Kimiko Ishizaka News

Kimiko Ishizaka featured on French Television 

In an episode entitled Chronique « Domaine public », Kimiko Ishizaka and the Open Goldberg Variations were featured on a broadcast episode of 56Kast. Being interviewed is Alexis Kauffmann of Framasoft, a proponent for free culture and free software. Watch how he brilliantly introduces the idea of copyright and public domain with the recent decision that a "selfie" taken by a monkey can't be copyrighted. Alexis is also organizing a public domain music festival in January in Paris, at which Kimiko will be performing (January 25, 16:00, L'Accueil Musical de Saint-Merry).

Kimiko Ishizaka at the Manifold Recording Studio 

Kimiko performed the first 12 Preludes and Fugues of J.S. Bach's Well-Tempered Clavier, Volume 1, at the Manifold Recording Studio in Pittsboro, North Carolina. Guests were invited to attend the performance as a modern day musical Salon. The piano is a Bösendorfer 280. Enjoy the video, courtesy of Michael Tiemann and the Red Hat film crew.

Free tickets to Kimiko Ishizaka in the Post Tower, Bonn 

The Beethovenfest in Bonn is now taking reservations for the free concert in the Post Tower, featuring Kimiko Ishizaka and Bach. This is the first concert of the "Twelve Tones of Bach" tour, and getting a reservation now is the only way to attend the concert live. It will sell out, and tickets are not available through the Kickstarter. So, if you want to see Kimiko in Bonn, better make your reservation! The program will include selections from the Well-Tempered Clavier, and the Goldberg Variations (without repeats).

Kimiko Ishizaka performs Bach and Chopin at OHM2013 Podcast

Observe. Hack. Make. is the premier maker and hacker festival in Europe, and it took place in Northern Holland from July 31 to August 4, 2013. Kimiko Ishizaka performed Bach and Chopin for an audience of nearly 2,000 extremely enthusiastic music fans. This was Kimiko's first performance of the complete set of 12 Etudes, op. 10, of Chopin. Video of the performance can be found here.

Proof that the Goldberg Variations are the ultimate crossover music 

Anybody can love the Goldberg Variations. They're an excellent way to make Bach's music accessible to people who might not otherwise listen to a lot of Bach or Classical music. Here's some anecdotal proof. Here's a tweet that reveals Kimiko Ishizaka's Goldbergs to be equal in popularity with Iron Maiden and Megadeth, at least for one listener =)

Kimiko Ishizaka reviews for Mozart and Beethoven piano concerti 

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.