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Aimi and Mrs Ninomiya with Christoph Eschenbach. Tokyo, November 2007 | ||
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Interview/Audition This is a transcript of an "audition" Aimi had with Christoph Eschenbach in Tokyo in November 2007. I do not know why or how this meeting was set up, so one has to guess that it was arranged for the purpose of making a short television documentary while Eschenbach was in Tokyo with l'Orchestre de Paris. The program was made and narrated by Jacques Collet and broadcast by LCI TV on 1 January 2008. LCI (La Chaîne Info) is a French cable news channel. | ||
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Scene: A corridor somewhere in the interior of the NHK Broadcasting Center, Tokyo. Aimi comes racing round a corner, followed, at a more sedate pace, by Yuko Ninomiya. They meet Christoph Eschenbach and Jacques Collet.
Jacques Collet (presenter) The really feared moment — the presentations. Let me introduce you . . . Aimi Kobayashi and her teacher Yuko Ninomiya.
Aimi takes off her glasses, just manages to stop herself colliding with Eschenbach, and they shake hands.
Christoph Eschenbach (to Aimi) Do you speak English a little?
Yuko Ninomiya (in French) No, I’m sorry. She is still learning, but she should be able to soon.
Eschenbach (slowly, in French) Would you like to play a little for me? . . . Allons-y!
They turn and walk down a green-linoed, yellow-walled corridor towards the concert hall.
Collet Before going on stage, Aimi looks briefly at her teacher, who confirms that she should play the 25-minute long sonata [no. 5] by Beethoven.
Aimi seats herself at the piano in the empty theatre. She’s dressed in grey school costume over a black singlet with elbow-length sleeves. Her hair is tied back off the top of her head in a pony tail. She launches into the sonata, seemingly somewhat nervous, which initially affects her playing. Then . . .
Collet Suspense. What does the maestro think at this moment? Was the meeting worthwhile?
Shot of Eschenbach sitting pensively in front row of purple-upholstered seats. Lips pursed, head raised, concentrating. Mrs Ninomiya and others in party are across the aisle, sitting further back. Eschenbach has considerately placed himself so that Aimi is not distracted by him watching her hands. She continues to play . . . then cut to second movement and close-up of Aimi with Eschenbach still in the same seat in the background. She has lost her nervousness, is humming and has got into her stride. Eschenbach gets up and walks forward . . .
Collet And now, the moment of discovery. Christoph Eschenbach is stupefied and approaches closer to observe the phenomenon.
Shot of Eschenbach’s face, eyes wide with serious concentration, standing nearer Aimi.
Collet Myriam [Mazouzi], the orchestra’s production and media director, raises her eyebrows . . .
Shot of Ms Mazouzi standing at her seat . . . Aimi begins the last movement of the Beethoven sonata.
Collet . . . the tension with which Yuko watches her pupil speaks of this truly exceptional moment . . .
Shot of Mrs Ninomiya looking serious. Eschenbach has now moved to a simple metal seat by the entrance door where he can observe Aimi’s hands. She finishes and turns to look at him.
Eschenbach Bravo! Fantastique!
. . . he says quietly, with a smile. Eschenbach and Aimi continue to smile at each other.
Collet (from the auditorium) What is your impression?
Eschenbach Extraordinaire.
Collet Pourquoi?
Eschenbach (concentrating, looking thoughtful) Because you cannot explain her sound. Because she is deeply musical. I have heard many people playing, also in her age group. She has something special . . . musically speaking.
Collet Do you think this is her own voice [sound] or something she has learned from a teacher?
Eschenbach No, no. It is inside. It comes from very deep inside . . .
All this is focusing on Eschenbach’s face as he considers his replies.
Collet So how do you explain it?
Eschenbach . . . Of course [looking with a smile in Ninomiya’s direction] she has a very good teacher . . . Because she has a very fine feeling of rhythm . . . also her musicality, and other things she has learned, like phrasing, emphasizing subtle things and so on. But the way she forms things is hers, and she also understands things herself from the very bottom of her heart [d’elle même . . . profond de son coeur] . . .
Cut to Aimi’s hands at keyboard.
. . . And there is something you can immediately see, when a person who plays in a certain very natural way that is not taught. And here everything is natural. And it is very beautiful. Very, very beautiful to see.
Aimi now plays one of the Chopin scherzos. Eschenbach remains on the metal seat by the door where he can see her hands and watch how she moves. End of her playing. Scene now changes to Eschenbach in conversation with Mrs Ninomiya over on the other side of auditorium, where they are joined by Aimi (see scene in banner at top of page).
Eschenbach (to Ninomiya) As I’ve said, this young girl is very unique. You’ve asked me what advice to give her parents . . .
Aimi appears from Ninomiya’s left and Mrs N puts her arm round her shoulder as they listen to Eschenbach.
. . . I say she should not let herself be devoured by the music business . . [Mrs N nods. Eschenbach switches to English. Aimi gazes up at him in awe] . . because with a talent like hers the wolves of the business could jump on her and try their utmost to produce her here and there, but her personality is so very precious, her expression is so profound and natural at the same time, and she is not shy to show it.
Cut to Aimi playing Chopin (whether this is another piece played after the above conversation isn't altogether clear). Eschenbach is on his metal seat, watching.
Collet Second test: the scary Chopin Scherzo no. 1.
Aimi is now playing with confidence. Long shot of her playing with Eschenbach watching thoughtfully in the background. End of audition scenes. Cut to preparations by l'Orchestre de Paris.
Roland Daugareil (1er violon de l’O de P) It is truly extraordinary to see a face that breathes music so much, that shows so much inspiration — c’est magnifique!
Collet Is it surprising?
Daugareil Yes and no. Yes, it is always surprising. No, because I very often go to Japan as a teacher and to see young people who will form the future generation of virtuosos . . who are already virtuosos. And it is magnificent because work is one thing and talent is quite another.
The program ends with Aimi finishing the Chopin scherzo. Eschenbach is now standing behind her watching her hands intently as she brings the piece to a close. She turns to smile at him and he responds warmly with “Bravo, bravo!”
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