Taka Kigawa at LPR: A Program of Intense Concision

This past Monday, around 1000 people crowded into Le Poisson Rouge to hear a program of Webern, Xenakis, Pintscher, Eckardt and Boulez. The main reason for such enthusiasm is undoubtedly the highly refined playing of pianist Taka Kigawa. But in addition to praising Mr. Kigawa’s performance, I must also salute his programming. Boulez, Xenakis and Eckardt write highly demanding works that typically serve as programmatic centerpieces. To feature all three in addition to Webern and Pintscher is an excitingly bold move.

The proceedings began on an introspective note with Webern’s Op. 27 Variations. Kigawa’s interpretation was appropriately sensitive. Even in the most subdued moments, softly rendered pitches rang forth with clarity and warmth. Thankfully the air-conditioner was turned off, a fact that undoubtedly allowed for a more detailed listening experience.

Following the cascading Evryali of Xenakis and Matthias Pintscher’s crystalline, atmospheric On a Clear Day, Jason Eckardt’s Echoes White Veil served as a bridge of sorts, featuring multiple tempi and intense interplay between registers. Both the Eckardt and Xenakis require a stern sense of command and, with regard to articulation, an endless spectrum of gradations. Again, the challenge was impressively met. The program concluded with the Boulez Sonata No. 1 and two encores, a Debussy Prelude and one of the Boulez Notations.

At just over an hour, Kigawa’s program boasted a concision that greatly aided concentration. There were few if any lulls. I feel that programs like this one, featuring short to medium-length works of relentless intensity, should be more widely emulated in both formal and informal venues. It is all too rare that I see a concert advertisement and think, “I want to hear every piece on that program.” This was the case when I learned of Taka Kigawa’s recital and he did not disappoint.

Click here to read Allan Kozinn's review of the concert in The New York Times