Yoko Kakishita Plays Beautiful Chopin

Bangkok, March 22, 2010. I think it was Artur Rubinstein who said “Chopin is the piano.” Regardless of who said it, it is impossible to think of the piano without paying homage to Chopin. Since this is the 200th anniversary year of Chopin’s birth, it is not surprising that many pianists are devoting themselves to Chopin’s large repertory and performing all-Chopin recitals. This is more difficult than it might at first seem, because Chopin’s works are intimately known to all who attend this type of musical event and, if played badly, the audience is quickly lost.

For her all-Chopin evening at the Goethe Institute recital hall, Japanese pianist Yoko Kakishita chose two of Chopin’s well-know and often performed pieces, the Fantasie in f minor, and the complete 24 preludes. Immediately, Kakishita showed a love for Chopin and an understanding of the demands of these difficult pieces. There is nothing worse than a pianist who tries to eek out beauty from Chopin as it can turn into maudlin sentimentality. On the other hand, a literal reading of the notes, no matter how accurately or flawlessly played, will leave the listener cold. Whatever balance is needed, Kakishita has it, and the ultimate goal, which is to play beautiful music, was achieved during most of this evening’s playing. Kakishita’s formidable technique did have some lapses, but she quickly recovered and gave no indication that a wrong note here and there, or a memory lapse had occurred. That’s real professionalism. The program, although satisfying, was not long and even with two Chopin encores, this reviewer was longing for more.