(le) Poisson Rouge presents Taka Kigawa
Taka Kigawa, piano
(le) Poisson Rouge, New York, NY
August 27, 2018
On August 27, 2018, pianist Taka Kigawa (www.takakigawa.com) presented a program called “Music of Aucoin, Furrer, Yamane, Berio” at (le) Poisson Rouge. It was to prove to be a fascinating experience of encountering music of up-and-coming talents (Aucoin and Yamane), an established leading composer of today (Furrer), and an undisputed master for the ages (Berio).
Poisson Rouge has established itself as one of the leading non-traditional venues for classical music concerts. It is a club, complete with food and drink service, in a setting that one might call “edgy.” The audience members included students, middle-aged folks, and assorted hipsters – a mix one doesn’t always see at “traditional” halls. The idea is to “shake things up,” breaking all the so-called rules of classical concerts. It’s not for everyone, and some might argue that the idea itself misses the point of a concert experience, but I’ll leave that debate for others.
There were brief program notes for each work, as written by their respective composers. This was helpful for the listener to gain insights into the works. To learn more about the composers, one can follow these links: Matthew Aucoin , Beat Furrer, Akiko Yamane.
Mr. Kigawa spoke briefly to express his love for the music he was to play and to inform the audience that all of the works on his program were composed in the 21st century. He might have even billed his concert as music of the 21st century, which would be not only an interesting hook but a way to discourage annoying labels of “modern” and “contemporary.”
Opening with Akiko Yamane’s clever piece, Illuminated Baby, a musical depiction of a baby’s march (imagine a toddler somewhat wobbly but planting each step firmly), Mr. Kigawa showed straight away that he is a dynamic performer. It was a delightful beginning to the evening.
Beat Furrer’s Phasma ended the first half. It’s a twenty-five-minute epic journey (described by the composer as looking out the window on a high-speed train) that taxes the performer to the utmost, particularly in terms of stamina. It included playing inside the instrument and other special effects. Make no mistake, this work is challenging for the listener as well, and those with limited attention spans are forewarned. Mr. Kigawa kept the large audience engaged throughout (even as servers negotiated the tables with food and drink), which in and of itself was indicative of a first-rate talent. He was rewarded with loud cheers at the end, which were well deserved.
Matthew Aucoin’s Three Etudes (rondo which devours itself, currents, and a sounding) opened the second half. These short works were offered with virtuosic flair and probing depth. Of the three, a sounding was my favorite, but all three are effective and engaging pieces.
Luciano Berio’s Sonata ended the concert. This work seems to be anchored around the note B-flat, which is repeated continuously through much of the work (it reminded me a bit of Le Gibet from Gaspard de la nuit). It was yet another twenty-five-minute work that made heavy demands on the player. Conceptually it was more accessible than the Furrer piece, so it was an easier task for the listener, but not for the player! Mr. Kigawa was more than up to the demands and made it all seem easy. Perhaps the audience had been spoiled by his earlier dazzle and did not give him the credit he so richly deserved, much to my chagrin. As an encore, Mr. Kigawa offered the 4th (Erdenklavier) of Berio’s Six Encores.
Taka Kigawa is a pianist who not only has technique to burn but possesses an uncommon intelligence. Special note to all 21st century composers: Taka Kigawa is the pianist you have been looking for.
