Gelukkig Nieuwjaar / Le Petit Concert du Sablon de Nouvel An
(Belatedly) Happy New Year 2016 & Wish Your Excellent New Year 2016.
There aren't silent nights during Christmas and New Year. My winter holidays for this time was too short as usual happily, however. I had been asked by M. Jacob Norden to play at his antique salon of the Sablon (very near to KCB / KMCB - CRMB main building from the Louise / Louiza - Justice Palace side) on 10 January instead of 05 June 2016 after passing Huy / Hoei before end of 2015, therefore I came "back" in Brussels this new year. Although there is always a beautiful antique piano at his salon, I decided to give a solo violin concert (here means a violin concert with entire program for violin solo works without any accompaniments) immediately. Here's the actual program on 10 January 2016 ;
"Le Petit Concert du Sablon de Nouvel An ~Solo Concert du Violon~" (10 January 2016, Jacob Norden Fine Antiques, Brussels Belgium)
Johann Sebastian Bach : Partita No. 2 in d BWV 1004 (included Chaconne)
Niccolò Paganini : Capricci No. 13, 17, 20 and 24 Op. 1
Eugène Ysaÿe : Sonata No. 4 in e "for Fritz Kreisler"
Naoko Matsui, Violin (unaccompanied solo)
Normally it is not enough easy to decide entire program if I give a solo concert without any other solo performers but with or without accompanists due to required durations, my desires, requests (if I have been asked or demanded or obliged) and "the difference of the preference among the locations of concerts (difference of lands, cities or situation of the place of concerts..), etc. However, only for this time I easily decided my entire program for the concert in few days. Of course I and M. Norden were talking to put works by Niccolò Paganini and Eugène Ysaÿe at least, when we decided the first concert appointment, already. Since 13 years to play the Solo Sonata No. 4 by Ysaÿe after the concert at Presbytère and the cloture concert solo of the IMA Saint-Cast 2003 (Bretagne France), without cutting the second movement ordered by the then violin professor at CRMB (I saw him that he was shy for his intrepretation ideas at that moment. Now I've conviction that he was hiding certain crucial facts for his own security reason). I play not only the violin concerts but also small virtuoso works and I Capricci by Paganini as usual. And now I have Chaconne / Ciaconna by Bach which I passed my Kolloquium (Colloquium) at JBK with whole movements of Partita No. 2. Et, voilà! C'est parti!
(Now I think now I should also put a solo sonata work by Jongen in A Major.)
The atmosphere of the concert place "Jacob Norden Fine Antique" was very warm and it was very comfortable to play the entire program without being tired. Anyway I literally performed the whole movement of the Partita No. 2 by Bach until the last long D unison of Chaconne first of all. There I surprised to myself that I could danach, perform 4 Capricci by Paganini ; No. 13, 17, 20 and 24 with enough force. C'est uncroyable mais c'est vraiment vrai....!
Then, can you believe that I performed also the entire movement of the Violin Sonata No. 4 "pour Fritz Kreisler" by Eugène Ysaÿe after the above-mentionned program? Well, it was the most important that I performed its whole movements including the 2nd movement at the public, finally. During my performance of this Sonata there is only one note modified under the sure and real concept from historical backgrounds which are not shown to me entirely yet, but I began understanding and knowing what it is much better than 13 years ago, now (yet without knowing why the "Royal Conservatory of Music of Brussels" had been devided in two different language section before my studying). I think it is not too difficult to understand why and how to play it so if we can "read" the music score. Actually I immediately understood and began playing it so since end of 2002. I'm sure that there are not any risks of being failled at any concerts, auditions, international competitions due to it, at all. Anyway this Sonata is very easy to re-cap even after 13 years as if the Sonata itself were calling me for my come back with warm, fantastic, romantic and sentimental atomosphere.
After this concert I could talk again with M. Norden ; he gave me a very sincere, clear and decisive advice for my future violin performance career. There I immediately and strongly agreed with him. I rejoiced also for that the audiences began comparing me with historically celebrated violinists as well as Nathan Milstein (!), Jascha Heifetz (!) and Arthur Grumiaux (!), especially Nathan Milstein (!). I could never imagine even one of them. C'est fait. C'a été.
I returned in Germany from Brussels yesterday. Now questions about my too short staying in Brussels occur ; why didn't I take some moments at Petit Sablon and Grand Sablon after this concert....? Why was the violin solo part of the 1st Violin Concerto by Max Bruch fold? Why didn't I remind to put also a violin work by Jongen for this time...? Why didn't I pass Hoei/Huy this time, after the concert in Brussels....? Why don't I pass Hannut or Leuze again, yet....? Could I do something more....?
I'm happy when I can perform in Belgium. Don't regret even if you feel having not enough chances in Brussels.