27. Nov, 2016

Indeed in Rome, Indeed What I Saw Was

I yet feel as if I were floating on air at being Rank #1 in N1M Classical Charts for Hamburg and Berlin on 24 November 2016. Thus, I check rather my Charts than Stock Exchange Quotations every morning for my money. 

It was already 6 months later of 33 Testaccio Concert in Rome (19 May 2016) to come Rome again. In true, I already played Sonata No. 1 for unaccompanied violin solo by Paul Hindemith and extracts of Unaccompanied Sonata by Béla Bartók in a church (although I had been explained it was San Damiano of Rome, I was also heard the different name of the church before this year) which was accompanied by a regional music conservatory and very close to the Colosseum / Colosseo. This time, it had been held at a enough peculiar auditorium of a music school (I think it was a kind of Academy ; a kind of Music Gymnasium for 10 years music study before BA Level) detached from two of central places (Piazza Venezia and Piazza Bologna) in Rome.

Here's the program ;

 

Selezione Giovani Musicisti (25 November 2016, Grand Concert Hall of Praeneste Accademia Musicale di Roma, Rome Italy)

 

Niccolò Paganini : Violin Concerto No. 1 Op. 6 (Cadenza : Émile Sauré with cutting vers.)

 

Naoko Matsui, Violin

 

 

Due to severe duration limit for performance, I arranged the Cadenza by Émile Sauré little bit, but only for this time. The once I began playing the Concerto(s) by Paganini, no longer I can stop playing it. This time, I felt as if I and my hands became much bigger, as if I were able to be more than 2m during playing with ultra ease for each passage and phrase of Paganini's. So do I, so continue I, so play I, etc.

I had been announced first of all that there were only two performers ; me and a female flutist (?) due to absence of lots of people, some for the audience and the other for performance. However, 5-6 pianists and guitarrist came just before the opening time and they stopped playing their program and began suddenly their own rehearsal ! And they stopped. Why did nobody ask them to perform on the stage than rehearse in front of the audience ?!

The Auditorium of Praeneste ; a music school in Roma seemed to be enough strange or "not normal" ; the form of the entire part of the grand concert hall alias auditorium by the organization, including the entrance hall and a rehearsal room was the same form of rather a Grand Concert Hall than a Auditorium, and was ultra humid in the end of November, even in Rome. It made my violin being needed tuning anormously many times within one and half hours before my performance. I didn't go upstairs for another rehearsal room as well as the flutist woman because I was affected by the heat only from the stairs with too narrow passage which were painted by glossy and waterproofing light (and mild) yellow color.

The entrance before the gate of the audience sloped like the audience of the Auditorium of Ponteareas (Spain) but less sloped than the audience of Bario Hall (Tokyo) or the Auditorium of Kleinzavel of KCB / KMCB. I immediately convinced as if "another but proper and real concert hall with the audience were buried" under the floor of where I was standing. Imagine, I immediately noticed that the floor covers were completely as same as Blackmore's Berlins Musikzimmer of Berlin and the gate covers were as same as Ciudad Real's Auditorium (the hall and the acoustic style was very similar to Nippori Sunny Hall of Tokyo and Ex.-Casals Hall of Tokyo) where I performed Violin Concerto by Wolfgang Amadeus Mozart in 2015. They meant that there're certain concert halls which were "buried" by same institution or group for certain reasons or intentions.

The front of the auditorium after the gate covers was filled by an old but extremely damaged and narrow piece of the blue carpet which was exactly the same when I was rehearsing and performing on OSN Gala Concert at Concert Church Hall of IMEP of Namur / Namen. Such sliver was no longer for neither IMEP nor this concert nor any other places, anymore. But why was it here and why was it putrid ?! How or who did bring the carpet from Namur / Namen to Rome (I never meant to ask you of which airport they used to bring them) ?! How low-ceilinged hall and the stage (possibly even lower than some kinds of Japanese private house buildings.. ?) they were !! And how many performers could play on the stage of "certain height", where was covered with slippery waterproofing paint thickly without small stairs for any performers from the floor to the stage, rather why could that small but concert piano be stood on there ?! 

(And what's more, why the interior of a Music Academy and its Auditorium / Concert Hall were waterproof ?)

Just one moment was enough to decide to play in front of the "certain height" stage.

One of my ancient chamber music teachers was sitting behind the other audiences. He was giving also private solo violin lessons for few of anxious or stuck student of the violin for their violin, music study and their public performances. I could not believe my own and real eyes because here was Rome, neither Bruxelles / Brussels nor Libramont. He was gazing my entire performances with stronger spirit than 8 years ago, even he became much older than before. I learned Scottish Fantasy by Max Bruch with major violin sonata repertories from him at the same time of other chamber music formations. Only once, I was sorry to him for playing the First Violin Concerto by Niccolò Paganini there in stead of Scottish Fantasy of Max Bruch. There, I could never imagine to see him again in Rome and I was not bad at playing Bruch's concerto repertory, as I also played the First Violin Concerto by Max Bruch as soloist at the Grand Concert Hall of Koninklijk Muziek Conservatorium van Brussel in 2010.

.... otherwise, had I better to play Scottish Fantasy by Max Bruch there, in front of him ? I repeated asking myself during my performance without being stuck. All of the three of presented programs for this event were mainly concert works by Niccolò Paganini as usual which were combinated by some of my recital repertories of this year.

Someone warned me "Don't play preciously in the murs pourris !!!" just in front of Praeneste, not only as loud as possible but also too lately. It was already after my playing or "noticing them just after playing". No chance to give up performing there in the last minutes, indeed.

 

In Düsseldorf Airport, an imposture woman (who was ex. organist) attempted snatching my violin and other passagers' bags at the boarding gate to Hamburg. That woman told everybody that any type of carry-on baggages were not authorized. Her calling was already blocked when I blamed her because her name on her badge was pseudo.