Trinax.blogspot.com Website Review

Mr. Okihiko Sugano (1932) -2018) Last month, he died. He is an important bannerman of Japanese music and sound culture. He is also an outstanding figure in Japan's commentary and practice in the music scene in the second half of the 21st century. I think if you want to commemorate a person who loves music, it should be appropriate to follow his footsteps to examine the serious love of music. So in this issue, I am locked in the wilderness and the Japanese pianist Miyazawa Akiko (Meiko's many fans' impressions of Kanno Hiroshi come from his review article, as well as his jazz records, such as the album released by Audio Lab. Recording, there are also jazz fans who are unfamiliar with audio hardware. Because he is the brother of the pianist Kanno Kunihiko, he heard about his name. I only noticed a few years ago that he also used to record clas*ical music and search for a while. I found that he and the pianist Miyazawa Miyako cooperated very closely, leaving a lot of solo recordings, which caused my curiosity: Since it can be closely coordinated, is there any fun and interpersonal relationship between the two? Again, one Specialized performance, a special recording, what kind of texture does the playing duo show? What can the two people's cooperation reflect in addition to the piano sound, the hall sound, and the air turmoil? The pianist Miyazawa Akiko was born in 1941. In Kanagawa Prefecture, Japan, I was educated by Tongpeng Academy, Yale University, and Juilliard Music Academy; she was awarded the 1963 Geneva International Music Competition (Geneva Internationa). l Music Competition) The second place with the 1964 Italian Mototi International Music Competition (Viotti International Music, Miyazawa Akiko and Kanno Ogino), the Mozart Piano Sonata is consistent in musical expression and sound presentation. Even if you don't like it, you will have a recording of respect. (AUDIO MEISTER XRCG-30029~34) In fact, Miyazawa has excellent piano sounds, but early recordings are very embarras*ing to give more romance, such as K. 280, the same Deliberately to show the intent of the touch keys, but while de*pening the sense of rhythm, the de*p emotions are eliminated, and the simple clas*ical melodies are replaced by strong and weak contrasts. The clear volume level is very old, yes, she is The playing is not like a special emphasis on coherent sentence reading. These singularities are really incomprehensible at first, and they cannot understand Miyazawa’s interpretation.