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(…) In a packed auditorium, Maki Namekawa walks alone onto the stage and plugs in her tablet to follow the score of this piece, which was originally completely improvised but, following the recording, has become something of a “composition.” Let’s close our eyes and let ourselves be swept away by the music. Maki chose the […]

“First on stage was Maki Namekawa with Part I. Reading from the score, she played with astonishing technique, precision, and an evident familiarity with the recording.” “Her interpretation was graceful and poised, providing a composed contrast to what had preceded it, and completing in style the faithful reproduction of the original concert.” April 11, 2026https://ukjazznews.com/the-koln-concert-by-maki-namekawa-thomas-enhco/

Two interviews on the 50th anniversary of the Köln Concert by ARD and BBC.

New York Times by Brian Seibert The five dance selections that are part of the Dance Reflections festival take varied approaches to piano exercises written by Philip Glass. “Dancing With Glass: The Piano Etudes” is titled a little misleadingly. The five dance selections on the program, now at the Joyce Theater as part of the Dance

General-Anzeiger Bonn by Thomas Kliemann, Editor Feuilleton He was probably not really in a good mood when he sat down at the grand piano in the Cologne Opera on January 24, 1975. Jazz pianist Keith Jarrett, then 29, had arrived from Switzerland early that morning in a rickety R4. On stage, instead of the promised Bösendorfer