auf Deutsch).

]]> Thu, 17 May 2012 12:37:52 GMT 35D96F67FB59681FF3E19C0851E9793C Classical:NEXT - Klassikmesse in München gibt Programmdetails, Showcase-Künstler & Keynote-Sprecher http://kimiko-piano.com/news.cfm?feature=2981032&postid=1867136 Seit einigen Monaten sorgt die Classical:NEXT als neues Forum zur Zukunft der klassischen Musik international f&uuml;r Aufsehen. Die Erstausgabe vom 30. Mai bis 02. Juni 2012 findet im M&uuml;nchner Gasteig statt. Die Direktorin Jennifer Dautermann kommentiert: &quot;Es liegen uns schon jetzt mehr als 250 Anmeldungen vor, auch wenn wir bis dato nur wenig &uuml;ber das Programm bekannt geben konnten. Umso mehr freuen wir uns &uuml;ber das in uns gesetzte Vertrauen und k&ouml;nnen nun die ersten Sprecher und Konferenz-Themen ank&uuml;ndigen.&quot; Das Spektrum der Themen und Sprecher des Konferenzteils der Classical:NEXT bekr&auml;ftigt den internationalen und interdisziplin&auml;ren Anspruch des neuen Fachforums. So ist als Keynote-Redner James Jolly best&auml;tigt, Chefredakteur des britischen Musik-Magazins Gramophone. Christopher Gruits, Direktor f&uuml;r E-Marketing bei der Carnegie Hall wird sich auf einem Panel mit Anna Kleeblatt von der Bayerischen Staatsoper &uuml;ber digitale Kommunikation im Klassik-Bereich austauschen. Weitere best&auml;tigte Sprecher sind Christian Kellersmann, Managing Director bei Universal Music Classics&amp;Jazz, Jessica Duchen, Musikjournalistin u.a. f&uuml;r The Independent (UK) und Matthias Keller, Redakteur und Spezialist f&uuml;r geistliche und Filmmusik bei BR-Klassik. Die Classical:NEXT Conference diskutiert k&uuml;nftige Entwicklungen, Herausforderungen und Potentiale der klassischen Musik. Den Kern bilden acht Conference Sessions zu folgenden thematischen Schwerpunkten: &gt; NEXT:Income &ndash; new markets and the future of funding and financing &gt; NEXT:Generation &ndash; future listeners and audience engagement &gt; NEXT:Technology &ndash; new methods for new challenges &gt; NEXT:Sound &ndash; new music, new formats, sonic influences and inspirations Die Vielfalt der Themen reicht dabei von wirtschaftlichen und Marketing-Aspekten wie dem Crowdfunding zur Finanzierung von klassischen Musikprojekten oder die Verl&auml;ngerung der Leistungsschutzrechte f&uuml;r Musikaufnahmen bis hin zu k&uuml;nstlerischen Fragen, z.B. hinsichtlich dem Zusammenspiel von klassischer Musik mit anspruchsvoller, elektronischer Club-Musik oder Filmmusik als Ohr&ouml;ffner f&uuml;r zeitgen&ouml;ssische Musik und Br&uuml;cke zu neuen H&ouml;rerschaften. Die Conference Sessions finden am Donnerstag, d. 31.05.2012 und am Freitag, d. 01.06.2012 jeweils von 10-12h und 15-17h im M&uuml;nchner Gasteig statt, dem r&auml;umlichen Zentrum der Classical:NEXT. Weitere Highlights bilden die zahlreichen Live-Showcase-Pr&auml;sentationen ebenfalls an den vorgenannten Messetagen. Hier wird internationalen Klassik-K&uuml;nstlern, Ensembles und Projekten eine B&uuml;hne geboten, sich dem Messe-Fachpublikum in jeweils halbst&uuml;ndigen Konzertformaten &quot;in Aktion&quot; zu pr&auml;sentieren. Unter den Showcase-Teilnehmern finden sich u.a. das d&auml;nische Sj&aelig;lland Streichquartett, das sich dem klassischen, aber auch dem Repertoire des 20. &amp; 21. Jahrhunderts verschreibt, die Echo-Klassik 2010-Gewinner des Saxophon-Trios Sax Allemande, die franz&ouml;sischen zeitgen&ouml;ssische Musik-Spezialisten des Ensemble Variances und ihrem Komponisten Thierry P&eacute;cou sowie Seda R&ouml;der, eine &ouml;sterreichisch-t&uuml;rkische Pianistin, die sich besonders engagiert, klassische und zeitgen&ouml;ssische Klaviermusik aus der T&uuml;rkei zu Geh&ouml;r zu bringen und somit musikalische Br&uuml;cken zwischen Bosporus und Isar zu bauen. Mit dem <a href="./opengoldberg.cfm">Projekt Open Goldberg Variations untermauert die Classical:NEXT ihren Anspruch, zuk&uuml;nftige Trends und Ideen in der klassischen Musik ausfindig zu machen und vorzustellen. Rein durch Spenden ihrer Fans finanziert, nahm die japanische Klaviervirtuosin <a href="./biography.cfm">Kimiko Ishizaka j&uuml;ngst Bachs Goldberg Variationen neu auf und stellte die Aufnahme als &quot;open source&quot;-Referenz im Internet frei zur Verf&uuml;gung. In Erg&auml;nzung hierzu brachte das digitale Notensatz-Programm MuseScore eine neue, digitale Edition des Bach-Meisterwerks zur individuellen Bearbeitung f&uuml;r jedermann heraus. Alle Projektbeteiligten werden in M&uuml;nchen die Ergebnisse und weiteren geplanten Projektziele der Open Goldberg Variations vorstellen. Die Vielseitigkeit des Programms wird zudem erg&auml;nzt durch zwei au&szlig;ergew&ouml;hnliche Konzert-abende am 31. Mai und 01. Juni unter dem Titel &quot;C:NEXT Level&quot;, die den zukunftsgerichteten Gedanken der Classical:NEXT in die M&uuml;nchner Clubszene tragen. Die Macher des Harry Klein und Bob Beaman konnten als Partner f&uuml;r diese Initiative gewonnen werden. Eine vollst&auml;ndige &Uuml;bersicht &uuml;ber alle Live-Showcases, weitere Video-Showcases sowie die Termine der Networking und Mentoring Sessions werden in K&uuml;rze bekannt gegeben. Die internationale Ausrichtung und Besetzung der Conferences und Showcases ist ein zentrales Anliegen der Classical:NEXT. Entsprechend werden alle Formate in englischer Sprache pr&auml;sentiert. Die laufend wachsende &quot;Who is coming?&quot;-Liste: <a href="http://www.classicalnext.com/delegates/who_is_coming">www.classicalnext.com/delegates/who_is_coming Registrierung bis 30. M&auml;rz zu Fr&uuml;hbucher-Konditionen Einzelbesucher und Firmen k&ouml;nnen sich bis zum 30. M&auml;rz zu verg&uuml;nstigten &bdquo;Guide Rate&ldquo; registrieren. Delegierte und Firmen, die dies wahrnehmen, werden zudem noch im Classical:NEXT Guide Book gelistet. Info und Online-Registrierung unter: <a href="http://www.classicalnext.com/delegates/registration">www.classicalnext.com/delegates/registration Mehr Informationen auf: <a href="http://www.classicalnext.com">www.classicalnext.com <a href="http://www.facebook.com/classicalnext">www.facebook.com/classicalnext <a href="http://www.twitter.com/classicalnext">www.twitter.com/classicalnext <a href="http://www.classicalnext.com/about/visuals_links/trailer">www.classicalnext.com/about/visuals_links/trailer <a href="http://www.openpr.de/news/615840/Classical-NEXT-Klassikmesse-in-Muenchen-gibt-Programmdetails-Showcase-Kuenstler-Keynote-Sprecher-bekannt.html">Diese Pressemitteilung wurde auf openPR ver&ouml;ffentlicht. Frank Stahmer (MA) T: +49 (0)151 540 55 367 E: Die Classical:NEXT ist ein Musik- und Netzwerkforum f&uuml;r die klassische Musikszene aller Stile, Epochen und Genres und dar&uuml;ber hinaus das neue, internationale Fachforum f&uuml;r ernste Musik vom 30. Mai &ndash; 02. Juni 2012 im M&uuml;nchener Gasteig. Initiator der Classical:NEXT ist CLASS - Association of Classical Independents in Germany e.V. (www.class-germany.de), Produzent der Messe ist die piranha womex AG, welche seit 1994 die Fachmusikmesse WOMEX &ndash; the world music expo &ndash; produziert (www.womex.com).
Das Spektrum der Themen und Sprecher des Konferenzteils der Classical:NEXT bekräftigt den internationalen und interdisziplinären Anspruch des neuen Fachforums. So ist als Keynote-Redner James Jolly bestätigt, Chefredakteur des britischen Musik-Magazins Gramophone. Christopher Gruits, Direktor für E-Marketing bei der Carnegie Hall wird sich auf einem Panel mit Anna Kleeblatt von der Bayerischen Staatsoper über digitale Kommunikation im Klassik-Bereich austauschen. Weitere bestätigte Sprecher sind Christian Kellersmann, Managing Director bei Universal Music Classics&Jazz, Jessica Duchen, Musikjournalistin u.a. für The Independent (UK) und Matthias Keller, Redakteur und Spezialist für geistliche und Filmmusik bei BR-Klassik.

Die Classical:NEXT Conference diskutiert künftige Entwicklungen, Herausforderungen und Potentiale der klassischen Musik. Den Kern bilden acht Conference Sessions zu folgenden thematischen Schwerpunkten:

> NEXT:Income – new markets and the future of funding and financing
> NEXT:Generation – future listeners and audience engagement
> NEXT:Technology – new methods for new challenges
> NEXT:Sound – new music, new formats, sonic influences and inspirations

Die Vielfalt der Themen reicht dabei von wirtschaftlichen und Marketing-Aspekten wie dem Crowdfunding zur Finanzierung von klassischen Musikprojekten oder die Verlängerung der Leistungsschutzrechte für Musikaufnahmen bis hin zu künstlerischen Fragen, z.B. hinsichtlich dem Zusammenspiel von klassischer Musik mit anspruchsvoller, elektronischer Club-Musik oder Filmmusik als Ohröffner für zeitgenössische Musik und Brücke zu neuen Hörerschaften. Die Conference Sessions finden am Donnerstag, d. 31.05.2012 und am Freitag, d. 01.06.2012 jeweils von 10-12h und 15-17h im Münchner Gasteig statt, dem räumlichen Zentrum der Classical:NEXT.

Weitere Highlights bilden die zahlreichen Live-Showcase-Präsentationen ebenfalls an den vorgenannten Messetagen. Hier wird internationalen Klassik-Künstlern, Ensembles und Projekten eine Bühne geboten, sich dem Messe-Fachpublikum in jeweils halbstündigen Konzertformaten "in Aktion" zu präsentieren. Unter den Showcase-Teilnehmern finden sich u.a. das dänische Sjælland Streichquartett, das sich dem klassischen, aber auch dem Repertoire des 20. & 21. Jahrhunderts verschreibt, die Echo-Klassik 2010-Gewinner des Saxophon-Trios Sax Allemande, die französischen zeitgenössische Musik-Spezialisten des Ensemble Variances und ihrem Komponisten Thierry Pécou sowie Seda Röder, eine österreichisch-türkische Pianistin, die sich besonders engagiert, klassische und zeitgenössische Klaviermusik aus der Türkei zu Gehör zu bringen und somit musikalische Brücken zwischen Bosporus und Isar zu bauen.

Mit dem Projekt Open Goldberg Variations untermauert die Classical:NEXT ihren Anspruch, zukünftige Trends und Ideen in der klassischen Musik ausfindig zu machen und vorzustellen. Rein durch Spenden ihrer Fans finanziert, nahm die japanische Klaviervirtuosin Kimiko Ishizaka jüngst Bachs Goldberg Variationen neu auf und stellte die Aufnahme als "open source"-Referenz im Internet frei zur Verfügung. In Ergänzung hierzu brachte das digitale Notensatz-Programm MuseScore eine neue, digitale Edition des Bach-Meisterwerks zur individuellen Bearbeitung für jedermann heraus. Alle Projektbeteiligten werden in München die Ergebnisse und weiteren geplanten Projektziele der Open Goldberg Variations vorstellen.

Die Vielseitigkeit des Programms wird zudem ergänzt durch zwei außergewöhnliche Konzert-abende am 31. Mai und 01. Juni unter dem Titel "C:NEXT Level", die den zukunftsgerichteten Gedanken der Classical:NEXT in die Münchner Clubszene tragen. Die Macher des Harry Klein und Bob Beaman konnten als Partner für diese Initiative gewonnen werden.

Eine vollständige Übersicht über alle Live-Showcases, weitere Video-Showcases sowie die Termine der Networking und Mentoring Sessions werden in Kürze bekannt gegeben. Die internationale Ausrichtung und Besetzung der Conferences und Showcases ist ein zentrales Anliegen der Classical:NEXT. Entsprechend werden alle Formate in englischer Sprache präsentiert.

Die laufend wachsende "Who is coming?"-Liste:
www.classicalnext.com/delegates/who_is_coming

Registrierung bis 30. März zu Frühbucher-Konditionen
Einzelbesucher und Firmen können sich bis zum 30. März zu vergünstigten „Guide Rate“ registrieren. Delegierte und Firmen, die dies wahrnehmen, werden zudem noch im Classical:NEXT Guide Book gelistet. Info und Online-Registrierung unter: www.classicalnext.com/delegates/registration

Mehr Informationen auf:
www.classicalnext.com
www.facebook.com/classicalnext
www.twitter.com/classicalnext
www.classicalnext.com/about/visuals_links/trailer

Diese Pressemitteilung wurde auf openPR veröffentlicht.

Frank Stahmer (MA)
T: +49 (0)151 540 55 367
E:

Die Classical:NEXT ist ein Musik- und Netzwerkforum für die klassische Musikszene aller Stile, Epochen und Genres und darüber hinaus das neue, internationale Fachforum für ernste Musik vom 30. Mai – 02. Juni 2012 im Münchener Gasteig. Initiator der Classical:NEXT ist CLASS - Association of Classical Independents in Germany e.V. (www.class-germany.de), Produzent der Messe ist die piranha womex AG, welche seit 1994 die Fachmusikmesse WOMEX – the world music expo – produziert (www.womex.com).]]> Tue, 13 Mar 2012 20:30:00 GMT 2ACCEDF376CE269347D2C869C1AAC22C Classical:NEXT announces special performance featuring Kimiko Ishizaka http://kimiko-piano.com/news.cfm?feature=2981032&postid=1866382 <a href="http://www.classicalnext.com/">Classical:NEXT is a new conference taking place in Munich, Germany, from May 30 to June 2. Today they announced that Kimiko Ishizaka and MuseScore will be a special featured performance at the peak of the conference. In a special performance that marries the music of Bach and cutting edge internet technology, internationally acclaimed pianist Kimiko Ishizaka will perform Bach&rsquo;s Goldberg Variations at Classsical:NEXT. Thanks to an audio tracking technology and a special new digital edition of the Goldberg Variations score, the audience will be able to follow along with the score as Ishizaka plays. The score, which was created using the open source notation software MuseScore, as well as Ishizaka's recent recording of the Variations, were crowdfunded by fans and released to the public domain as a part of the Open Goldberg Variations project. Project Manager Robert Douglass says: &quot;Classical:NEXT is a unique chance to show the innovative work done by MuseScore and Kimiko Ishizaka during the Open Goldberg Variations project, and to meet the visionaries from the music industry who are creating the future of the business.&quot; More details are available on <a href="http://www.classicalnext.com/program/showcases/showcases">the conference website. <a href="http://goo.gl/rJHPc">Press release (PDF). Classical:NEXT is a new conference taking place in Munich, Germany, from May 30 to June 2. Today they announced that Kimiko Ishizaka and MuseScore will be a special featured performance at the peak of the conference.

In a special performance that marries the music of Bach and cutting edge internet technology, internationally acclaimed pianist Kimiko Ishizaka will perform Bach’s Goldberg Variations at Classsical:NEXT. Thanks to an audio tracking technology and a special new digital edition of the Goldberg Variations score, the audience will be able to follow along with the score as Ishizaka plays. The score, which was created using the open source notation software MuseScore, as well as Ishizaka's recent recording of the Variations, were crowdfunded by fans and released to the public domain as a part of the Open Goldberg Variations project.

Project Manager Robert Douglass says: "Classical:NEXT is a unique chance to show the innovative work done by MuseScore and Kimiko Ishizaka during the Open Goldberg Variations project, and to meet the visionaries from the music industry who are creating the future of the business."

More details are available on the conference website.
Press release (PDF).]]> Tue, 13 Mar 2012 15:25:00 GMT 27B55343A2ADCF7311C8807FB277D38A Cute Puppy plays the Goldberg Variations on Bösendorfer CEUS piano http://kimiko-piano.com/news.cfm?feature=2981032&postid=1732618 The <a href="./opengoldberg.cfm">Open Goldberg Variations project had a big success this January. Kimiko Ishizaka spent a week at the Teldex Studio in Berlin and recorded the Goldberg Variations. One of the interesting aspects of the project was the use of B&ouml;sendorfer's CEUS technology. This is a system that is built into the piano that allows it to play back whatever Kimiko recorded. We made a video of the B&ouml;sendorfer playing two unedited, unmixed tracks from the recording session. &quot;Cuddly&quot;, who is damn cute, volunteered to be the pianist. The Open Goldberg Variations project had a big success this January. Kimiko Ishizaka spent a week at the Teldex Studio in Berlin and recorded the Goldberg Variations. One of the interesting aspects of the project was the use of Bösendorfer's CEUS technology. This is a system that is built into the piano that allows it to play back whatever Kimiko recorded. We made a video of the Bösendorfer playing two unedited, unmixed tracks from the recording session. "Cuddly", who is damn cute, volunteered to be the pianist.

]]> Sat, 21 Jan 2012 16:40:00 GMT 223B2DF77B1A6DB510039E998DB689F2 Kimiko Ishizaka travels to Vienna to meet the Bösendorfer 290 Imperial CEUS http://kimiko-piano.com/news.cfm?feature=2981032&postid=1621993 Kimiko recently travelled to Vienna, Austria, to meet the B&ouml;sendorfer team, visit their factory in Wiener Neustadt, and test drive the 290 Imperial CEUS that will be used for making the Goldberg Variations recording in January. It is good to start to get familiar with the sound, colors, touch and quirks of the piano. The factory is simply amazing. Jan Sauerzapf, who is in charge of the CEUS technology department, gave a great tour and showed the entire process of building a B&ouml;sendorfer piano. The CEUS piano is amazing. It uses light sensors to measure the velocity of the hammers as they strike the string, and it measures the pedal movements as well. The result is a piano that plays itself as sensitively as the pianist. To use the software, one opens a remote desktop connection to the Windows XP computer that is inside the piano. Yes, there's a whole computer, in the piano. More excitingly, the piano sounds awesome!!! Kimiko was thrilled by the richness and sheer colorfulness of the instrument.&nbsp;Many thanks to Jan Sauerzapf and the entire B&ouml;sendorfer team for the ongoing support!
The factory is simply amazing. Jan Sauerzapf, who is in charge of the CEUS technology department, gave a great tour and showed the entire process of building a Bösendorfer piano. The CEUS piano is amazing. It uses light sensors to measure the velocity of the hammers as they strike the string, and it measures the pedal movements as well. The result is a piano that plays itself as sensitively as the pianist. To use the software, one opens a remote desktop connection to the Windows XP computer that is inside the piano. Yes, there's a whole computer, in the piano.

More excitingly, the piano sounds awesome!!! Kimiko was thrilled by the richness and sheer colorfulness of the instrument. Many thanks to Jan Sauerzapf and the entire Bösendorfer team for the ongoing support!





]]> Thu, 15 Dec 2011 00:20:37 GMT F8EBEF515FF3BDC7D2C0E945F7EF1C26 Critics love Kimiko Ishizaka's Goldberg Variations http://kimiko-piano.com/news.cfm?feature=2981032&postid=1621933 Kimiko Ishizaka played an aggressive program in Bonn, Germany, on Sunday, March 13, and the critics loved it. She played six preludes and fugues from the Well Tempered Klavier (BWV 854-859), Schubert's &quot;Moments musicaux&quot; D 780 op. 94, and the Goldberg Variations, with repeats. Mathias Nofze of the Bonner General-Anzeiger wrote: &quot;She has matured into a high-profile soloist.&quot; &quot;Ishizaka played the six preludes and fugues from the Well Tempered Klavier with an impressively differentiated touch of expression, allowing the music to breathe beautifully, in keeping with the spirit of Bach, who wished for a 'cantabile style of playing'.&quot; &quot;Time and again the music plunged into the shadows of the extremely cautious and nuanced pianissimo range&quot; Felicitas Zink from the Rundschau wrote: &quot;She played with total focus on both the bass lines and the varied harmonies of this complicated composition, providing an appropriately rich variety of tempos. It was remarkably well-reproduced with only minimal pedaling: despite the piano lid being completely open, the lines were always clear and audible. &quot; &quot;The clearly contoured yet richly contrasted musical structures unwound expressively in the intimately introspected slower variations, alongside the faster passages&quot; &quot;A truly extraordinary, top-class piano evening!&quot; This photo was taken while Kimiko was warming up for the concert.
She played six preludes and fugues from the Well Tempered Klavier (BWV 854-859), Schubert's "Moments musicaux" D 780 op. 94, and the Goldberg Variations, with repeats.

Mathias Nofze of the Bonner General-Anzeiger wrote:

"She has matured into a high-profile soloist."

"Ishizaka played the six preludes and fugues from the Well Tempered Klavier with an impressively differentiated touch of expression, allowing the music to breathe beautifully, in keeping with the spirit of Bach, who wished for a 'cantabile style of playing'."

"Time and again the music plunged into the shadows of the extremely cautious and nuanced pianissimo range"

Felicitas Zink from the Rundschau wrote:

"She played with total focus on both the bass lines and the varied harmonies of this complicated composition, providing an appropriately rich variety of tempos. It was remarkably well-reproduced with only minimal pedaling: despite the piano lid being completely open, the lines were always clear and audible. "

"The clearly contoured yet richly contrasted musical structures unwound expressively in the intimately introspected slower variations, alongside the faster passages"

"A truly extraordinary, top-class piano evening!"

This photo was taken while Kimiko was warming up for the concert.


]]> Thu, 15 Dec 2011 00:10:00 GMT 92BB33E4B258C209C35613BA641326E2 J.S. Bach's Well Tempered Clavier - an ongoing project http://kimiko-piano.com/news.cfm?feature=2981032&postid=1588353 Kimiko has been studying Bach's Well Tempered Clavier and intends to perform the entire first volume in concerts in 2012. There are concerts planned in Ann Arbor, MI, New York, NY, and Rockport, MA, with others sure to come. Here is a sampling of her WTC from live performances in 2010 and 2011. Enjoy! <a href="http://soundcloud.com/robert-t-douglass/sets/j-s-bach-well-tempered-clavier">J.S. Bach, Well Tempered Clavier, Volume 1, played by Kimiko Ishizaka by <a href="http://soundcloud.com/robert-t-douglass">Robert Douglass
J.S. Bach, Well Tempered Clavier, Volume 1, played by Kimiko Ishizaka by Robert Douglass]]> Wed, 07 Dec 2011 00:00:00 GMT 066032FDBF9A85048F35AB4A63304D74