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The colourful building on Nevsky Prospekt that houses the Small Philharmonia or Engelhardt Hall in which Aimi performed. It also hosts offices and a metro station. (Photo from Sergey Fedorov’s site on St Petersburg www.serzh.ru) | ||
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This page is mostly done now. Christina Shatuho’s report is very encouraging about how quickly Aimi has mastered her two new sonatas (Chopin 2 and Prokofiev 3) since first performing them at the Yasuko Fukuda auditions in August 2011. | ||
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Recital in Small Philharmonic (Engelhardt) Hall, St Petersburg, Russia, 24 December 2011 Program: Mozart, Piano Sonata no. 18 in D major, KV 576 Beethoven, Piano Sonata no. 23, “Appassionata” Intermission Prokofiev, Piano Sonata no. 3 in A minor, Op. 28 Chopin, Piano Sonata no. 2 in B flat minor, Op. 35, “Funeral March” Encores Chopin, Étude Op. 10, no. 5, “Black Keys” Chopin, Nocturne no. 20 | ||||||
Your reporter in St Petersburg | ||||||
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Christina’s report on the St Petersburg recital*
We had to go through the busy central area of St Petersburg. We bought flowers on the way to the hall. It was really beautiful in there. Aimi came on stage in her red dress and looked wonderful! First part Aimi started with the Mozart sonata (KV576), which sounded very good. She played it extremely well, with so much ease and with no heaviness, which is the main problem when pianists play Mozart. She understands Mozart and I think he suits her very well. I think she should play more Mozart piano concertos. [Later} I’m enjoying listening to the beautiful Mozart again. It’s the first time we have heard her playing this sonata. [1] I was a bit surprised as she didn’t prepare too long before playing any of the pieces . . maybe about 15 seconds. And when she started playing the Mozart I was completely amazed at how it sounded. Aimi was moving her fingers like a flying butterfly, so easy, so natural, and so absolutely free. Then there was the Beethoven Appassionata, but the recital lacked one important thing. She seemed to put all her power into the piano, but the sonata lacked a full “forte” sound. The pianissimo was absolutely perfect. The 2nd movement was truly outstanding . . . the best ever. All in all, the sonata was very good, but it still needs some work to be really great. [2] [Later Christina added emphatically that the performance was much better than on the CD and that the interpretation is now excellent.] Second part In the 2nd part of the recital Aimi played Prokofiev Sonata 3. It has improved a lot since we heard it last time (in August). Aimi was very confident and gave a true interpretation of that style of music — though again she lacked some power. {Later} . . there is still this innocence in her playing of the sonata, though at the same time it sounds much better. But I think she should wait before she tries to play sonatas such as no. 6, 7 or 8. [3] Last was Chopin’s Sonata 2, where Aimi took absolute control of her emotions, with such a soft, but not a weak touch. I can’t describe it — you will have to hear for yourself! The Funeral March was a huge success, showing the progress in her cantabile playing. You won’t hear a better interpretation. Aimi was all shining. On the whole I thought the Mozart and the Chopin were the best. She gave us two encores, both Chopin: Etude #5 and her constant Nocturne #20 — which was just like: WOW! After the recital After the recital we went to Aimi’s dressing room — and she IS so small!! I gave her some chocolates and the flowers. She was very friendly, and once she realised who I was she said “thank you!” again and again. [4] I got another autograph from her, so now I have three! We also took pictures with Aimi, Yuko and Elena. [5] After the recital we waited some time and were the last to leave the hall. We met Yuko and Aimi again after they’d changed their clothes — Aimi was wearing ear muffs and looked so cute — and Yuko gave us a big bunch of Aimi’s flowers. She was very nice to us and, when we asked, confirmed that the Moscow concert had been a great success. Elena wished me good luck. Aimi was smiling and waved to me. Wonderful!
NOTES * This is an edited version of the report Christina wrote for her Facebook wall immediately after the concert, to which I am adding further comments she is sending by email. She had an excellent seat, just eight rows back from the stage and with a view of the full keyboard — although this was from below as the stage is high. Nevertheless she could see Aimi’s hands well. 1. Aimi performed the sonata three times in 2010, but this (as far as I know) is the first performance this year. 2. From this and other comments by Christina it sounds as though part of the problem may have been the hall acoustics as Aimi is capable of considerable power. Some who were at the Weill Hall recital in April 2011 commented that some of her playing was too strong for that hall! Since the Fukuda auditions Aimi has been writing of her need to pay attention to the acoustics of a particular venue and how a piece she is playing sounds there. 3. “Innocence” — Christina is referring to the mental/emotional approach that’s needed for some Prokofiev, which of course is the very opposite of what she means by “innocent”. She’s comparing this performance to the Fukuda scholarship and Philia Hall performances. As to the other sonatas mentioned, Mrs Ninomiya has told us that Aimi is thinking of attempting them. 4. This looks like more evidence that Aimi isn’t getting very far with her English! She knew beforehand that an important fan of hers was coming to the recital and hoping to meet her. 5. Elena Rossman heads the AADGT (American Association for Development of the Gifted and Talented), which manages Aimi’s sponsorship. | ||
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 | Aimi makes her entrance |  |  | Group photo back stage |  | |||
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 | Christina and a friend, Christmas Eve 2011 |  | ||
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Other archived pages: | ||
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www.godsownclay.com — powered by owls | ||
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