SUSUMU AOYAGI – Schumann, Chopin and Lizst

     Susumu Aoyagi, the young Japanese piano virtuoso got down to playing his repertoire of Schumann, Chopin and Lizst without any hesitation. He played three Robert Schumann’s compositions until the interval. Beginning with  “Arabesque”, Op.18. Arabesque usually means ornamental when used in art and artefacts, and in classical music it applies to the melodic and harmonic ornamentation of the composition. Schumann wrote the Arabesque 1839 in rondo form, where the beginning and the end of the movement is repeated constantly. And Susumu played this piece with the delicacy of touch that it demanded, making this a really good opening statement for the listeners in the audience.   

     The next composition he played was Schumann’s, Drei Fantasiestuecke Op 111(Three Fantasy pieces). These three almost unrelated themes were played with the suitable empathy for the compositions, the first played with passion and vivacity, the second, almost passionless but with serenity tempered with tension. And the third cleverly brought together elements from the beginning in a flourish of creativity. The pianist brought out the hesitancy, and the ebbs and flows of the composition with understanding and exquisite technical skill.

     The third piece was Schumann’s “Faschingsausschwank aus wien” Op 26. (Carnival scenes from Vienna). This is a work for solo piano in five movements and it requires the highest level of performing skills. This composition though good-humoured, has difficult patterns and themes. Susumu Aoyagi gave his heart to the playing of this composition with his formidable gifts of technique and tone, dynamics and tempo, in a tour-de-force of a performance.  

     After a short break, the pianist resumed his programme with Barcarole Op. 60 by Frederic Chopin. As the programme notes say, the ‘Barcarole literally means boat song. Its origin lies in the traditional Venetian boat song’. The pianist interpreted this beautiful composition with clarity of expression that went way beyond technique.

     Chopin’s Nocturne in B Major Op 62-1 followed. The programme notes said that ‘though not lacking in occasional flashes of drama and virtuosity, are predominantly lyrical, poetical and dreamy’. The pianist conveyed the composers’ music superbly with his proficiency and his sensitive interpretation. And … he had saved the best for the last. Franz Liszt’s ‘Totentanz’ (Piano solo version). This piece was composed for orchestra and transcribed for solo piano by Liszt himself. This atmospheric composition showcased the pianists’ technical skills and his good voicing, pacing and power of expression, proving himself in a challenging range of moods and in bringing out the poetry of the compositions.

     There is no denying, it was a well planned programme and a well planned event. The audience as usual didn’t allow the pianist to end until he had played an encore which he did with flair and sincerity.

     What a magnificent way it was to start the year, sharing music and creating harmony with compositions by the titans of the piano, Franz Liszt, a Hungarian, Frederic Chopin, from Poland and Robert Schumann, a German, played by a Japanese pianist who has won several first prizes at numerous international competitions - in Italy, Spain and Japan - playing for an Indian audience in Hyderabad, making true the ‘Hyderabad Western Music Foundations’ belief that music has the power to pervade borders, resolve differences, unite people, propagate pluralism and create harmony through music.

Piano concert at the Hyderabad Public School on the 3^rd of January 2011

Report for Hyderabad Western Music Foundation - www.hydmusic.com