Ars Electronica Home Delivery Live Stream Concerts 2021

February – May 2021

In the course of Ars Electronica’s “Home Delivery Live Stream Concerts“, piano duo Maki Namekawa & Dennis Russell Davies played again a series of concerts in the Ars Electronica Center Piano Room and in the Deep Space 8K in Austria with real time visualizations by Cori O’Lan.

Series Nr. 1 / Sunday February 14, 2021

Igor Stravinsky : “Le Sacre du Printemps” arr. for piano and four hands
W.A. Mozart: “Bei Männern welche Liebe fühlen” from the opera “The Magic Flute”
real time visualizations by Cori O’Lan

Series Nr. 2 / Sunday February 21, 2021

John Cage : „The Seasons“, Ballet in One Act; Prelude I-Winter, Prelude II-Spring, Prelude III- Summer, Prelude IV-Fall, Finale (Prelude), Dennis Russell Davies, piano
Philip Glass : ‘Distant Figure’ – A Passacaglia for Solo Piano (2017), Maki Namekawa, piano
real time visualizations by Cori O’Lan

Series Nr. 3 / Friday February 26, 2021

Ludwig van Beethoven : Coriolan Overture, Opus 62
Ludwig van Beethoven : 3 marches for piano, Opus 45
real time visualizations by Cori O’Lan

Series Nr. 4 / Sunday March 7, 2021

Franz Schubert “Storms of Life”, Allegro in a minor, D947
“Rosamunde”-Entr’acte #3
real time visualizations by Cori O’Lan

Series Nr. 5 / Friday March 12, 2021

Philip Glass (arr. for Piano Solo by Michael Riesman) from „Mishima“ November 25: Morning Temple of the Golden Pavilion Runaway Horses Mishima / Closing
Philip Glass: Piano Sonata
Movement I
Movement II
Movement III
real time visualizations by Cori O’Lan

Series Nr. 6 / Sunday March 21, 2021

Joseph Haydn: Komm, holder Lenz aus Die Jahreszeiten
Laurie Anderson: Song for Bob
Joep Beving: Hanging D
Claude Debussy: Pour invoquer Pan, dieu du vent d’été aus Six Épigraphes antiques
Marc Reibel: SAKURA II for the piano four hands
real time visualizations by Cori O’Lan

Series Nr. 7 / Sunday March 28, 2021

W.A. Mozart: Die Zauberflöte (arranged for piano 4 hands by Alexander Zemlinsky)
„Der Vogelfänger bin ich ja“
„Der Hölle Rache kocht in meinem Herzen“
„In diesen heil‘gen Hallen“
real time visualizations by Cori O’Lan

Series Nr. 8 / Sunday May 2, 2021

J.S. Bach (arr. by György Kurtag):
„Gottes Zeit ist die allerbeste Zeit“ („Actus tragicus“)
„Aus tiefer Not schrei ich zu dir“
„O Lamm Gottes, unschuldig“
Maurice Ravel: „Ma mère l’Oye“
I. Pavane de Belle au bois dormant („Pavane aus Dornröschen“)
II. Petit Poucet („Der kleine Däumling“)
III. Laideronnette, Imperatrice des Pagodes („Die grüne Schlange“)
IV. Les entretiens de la Belle et de la Bete („Die Schöne und das Biest“)
V. Le jardin feerique („Der märchenhafte Garten“)
real time visualizations by Cori O’Lan

Bösendorfer: Vienna Concert 230 VC

“For the love of music”
Bösendorfer: Vienna Concert 230 VC piano

Pianist: Maki Namekawa
Title: “Mishima Closing” by Philip Glass
Director: Andreas H. Bitesnich
Special thanks to Dennis Russell Davies

Stream Concert for UCLA

Los Angeles / USA
Royce Hall Concert Series
Stream Concert for Center for the Art of Performance UCLA
Ligeti, Berg, Guarnieri & Glass ( West Cost Premiere)

Read more

Ars Electronica Home Delivery Live Stream Concerts

May – August 2020

In the course of Ars Electronica’s “Home Delivery Live Stream Concerts“, piano duo Maki Namekawa & Dennis Russell Davies played a series of 11 concerts in the Ars Electronica Center Piano Room in Austria with real time visualizations by Cori O’Lan. During the live stream concerts, there was an opportunity to interact with the performers via Skype or YouTube. Several programs featured conversations with prominent international guests like Laurie Anderson, Steve Reich, Philip Glass, Kurt Schwertsik, Franz Xaver Ohnesorg, Charles Amirkhanian, Carol Low, Olivier Tambosi, Christiane Boesiger. The visualisations by the artist Cori O’Lan were not videos that were more or less synchronous to the music and it was also not the musicians playing to prefabricated material, they were jointly created together in the moment of the performance on the Bösendorfer Imperial SEUS computer grand piano.

Series Nr. 1 / Friday May 1. 2020

Maurice Ravel : “Ma mère l’Oye”
Ludwig van Beethoven : from the opera “Fidelio” – O namenlose Freude
real time visualizations by Cori O’Lan

Series Nr. 2 / Friday May 8. 2020

Philip Glass : Etude #11 & #12, #5 & #10
Philip Glass : Stokes for piano 4 hands
Philip Glass : Elergy for the present ( world premier )
Special guest : Philip Glass
real time visualizations by Cori O’Lan

Series Nr. 3 / Friday May 15. 2020

Igor Stravinsky / arr. for piano 4 hands by Dennis Russell Davies : Suite “Firebird”
Dmitri Shostakovich : Polka & Waltz
Special guest : Franz Xaver Ohnesorg ( Intendant Klavier-Festival Ruhr )
real time visualizations by Cori O’Lan

Series Nr. 4 / Friday May 22. 2020

Steve Reich : Piano Phase
J.S. Bach / transcribed for piano 4 hands by György Kurtag : Two Chorale Preludes
Claude Debussy : from “Six épigraphes antiques” Pour invoquer Pan, dieu du vent d’été
Special guest : Steve Reich
real time visualizations by Cori O’Lan

Series Nr. 5 / Friday May 29. 2020

Ludwig van Beethoven : 3 Marches
Arvo Pärt : Pari intervallo
Arvo Pärt : Hymn to a great city
J.S. Bach / transcribed for piano 4 hands by György Kurtag : Chorale Prelude “O Lamm Gottes, unschuldig”
Special guest : Charles Amirkhanian
real time visualizations by Cori O’Lan

Series Nr. 6 / Friday June 5. 2020

Philip Glass : Etude #5 &#10, #16 & #20
Philip Glass / arr. for piano 4 hands by Duo Namekawa – Davies : from the opera “The Voyage”
Philip Glass / arr. for piano 4 hands by Duo Namekawa – Davies : from the opera “Orphee” – Interludes
Special guests : Charles Amirkhanian & Carol Law
real time visualizations by Cori O’Lan

Series Nr. 7 / Friday June 12. 2020

W.A. Mozart / arr. for piano 4 hands by Alexander von Zemlinsky :
from the opera “Magic Flute”
Special guests : Olivier Tambosi & Christiane Boesiger
real time visualizations by Cori O’Lan

Series Nr. 8 / Friday June 19. 2020

John Cage : from “The Seasons”
John Cage : Suite for toy piano
John Cage : Experiences I for 2 pianos
Laurie Anderson : Song for Bob
Elliot Goldenthal : Gigue Diabolique
Special guest : Laurie Anderson
real time visualizations by Cori O’Lan

Series Nr. 9 / Friday June 26. 2020

“Kurt Schwertsik 85. Birthday !”
Kurt Schwertsik : “6 Macbeth” for piano 4 hands
1) Enter Three Witches
2) Something Wicked This Way Comes
3) All The Perfumes Of Arabia Will Not Sweeten This Little Hand
4) Fire Burn And Cauldron Bubble
5) Till Birnam Forest Come To Dunsinane
6) …The Wood Began To Move
Joep Beving : Midwayer & Hanging D
Ludwig van Beethoven / arr. for piano 4 hands by Alexander von Zemlinsky from the opera “Fidelio” – Euch werde Lohn in besseren Tagen
Guest visual artist : Gregor Woschitz
Special guest : Kurt Schwertsik
real time visualizations by Cori O’Lan

Series Nr. 10 / Friday July 14. 2020

Igor Stravinsky / arr. for piano 4 hands by Dennis Russell Davies :
“Firebird” – complete ballett version
W.A. Mozart / arr. for piano 4 hands by Alexander von Zeminsky
from the opera “Magic Flute” – Der Vogelfänger bin ich ja
real time visualizations by Cori O’Lan

Series Nr. 11 / August 23. 2020

“New York, NY”
John Cage : Suite for toy piano
John Cage : The Seasons
Philip Glass / arr. by Michael Riesman : from ” MISHIMA” ( excerpts )
Antoni Dvorak : slavonic dance op.46 – 8 for piano 4 hands
real time visualizations by Cori O’Lan

Pasticcio Awards for MISHIMA

October 25th, 2018

The Ö1 – Austrian Radio Broadcast “Pasticcio” award for MISHIMA 

Maki Namekawa received the renowned classical music award “Pasticcio Preis”.

Philip Glass’ MISHIMA @ Japanese Noh-Theater

February 22, 2020, Tokyo | Japan

Maki Namekawa performed japanese premier Philip Glass’ MISHIMA at the Japanese traditional Noh-Theater with Noh-Master Kisho Umewaka and singer MAI.

Tokyo Midtown / Ars Electronica “Dappi” Exhibition

Dappi Music Performance
February 20, 2020 Tokyo | Japan

Maki Namekawa performed Philip Glass’ Piano Sonata, collaboration with real time visualization by Cori O’Lan & Ars Electronica at the Festival “Dappi” in Tokyo.

“Dappi” performance was amazed audience by boundless possibilities of collaboration between human and the latest technologies and virtual reality technologies.

Namekawa breathes this music… -> Frankfurter Allgemeine Zeitung Review

Maki Namekawa and Philip Glass after the premiere of the Piano Sonata © Klavier-Festival Ruhr / Sven Lorenz

On July 4th, 2019 Maki Namekawa premiered the Piano Sonata by Philip Glass at Pianofestival Ruhr in the German town of Essen. The “Salzlager” in the “Zeche Zollverein” was sold out in anticipation of the first piano sonata by the great American composer. After the performance Maki Namekawa and Philip Glass received standing ovations by the exited audience.



Excerpts of a superb review of Maki Namekawa’s recital at the Piano Festival, Ruhr, Germany

In the Frankfurter Allgemeinen Zeitung, July 6, 2019

The fact that Kissin’s sonata recital is followed the next day by a concert which dissects the sonata form, is successful dramatic scheduling.   This gives the Festival a unity in its programming, even though it is strewn across the entire Ruhr district.  Even the hall, where the Japanese pianist, Maki Namekawa performed, is a brilliant choice.   The Zollverein Coal Mine Industrial Complex, a large former industrial site in Essen, seems, in comparison to the concert hall, like a lab, an experimental space.   What could possibly follow an evening of Beethoven?   

Mozart!  But not Wolfgang Amadeus Mozart.  Namekawa, wearing a yellow gown, opens her program with Sonatina No.3, composed by the Brasilian, Mozart Camargo Guarnieri.   Just to add to the confusion, Mozart Guarnieri’s Sonatina sounds like a work by Scarlatti, but with minimalistic Samba accents.  Namekawa does not seem to be linked to the music.  Instead, she observes it externally and from quite a distance.  The music seems well thought out and controlled.  This vision helps the momentous opus of the evening, Alban Berg’s Piano Sonata, composed in 1909.   The one movement piece contains a multitude of music history, and combines fragments of the music of Wagner, Beethoven, and Schönberg in concentrated form.   Namekawa’s performance swells in the oblique romantic gestures.  She recognizes the brutalities of individual moments, and presents the sonata as a lively cluster weighed down, in the end, by fate.  …..

The most memorable musical experience of the festival, however, happened at the Coal Mine.   Namekawa, now dressed in a fabulous black gown, has prepared us audibly for this moment: repetitions in the Guarnieri, dark bass fluctuations in the Berg, a shivering tremolo in the Mendelssohn.  Every one of these instances clearly points to Philip Glass’ first Piano Sonata, a minimalistic work, becoming the logical culmination of this sonata evening!

The Sonata’s construction is colorful, wild, with exciting leaps.  The first theme, which Glass had already used in his third Piano Sonata, composed in 2017, almost sounds the same as the halting middle-segment of a Rachmaninov Prelude.  The theme returns suddenly and is elaborated in the second movement.   This movement, filled with contrasting, counterrhythmic rhythms is Philip Glass’ pianistic showpiece, also displays many of the familiar elements found in the composer’s etudes and solo works.   Commissioned by this Festival, this wild kaleidoscopic version, premiered here in Essen, at the Philharmonie de Paris and the Ars Eletronica in Linz.  

It is Glass’ most demanding pianistic creation.  The virtuosic octave leaps, are, due to their incredibly fast passage work, at the edge of technical ability.  This music is the life and breath for Namekawa. It is a prime example of how a matchless unity ensues, when the composer and the interpreter work closely together, a situation hardly achievable when a pianist interprets time honored repertoire.  …..

….  Namekawa’s repeated simple accented four notes, however, became an unexpected small miracle, as did the triple accents in Kissin’s Beethoven.  Sometimes this is all it takes to create great artistry in exceptional piano recitals.


Folie créative

Beethoven et Philip Glass au Klavierfestival Ruhr (Festival de Piano de la Ruh)

Un petit secouage des bras, un pincement du pantalon, puis ça commence. Jewgeni Kissin joue une sélection des sonates de Ludwig van Beethoven au Klavierfestival Ruhr dans la Philharmonie d’Essen. Ce pianiste ne cause vraiment aucun problème, n’a même pas besoin de secondes pour se concentrer, commence et séduit son public immédiatement. Il fait de la musique grandiose.

Au plus tard dans sa dernière pièce, une interprétation époustouflante de la Sonate “Waldstein”, cela devient clair pour toute la salle qui se fige dans la dévotion. Les premiers battements des huitièmes ne sont pas une rampe de lancement pour la mélodie, mais plutôt une masse organique. Les jolis fragments mélodiques au-dessus sont comme des perles, encore cachés dans leur coquille. Kissin demande l’attention de la salle pour la co-création spirituelle et nous permet en ce moment de participer à ce que c’est que d’être à la fois un prisonnier de Beethoven mais aussi une personne profondément inspiré par lui: Il joue cette Sonate op. 53 incroyablement vite… Une folie, au bord du chaos…

La force de Kissin est la mise en scène musicale du conflit intérieur. Personne n’imite sa capacité à imiter les changements d’humeur et son touche piano à la nanoseconde de cette façon. L’entrée dans l’allegro initial de la “Pathétique” ressemble à une tempête céleste, à mi-chemin, Kissin perd tout fardeau, toute base de basse solide. C’est seulement pour ensuite marteler au plus sauvage et noyer la salle dans des vagues sombres déchaînées par la main gauche étonnamment forte du piano à queue. Brutal.

Ses mains sont collées aux touches, tout est incroyablement dense et serré. La seule chose qui manque, surtout dans les mouvements lents, c’est parfois de l’air et un peu de sensation de liberté.

La clé de Kissin de la prison de Beethoven, dont il semble être en quelque sorte l’interprète, est toujours la romantisation, d’une manière rafraîchissante. Parfois, mais rarement, l’utilisation de la pédale brouille la frottement conflictuelle et est réinterprétée comme mystique, tandis que le rubato, c’est-à-dire le fait d’avancer et retarder dans le temps, est utilisé efficacement aux fractures de la forme.

Le fait que la soirée Kissin avec sonates pour piano soit suivie le lendemain d’un concert disséquant la forme sonate est un exemple de dramaturgie réussie. C’est ainsi que le programme du festival de piano, qui se déroule dans toute la région de la Ruhr, devient très concis. L’endroit où la pianiste japonaise Maki Namekawa se produit est très bien choisi. Comparée à la Philharmonie, la cokerie (die Kokerei) de la Zeche Zollverein à Essen ressemble à un laboratoire, un espace d’expérimentation. Qu’est-ce qui peut suivre Beethoven ?

Mozart ! Mais pas Wolfgang Amadeus Mozart. Namekawa commence sa soirée en robe jaune avec une Sonatina n°3 du Brésilien Mozart Camargo Guarnieri. Pour compléter la confusion, Mozart Guarnieri sonne un peu comme Scarlatti avec une touche de samba minimaliste. Namekawa ne paraît pas prisonnière de la musique, la regarde de l’extérieur et à bonne distance, tout semble bien intentionné et contrôlé. Cela contribue à une œuvre massive de la soirée, la Sonate pour piano d’Alban Berg, composée en 1909. Le seul mouvement contient beaucoup d’histoire musicale, réunit Wagner, Beethoven, Schönberg pour en former une synthèse. Namekawa se livre à des gestes romantiques qui ne font qu’un clin d’œil l’un à l’autre, reconnaît la brutalité des instants individuels et présente la sonate comme un tourbillon vivant avec un final fatidique.

Dans le cas de Kissin la veille à la Philharmonie le destin frappe aux portes que trois fois, d’une manière merveilleusement variée. Outre la sélection de sonates, il joue les variations moins connues: les Variations héroïques en mi bémol majeur op.35, qui contiennent des motifs accentués en trois tons dans la deuxième partie du thème.  Les coups en trois tons de Kissin, et ils se produisent très souvent, n’ont jamais le même son. Ils crient, parlent, affirment quelque chose ou grondent. Parfois la corde de basse gémit, parfois on croit entendre plus que les harmoniques possibles. Et quand le pianiste rate la ligne d’arrivée, c’est comme s’il s’agissait d’un affect et cela ne dérange pas. Au point que l’interprète est amalgamé à la pièce ici.

Mais le moment musical le plus fort a lieu dans la Kokerie. Maki Namekawa dans sa robe de concert noire nous a préparé de manière audible à ce moment. Répètements de Guarnieri, vagues des basses sombres de Berg, un trémolo tremblant de Mendelssohn, tout cela – clairement accentué – a pour but la première sonate pour piano de Philip Glass : une œuvre minimaliste comme culmination logique de soirée en sonates.
La sonate est colorée, sauvage, passionnément agitée. Le premier thème, déjà utilisé par Glasss dans son Troisième Concerto pour piano de 2017, sonne presque comme la section centrale cahoteuse d’un prélude de Rachmaninov; au second mouvement, le thème revient brusquement et retravaillée. Avec ses rythmes opposés, ce mouvement est un excellent exemple de la musique pour piano de Philip Glass, ainsi que de nombreux autres éléments familiers tirés des études du compositeur et de ses œuvres individuelles. Dans cette composition commandée par la Philharmonie de Paris, le Klavierfestival Ruhr et Ars Electronica Linz ils apparaissent pour la première fois dans un tel kaléidoscope déchaîné.

C’est l’œuvre pour piano la plus exigeante de Glass à ce jour, les sauts d’octave virtuoses, en raison de leur succession rapide, sont à la limite de la jouabilité. Namekawa respire cette musique. La pièce est un exemple de la façon dont l’étroite collaboration entre le compositeur et l’interprète peut créer une unité incomparable, comment ils peuvent difficilement atteindre les interprètes du répertoire traditionnel.

Jewgeni Kissin a pu le faire. Chaque simple son en quatre tons de Namekawa est un petit miracle inouï comme celui en trois tons de Kissin dans Beethoven. Il n’est plus nécessaire pour des récitals de piano réussis et des grands talents artistique.

Malte Hemmerich, FAZ (Frankfurter Allgemeine Zeitung)

「偉大な芸術性」 2019年第31回ドイツ・ピアノフェスティバル・ルールで開催された滑川真希・ピアノリサイタルの7月6日付フランクフルト新聞掲載の批評(抜粋)





NYTimes Review

New York Times, Nov, 20 2019, by Zachary Woolfe, Photo by Hiroyuki Ito


Review: Philip Glass, at 82, Unveils His First Piano Sonata

Thousands of people took in the bronzed, glacial grandeur of Philip Glass’s “Akhnaten” at the Metropolitan Opera on Tuesday evening. A couple of miles downtown, a far smaller group heard a very different Glass — lively and sly; intimate and changeable — as Maki Namekawa gave the American premiere of his new piano sonata, his first venture into that genre, at the Morgan Library & Museum.

Mr. Glass may not care about his legacy, but he’s hardly unaware of the dynamics that shape a composer’s reputation. “If I’m to be remembered for anything,” he is quoted as saying in the program notes at the Morgan, “it might be for the piano music, because people can play it.”

As his career took off, he was increasingly asked to play solo concerts. So, simply enough, he began to write piano pieces to perform at them. For a while, he kept these mainly for his own use; if people wanted to hear them, he reasoned, they’d have to hire him. And, as he observes, they were eminently playable; while a good pianist, Mr. Glass was never a virtuoso.

These works — like the first book of études, the five parts of “Metamorphosis,” “Mad Rush” — have since been published and widely recorded, and they are what Mr. Glass means when he says that his piano music is what’s most likely to be remembered among his massive output. But gradually, and especially over the past decade, his piano compositions moved beyond the level of what he could plausibly perform, their technical demands perhaps culminating — at least for the moment — in the new sonata.

The first movement begins with gently surging, triumphal motifs, passing swiftly between major and minor moods before settling into bustling activity and, suddenly, a mournful tenderness that carries into the start of the second movement: an oscillating pattern in the left hand, familiar in Mr. Glass’s music, and a deliberate melody in the right.

Dissonances creep in, but nothing too troubling, especially in a passage of serene chords that’s the prettiest part of the sonata. For all the work’s switches of mood — between major and minor, churning and calm — the stakes feel low, though not unagreeably. Even when it’s headlong, as in the chugga-chugga perpetual motion of the third movement, the work is light, even superficial, a revue of Glassian riffs that’s pleasant and passing. While it’s imposing, at nearly 30 minutes, the sonata feels larky.

Ms. Namekawa is an old hand at all this; she was the first to record Mr. Glass’s complete études, and is the wife and piano-duo partner of the conductor Dennis Russell Davies, this composer’s most notable champion. She visibly grooved throughout the performance, emphasizing the dancing youthfulness of a piece by an 82-year-old composer.

The first half of the program was a kind of joke on this point: Berg wrote his noirish Piano Sonata when he was in his early 20s, and Mozart Camargo Guarnieri was 30 in 1937, when he wrote his genial Sonatina No. 3.

Most astonishing, Mendelssohn was still in his teens when he wrote his first piano sonata. Played by Ms. Namekawa with sprightly sensuality and exuberant wit, it burst with precocious energy — and outdid in profundity much music written by composers many decades older.

Maki Namekawa

Performed on Tuesday at the Morgan Library & Museum, Manhattan.