Friday, 19 October 2018

7.30pm, Kelso Old Parish Church, TD5 7BH

Yu Kosuge 'On Fire'

Tchaikovsky

from Seasons: January 'At the Fireside'

Max Reger

excerpt from Traeuma am Kamin

De Falla

From El Amor Brujo No2 Cancion del Fuego Fatuo

De Falla

From El Amor Brujo No5 Danza Ritual del Fuego

Liszt arr.Stark

Symphonic Poem No5 'Prometheus'

Debussy

Les soirs illuminés par l'ardeur du charbon

Debussy

From Preludes Book 2 Feu d'Artifices

Scriabin

Vers la Flamme op72

Scriabin

Poeme Satanique Op36

Stravinsky

excerpt from Firebird Suite (Piano version by Stravinsky)

Yu Kosuge makes a return visit after her last sensational concert in 2016 three weeks after winning Japan’s highest musical honour the Suntory Award.  Previous winners have been Mitsuko Uchida, Seiji Ozawa, Toru Takemitzu, and Masaaki Suzuki and the Bach Collegium Japan.  The great strength of her playing was in the extraordinary colours which she drew from the piano and this amazing programme is designed to do just that.  All the works are based around a theme of fire.

We were told by a Japanese visitor at her last concert that when she plays in the Suntory Hall in Tokyo tickets are as rare as hen’s teeth.  An opportunity to hear Yu play in Kelso is not to be missed.

Yu appears at the most important venues in Europe, North America and further afield. Her Carnegie Hall debut recital met with outstanding success with critics praising her “acutely poetic sensibility…wit, drama, and effulgent lyricism”. As well as regular performances in Asia and with all the major Japanese orchestras, Yu Kosuge has worked with many of the leading European orchestras. She has also been invited to numerous festivals for recitals and chamber performances.

£14.00

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Kosuge’s interpretation of Chopin’s 12 Etudes, Op. 10, was equal parts emotional and cerebral, and blissfully void of the exaggerated rubato and affectation that often burden the pieces. Fleeting moments of crystalline textures and pastoral hues gave way to the bold, tempestuous waves that Kosuge created so naturally at the keyboard.’
The Washington Post

2018/19 Season: