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When one speaks of Hakuju—the milestone of turning 99—it is an age at which simply living each day in good health is remarkable in itself. While everyone has their own way of enjoying their later years, I traveled to Akashi City (to the ”Ours Hall” Akashi City Community Large Hall to attend a tenor recital given by Mr. Tsutomu Ando—an acquaintance from my corporate days who has now reached this extraordinary age. What first astonished me was the turnout: despite the venue being a large hall with 1,268 seats, it was filled nearly to capacity. I was also deeply impressed by the sheer number of songs he performed—singing them all the way through in that vast hall using only his natural voice, deliberately choosing not to use a microphone. As you can see from the program, the recital was designed to delight the audience with a rich variety of genres: Part I featured beloved Japanese songs, as well as works by Kōsaku Yamada and Kōzaburō Hirai; Part II included songs from the UK, the US, and Germany, Italian songs, and opera arias. After completing the entire scheduled program, he went on to sing three encores—“’O sole mio,” “Hatsukoi” (First Love), and “Hamabe no Uta” (Song of the Seashore). Witnessing his physical stamina and mental vigor—which still seemed to have plenty in reserve even after such a demanding performance—I believe that not only I, but every person in the hall, left feeling inspired and energized. The segment I particularly enjoyed was the selection of Italian songs. It brought back memories of a two‑week tour of Italy I took several years ago: during our very first dinner in Naples, an Italian quartet sang Neapolitan folk songs continuously for more than two hours. Although Mr. Ando’s natural speaking voice falls within the baritone–bass range, he began studying vocal music in his sixties under the guidance of an instructor. As a result, his tenor range and pitch sounded remarkably steady and assured to my ears, making for a truly magnificent recital. If I were to offer a comment—purely subjective and personal—I might say that, given the sheer size of the venue, his voice occasionally struggled to project fully to every corner of the hall. I found myself thinking that his vocal power might be even better showcased either with a subtle, skillful use of a microphone or in a somewhat smaller venue. However, this observation has absolutely no bearing on the excellence of the recital; it is merely a passing thought, offered only in the hope that it might serve as a reference for any future performances—perhaps even one planned for his 100th birthday. Mr. Ando’s talent for watercolor painting also extends far beyond the level of a hobby. The artwork on the cover of the program, as well as the large canvases—perhaps exceeding size 100—displayed on either side of the stage, were all painted by him. Incidentally, Mr. Ando and I first met during our time at the same company, though we never belonged to the same division. We became acquainted through work: during my overseas postings in Germany and New York, I had the privilege of assisting him on several occasions when he visited on business trips. With Mr. Tsutomu Ando

Chapter 18: Johann Sebastian Bach (1685–1750; Died at age 65) Eisenach is a small yet culturally rich city situated at the northwestern edge of the Thuringian Forest; it was here that Bach was born as the eighth child of his father, Johann Ambrosius Bach. Bach stands as the greatest musician of the Bach family—a lineage that produced musicians for two centuries, whose members were, generation after generation, devout Protestants. After losing his mother at the age of nine and his father at ten, he was taken in by his eldest brother, Johann Christoph—an organist in Ohrdruf—where he received both his general schooling and musical education. At the age of fifteen (in 1700), he moved to Lüneburg; after serving as a church organist in Arnstadt and Mühlhausen, he became Court Organist to the Duke of Saxe-Weimar in 1708. In 1714, he was appointed Choir Director and Court Kapellmeister to the Prince of Anhalt-Köthen. Finally, in 1723, he assumed the positions of Choir Director at the St. Thomas School in Leipzig and Music Director for the city of Leipzig—posts he held for the remainder of his life. Renowned in his time as the preeminent master of organ improvisation, he composed numerous masterpieces throughout his career: organ works during his Weimar period; orchestral and instrumental music during his Köthen period; and, during his Leipzig period, a wealth of sacred music—most notably his cantatas. From a Protestant perspective, he synthesized the entirety of German Baroque music, leaving behind a vast body of work encompassing every musical genre except opera. Note: The catalog number BWV stands for Bach-Werke-Verzeichnis (Bach Works Catalog); these numbers correspond to the thematic catalog compiled by Wolfgang Schmieder in 1958. Below, I have written some brief impressions of Bach’s music, based on the performances I have recently listened to. Christmas Oratorio (BWV 248): Listening to it again after a long hiatus is an utterly delightful and beautiful experience. The harmony between the voices and the instrumental timbres draws the listener into the unique beauty of the cantata form—a beauty shaped by melodies and chords that echo the medieval era. It is said that many of the musical ideas within this work were adapted from Bach’s earlier secular cantatas. Parts 1 through 3 are designated for Christmas; Part 4 for New Year’s Day; Part 5 for the First Sunday of the New Year (the First Lord’s Day); and Part 6 for the Feast of the Epiphany (Three Kings’ Day)—apparently intended to be performed over six days. Complete Cantatas (Vol. 1): Nos. 1 (BWV 1), 2 (BWV 2), 3 (BWV 3), and 4 (BWV 4). I listened to the recording featuring the Vienna Boys’ Choir (Wiener Sängerknaben) and Concentus Musicus Wien, under the overall direction—and continuo cello performance—of Nikolaus Harnoncourt. Bach’s cantatas possess a unique quality: they invariably soothe the soul, leaving one with the desire to listen endlessly. I also listened to Cantatas Nos. 30 and 147 performed by the Munich Bach Orchestra and Choir (Münchener Bach-Orchester) under Karl Richter; with their exquisite harmonies and seamless blend of orchestral timbres, these performances can be described in a single word: magnificent. Organ Works: I listened to the Toccata and Fugue in D Minor (BWV 565)—among other pieces—on a record titled Orgelmusik in Ottobeuren. I acquired this record in the 1970s, during the time I was working in Germany, during a visit to the abbey in Ottobeuren (see photo above)—a small village located 100 kilometers southeast of Munich—which I frequented often. Brandenburg Concertos Nos. 1–6: Works from Bach’s Köthen period. Characterized by a style akin to the concerto grosso, these are truly original concertos within the Baroque repertoire—masterpieces that are both accessible and delightful to hear. I have listened to recordings by I Musici (1965) and the New Philharmonia Orchestra, as well as a video performance by Collegium 1704 under Václav Luks. Both interpretations are excellent; the I Musici recording offers a familiar sense of stability that is deeply comforting, while the Collegium 1704 performance—filmed in the Hall of Mirrors at Köthen Castle—is a magnificent rendition brimming with the authentic atmosphere of Bach’s own era. Violin Concerto No. 1 (BWV 1041), No. 2 (BWV 1042), and the Concerto for Two Violins (BWV 1043): These three pieces rank among my most cherished classical works. In 1963, having been selected by my employer as the company’s first overseas trainee, I spent three months at the Goethe-Institut in Rothenburg ob der Tauber (West Germany), living entirely apart from other Japanese people. During that time, a friend—knowing my love for music—sent me a vinyl record featuring these works. Performed by the father-and-son duo Igor and David Oistrakh, the recording showcases a violin tone that resonates deeply with German sensibilities—a sound I have returned to dozens upon dozens of times. Collection of Organ Miniatures (7-Disc Set): Performed by the virtuoso Helmut Walcha (on harpsichord). I listened to all seven discs, though to be honest, it felt like “too much.” The famous Toccata and Fugue in D Minor, BWV 565, however, is a masterpiece I frequently enjoy on its own. Since Bach was involved with organ performance throughout his life, the liner notes explain that this collection allows listeners to appreciate the distinct timbres of organs from various regions—including Southern Italy, the Netherlands, and France. Goldberg Variations, BWV 988: Composed to help ease the insomnia of Count Hermann Graf von Keyserlingk, the patron served by Bach’s student, Goldberg. Glenn Gould’s 1981 performance—by an artist who devoted his life to the Goldberg Variations—radiates a profound brilliance; he employs every expressive capability of the piano, from pedaling to dynamic and tempo nuance, to bring this work vividly to life. The Well-Tempered Clavier (48 Pieces): Just as Hans von Bülow famously likened Beethoven’s piano sonatas to the New Testament and this work to the Old Testament, this collection of preludes and fugues—composed in every major and minor key—was inspired by a new harpsichord Bach acquired during his Köthen years. The 24 pairs of preludes and fugues are arranged in ascending chromatic order, beginning with C major. Their inexhaustible depth and profundity make the Old Testament analogy truly fitting. Mass in B Minor, BWV 232: Although the complete work is said to have been finished in 1749, it represents a monumental masterpiece from Bach’s late period—one that, in reality, took over twenty years to complete, incorporating material composed much earlier. Under Gustav Leonhardt’s direction, the music flows with a supple, unbroken grace; every part—including the instrumental lines—retains its vitality, giving the sense that each voice sings from the depths of the soul. I have listened to several performances: two recorded at St. Thomas Church—(1) conducted by Herbert Blomstedt with the Leipzig Gewandhaus Orchestra (2017), and (2) conducted by Masaaki Suzuki with the Bach Collegium Japan—as well as (3) conducted by Nikolaus Harnoncourt with Concentus Musicus Wien at NHK Hall. While all are magnificent, the performance by Blomstedt and the Gewandhaus Orchestra (1)—from the color palette of the choir’s robes to the musical execution—stands out as a superb interpretation befitting Bach’s spiritual home, one that invites repeated listening. Sonatas and Partitas for Solo Violin: Midori Goto’s 2016 recording, captured in the Hall of Mirrors at Köthen Castle, offers a magnificent realization of the complete six-work cycle. It is a recording of exceptional caliber—both a masterpiece composition and a masterful performance—that moves the listener deeply.

Amidst the hustle and bustle of daily life, music becomes an indispensable presence for us music lovers. Classical music in particular—even as the number of active performers is said to be declining—possesses a profound artistry and emotional depth that nourish the soul and stir our most delicate feelings. But the allure of music extends beyond stimulating individual sensibilities. It also has the power to foster friendships. I myself have met many friends and deepened my bonds with them through performing. Whether playing at retirement homes, giving recitals with fellow amateurs, or participating in student showcases, music creates warm connections—not only among performers but also with the audiences who come to listen. Friends made through music are not merely companions in a shared hobby; they are, in many ways, partners who walk alongside us in life. Why Music Deepens Friendships The power of music to nurture friendships goes far beyond a simple “shared interest.” Listening to or performing music together creates emotional resonance that naturally brings people closer. Music also serves as a form of communication that transcends words, allowing us to understand and appreciate one another’s sensibilities and values through performance. Of course, when values clash, the result can sometimes be the opposite—leading to discord or an ensemble that simply doesn’t come together. Still, classical music, with its multilayered and profound repertoire, holds immense potential for fostering friendship as we study and discuss it together. Examples of Friendships Forged Through Music Concerts and Performances Attending concerts together allows you to share moving experiences that naturally spark conversation. Exchanging impressions afterward offers a wonderful opportunity to understand each other’s sensibilities. Partnerships Built Through Rehearsals Practicing and discussing musical interpretations encourages mutual support. Overcoming challenges together deepens trust. Sharing Repertoire and Recommendations Introducing favorite pieces to one another leads to new discoveries and lively conversation. Shared tastes can create a sense of kinship—though discovering differences is, of course, also part of the experience. What It Means to Have a “Music Friend” A “music friend” is someone with whom you build a relationship grounded in mutual respect for each other’s sensibilities and values—a bond strengthened through shared musical experiences. Shared Empathy and Understanding Discussing the emotional impact and interpretation of music fosters deep empathy. Partners in Learning Sharing techniques and knowledge encourages mutual growth. Emotional Support Facing the challenges of musical performance together strengthens bonds. Cultural Exchange　－　Exploring different cultures and histories through music broadens perspectives. The Psychological Mechanisms Behind Music and Friendship Fostering Empathy Music makes it easier to share emotions and understand others. Release of Oxytocin Enjoying music together heightens feelings of happiness and trust. Non-Verbal Communication Music enables emotional exchange beyond spoken language. Strengthening Community　－　Shared musical experiences create a sense of unity and deepen solidarity. Ways to Nurture Friendships Through Music Increase shared musical experiences Set aside time to talk about music Learn and practice together Exchange playlists Express gratitude for the friendship Music and Friendship Music has the power to connect people across eras and cultures. Genres with deep artistic richness—such as classical music—provide fertile ground for nurturing friendships. In today’s world, where online music sharing and remote performances are increasingly common, it is possible to build connections that transcend distance. Through the “Music and Friends” community, I have been fortunate to experience many wonderful encounters. Music is a bridge that connects people, and I hope to continue expanding this circle of friendship through its power. Friendships forged through music are true treasures of life. I encourage you to discover how music can deepen the bonds you share with others.

Hello from Kobe, Japan, オリンピックの思い出 昨夜のミラノ–コルティナオリンピック女子1500mスピードスケートでの高木美帆選手の結果は残念でしたが、この二週間を締めくくるにあたり、私たちが目撃した多くのドラマチックで感動的な瞬間に感謝の意を表したいと思います。メダリストだけでなく、表彰台に立てなかった選手たちにも拍手を送りたいです。メダルの色はしばしば運に左右されると思います。もちろん、ノルウェーのクレーボのような「モンスター」アスリートがノルディックスキー競技で金メダルを獲得することは当然期待されますが、彼でさえも、良いタイミング、良いコンディション、そして良い運という三つの要素から恩恵を受けています。他の多くのアスリートは、タイミングのわずかな変化が結果を決定する競技で戦っています。 冬季オリンピックへの愛 私はいつも冬季オリンピックでのアルペンスキー、スキージャンプ、フィギュアスケートを見るのが大好きでした。海外で働いていたとき、いくつかのオリンピックスキージャンプを訪れました。冬ではなく、ヨーロッパスキージャンピングウィークの夏に訪れました。スタートゲートまで登り、着地エリアからの眺めを楽しむことができました。そして、年月が経つにつれて、いくつかのスキージャンプを訪れました。 訪れたスキージャンプ場 私が特に記憶に残っている場所は以下の通りです： ホルメンコーレン: ノルウェーのオスロ郊外に位置し、1952年のオリンピックで使用され、ノルディックスキーの聖地とされています。 インスブルック: オーストリアの1964年と1976年の冬季オリンピックの開催都市です。 キッツビュール: オーストリアのチロル地方にあるスキージャンプ場です。 ガルミッシュ＝パルテンキルヘン: 1936年の冬季オリンピックが開催された、オーストリア国境近くの南ドイツに位置しています。 オーバーストドルフ: 南ドイツでのヨーロッパスキージャンピングウィークの定期的な会場です。 レイクプラシッド: ニューヨーク州の東部に位置し、1980年の冬季オリンピックで使用されました。 1980年3月にニューヨークに到着したとき、冬季オリンピックは1ヶ月か2ヶ月前に終了したばかりでした。私は1964年にホルメンコーレンを初めて訪れましたが、すぐに写真を見つけることができないため、その訪問については省略します。代わりに、他の場所での訪問の記念品として集めた「パッチ」（ドイツ語でWappenと呼ばれる）の写真を添付しました。 思い出の品々 これらの思い出の品々は、私の旅の証です。各地での経験は、私にとって特別な意味を持っています。スキージャンプ場を訪れるたびに、私はその場所の歴史や、そこで繰り広げられた数々の競技を思い出します。これらの場所は、ただの観光地ではなく、アスリートたちの情熱と努力の舞台でもあります。 私の訪問が、あなたにとっても何か特別な意味を持つことを願っています。これらの瞬間が、私たちの音楽や文化への興味をさらに深めてくれることを期待しています。 私たちの情熱を共有し、音楽家や作品に関する深い洞察や演奏体験を届けることで、音楽愛好家のコミュニティを広げていきましょう。

私が以前働いていた会社の同窓会には、今年99歳の誕生日を迎える安藤 勉さんという紳士がいらっしゃいます。彼は趣味として数年ごとにソロリサイタルを開催しています。そして、最近、彼の99歳の誕生日を祝うコンサートの招待状を受け取りました。こうしたエネルギッシュな高齢者がいることに、私は再び驚かされています。 安藤さんとの思い出 私がハンブルクやニューヨークで働いていた時、異なる部署に所属していましたが、彼を何度かサポートする機会がありました。安藤さんは絵画にも親しんでおり、非常に才能豊かな方です。彼との出会いは、私にとって貴重な経験でした。 彼のリサイタルは、これまで500〜600人収容の中規模ホールで行われていました。しかし、昨年10月に同窓会でお会いした際、今回は1,300人収容の大ホールを借りる予定だとおっしゃっていました。彼の挑戦的な姿勢には、いつも感心させられます。 特別なコンサートの準備 安藤さんは通常、マイクなしで歌うことが多いのですが、今回はどのようにされるのか気になります。彼の年齢を考えると、その活力は本当に驚異的です。音楽は彼にとって、ただの趣味ではなく、人生そのもののように感じます。 音楽の力は、年齢を超えて人々を結びつけるものです。私たちが音楽を通じて得る経験や思い出は、かけがえのないものです。安藤さんのリサイタルは、そんな音楽の素晴らしさを再確認させてくれる機会になるでしょう。 音楽と人生の深い関わり 音楽は、私たちの人生において重要な役割を果たします。特にクラシック音楽は、深い感情や思索を呼び起こす力があります。安藤さんのように、音楽を愛し続けることは、人生を豊かにする一つの方法です。 私が以前驚かされたのは、友人の姉が99歳の時に出版した『赤星家のゴルフDNA』という本です。彼女もまた、年齢を感じさせないエネルギーを持っていました。このように、年齢を重ねてもなお、情熱を持ち続けることは素晴らしいことです。 リサイタルへのご招待 もし、安藤さんのソロリサイタルに興味がある方がいらっしゃいましたら、ぜひお知らせください。音楽を愛する皆さんと共に、特別な時間を共有できることを楽しみにしています。 音楽は、私たちの心を豊かにし、人生を彩るものです。安藤さんのリサイタルは、そんな音楽の魅力を再確認する素晴らしい機会となるでしょう。私たちが音楽を通じて得る経験は、人生の中での大切な宝物です。

Tête de veau, at a restaurant in Lyon, June 2025 Blog Update At the start of this year, I intended to update my blog regularly with personal stories and reflections. However, time seemed to slip by, and before I realized it, an entire year had passed without many posts. For those of you I haven't connected with in a while, I want to assure you through this blog that I am doing well. While there haven't been major changes in my life, I continue to cherish everyday moments and memories. Unfortunately, I haven't had many opportunities to share these experiences with you all. Looking ahead to 2026, I am determined to return to the basics—posting more frequently and creating more chances to share my thoughts. I also hope to see your own updates and photos, so please feel welcome to share them! Loss of Family and Friends and My Thoughts Growing up, I often heard that with age comes the growing sadness of losing friends and loved ones year after year. Now, I have reached that stage in life. Over the past year, I have experienced the loss of my brother, my cousin, and friends, each of whom left a profound impact on my heart. The passing of my brother was especially shocking, and whenever childhood memories resurface, I struggle to accept that he is no longer here. My cousin, who lived to be 100, was also a cherished presence from my childhood, and her memory continues to shine brightly in my heart. I find myself reflecting on joyful times and the moments of support I shared with friends—playing music together, sharing meals during the COVID-19 pandemic—and I feel the absence of these loved ones in my daily life. Social Situation and Generational Changes This year, there has been an increased sense of instability in political, economic, and personal security on a global scale. The way individuals engage with politics in the coming 10 years will be a pivotal factor for future changes in society. In Japan, the formation of a new government headed by the first female prime minister has drawn attention, particularly due to its high approval ratings among young people. News reporting is also undergoing a transformation, shifting from traditional outlets like newspapers and magazines to web-based media. Young people now primarily obtain information online, leading to a decline in readership for newspapers and magazines. This shift is contributing to noticeable generational differences in perspectives and opinions. Thoughts on Life and New Goals APA Concert in Tokyo, March 2025 Experiencing the loss of family and friends has caused me to reflect deeply on the fleeting and precious nature of life. Although we live in an era where people speak of a 100-year lifespan, in many ways, life feels incredibly short. As a result, I have set new goals for myself: to strengthen my relationships with loved ones and to maintain a sense of gratitude each day. In the coming year, I hope to continue playing in ensembles, traveling, walking, reading, and cooking—essentially, to carry on living my life as I have, for as long as possible. Since changing to a new medication for my chronic lung condition and maintaining moderate exercise, my health fortunately has slightly improved. I sincerely hope that next year brings good health and happiness to all of you. Please let me know how you are doing. With all respect and love, please accept my deepest gratitude.

In recent years, I’ve lost close friends and acquaintances, and at 87 years old I find myself worrying when I don’t hear from the people I exchange emails with. So I’m posting some of my photos and my saxophone performances online to let them know how I’m doing. I’m still playing the saxophone, even if my progress has been slow. In August, I performed “Memory” from Cats at my piano teacher’s Summer Concert — my first time playing in a recital in quite a while, https://youtu.be/nsswJPF3jGc?si=nvdxrhv7rl8WYC2F Saxophone Summer Concert — “Memory” from CATS, Summer 2025 When my family celebrated my 80th birthday, my daughter arranged for a studio session to take this photo in 2018 A solo recital at a hotel in Ichigaya, Tokyo, in September 2019 I wish you all good health.

Chapter 17, Ludwig van Beethoven (1770～1827, died at 56 ) Beethoven's grandfather, a renowned bass singer from what is now Belgium, moved to Bonn and rose from singer to conductor at the Elector of Cologne’s court chapel. His father, also a court singer, subjected him to rigorous piano training from an early age, hoping to shape him into a great musician. At 16, he visited Vienna and met Mozart. During his subsequent years in Bonn, he was favored by the Breuning family and became an auditor at the University of Bonn. Influenced by the spirit of the French Revolution, he is said to have longed for freedom. At 20, he traveled to Vienna to visit Haydn, whom he had met in England, and never returned to Bonn. His early style (1782–1803) was distinctive yet retained a strong Classical influence. His middle period (1803–1815) marked a major shift, incorporating bold techniques and passionate, powerful expression—laying the groundwork for Romantic music. This era coincided with Napoleon’s conquest of Europe, the collapse of the feudal order symbolized by the dissolution of the Holy Roman Empire, and the rise of liberalism. His later years (1815–1827) aligned with Napoleon’s decline and the reactionary regime in Vienna, during which his style reached a musical apex, characterized by introspection and a yearning for deeper human ideals. Around age 28 (1799), Beethoven fell in love with two women—Giulietta Guicciardi and Therese Malfatti. He became engaged to Therese, but the engagement was eventually broken off, and he remained single for the rest of his life. His hearing loss worsened around this time, and at 31 (1802), he wrote the so-called “Heiligenstadt Testament,” a will addressed to his two brothers and a woman (Therese). Despite suffering from an incurable ear disease, he continued to compose with remarkable determination, entering a second creative period that produced masterpieces such as the Violin Sonata “Kreutzer” (1803) and Symphony No. 3 “Eroica” (1804), culminating in his greatest work, the Ninth Symphony “Choral” (1824). Below are brief impressions of Beethoven’s music from performances I recently watched: 🎻 Romances: I listened to Nos. 1 and 2 performed by Heifetz. The beautiful melody of No. 2, which I’ve heard since childhood, struck a deep chord. 🎹 Piano Sonatas: I listened to Nos. 15 “Pastoral,” 17 “Tempest,” 21 “Waldstein,” 28, and 29 “Hammerklavier” performed by Pollini. No. 15’s classical, pastoral charm, No. 21’s lyrical beauty, and No. 29’s grand scale and virtuosity stood out. I also listened to Nos. 8 “Pathétique,” 14 “Moonlight,” and 23 “Appassionata” performed by Wilhelm Backhaus—masterful interpretations I’d love to revisit. Other sonatas included Nos. 1, 3, 6, 9, 12 “Funeral March,” 16, 18, 24, 26 “Farewell,” and 30–32, many heard in multiple performances. While all subtitled pieces are memorable, I find Nos. 30–32—often hailed as late masterpieces—less immediately enjoyable. Perhaps they resonate more when one is searching for life’s deeper meaning. 🎼 Piano Concertos: Nos. 4 and 5 “Emperor,” recorded by Barenboim (piano) with the New Philharmonia Orchestra conducted by Otto Klemperer, and performances by Christian Zimmermann and L. Bernstein with the Vienna Philharmonic, are magnificent works I return to often. 🎻 Piano Trio: I listened to No. 7 “Archduke” performed by three different trios. 🎻 Violin Sonatas: I heard Nos. 5 “Spring” and 9 “Kreutzer” performed by Zuckermann & Barenboim and Oistrach & Oborin. Despite record scratches and diminished sound quality due to the Great Hanshin Earthquake, they remain undeniable masterpieces. 🎻 Cello Sonatas: I listened to Nos. 1–5 performed by Rostropovich (cello) and Richter (piano). All are exceptional, with No. 3 generally regarded as the finest. 🎶 Triple Concerto for Piano, Violin, and Cello: I listened to performances by Oistrakh, Rostropovich, Richter, and the Berlin Philharmonic conducted by Karajan, as well as by Zukerman, Forsyth, Bronfman, Mutter, Yo-Yo Ma, and Barenboim. Though grander than a symphony, the weight of such virtuosity makes it feel less like everyday listening. 🎻 String Quartets: I listened to Nos. 1, 2, 7, 9 “Razumovsky,” 11, 13, and 16. I found No. 2 more accessible than No. 1, especially in the Budapest String Quartet’s performance. 🎼 Symphonies: I listened to all nine, with standout performances including: Symphony No. 3 "Eroica" : F. Wengler conducting the Vienna Philharmonic, K. Mäkela conducting the Concertgebouw Orchestra Symphony No. 4 : C. Kleiber conducting the Concertgebouw Orchestra Symphony No. 5 "Fate" : D. Barenboim conducting the Berlin Philharmonic, H. Karajan conducting the Berlin Philharmonic Orchestra Symphony No. 6 "Pastoral" : F. Wengler conducting the Vienna Philharmonic, S. Rattle conducting the Berlin Philharmonic, K. Mäkela conducting the Concertgebouw Orchestra, H. Karajan conducting the Berlin Philharmonic Orchestra Symphony No. 7 : C. Kleiber conducting the Concertgebouw Orchestra, H. Karajan conducting the Berlin Philharmonic Orchestra Symphony No. 8 : H. Karajan conducting the Berlin Philharmonic Orchestra Symphony No. 9 "Choral" : H. Karajan conducting the Berlin Philharmonic, L. Bernstein conducting the Vienna Philharmonic Orchestra. I also listened to older recordings of No. 5 by Artur Nikisch and No. 7 by Knapperbusch. While some connoisseurs favor older recordings for their historical value, I rarely consider them definitive. A masterpiece, to me, is shaped by performance technique, venue atmosphere, and recording quality. 🎶 Missa Solemnis (Solemn Mass): Beethoven’s passion is palpable, and the work has a universal resonance beyond church music. The New Philharmonia Orchestra under Otto Klemperer delivers a grand, authoritative performance. Fabio Luisi’s rendition with the Dresden State Opera Orchestra at the Frauenkirche captures the original venue’s atmosphere beautifully. 🎭 Opera “Fidelio”: I saw four productions—La Scala, Salzburg Festival Theater, Theater an der Wien, and the Royal Opera House. The Royal Opera House’s staging and costumes made it the most comfortable and enjoyable experience. For reference, the following table lists the works of the composers I listened to again when recording my impressions this time.

On March 14th (Friday), the 7th APA International Chamber Music Festival was held in its small hall at the Musashino Civic Cultural Center. I played Schubert's Piano Trio op99 with Torii Kazuyuki (piano) and Dr. Steffen Luitz (cello). Steffen, who is visiting Japan for the second time, was very happy to be able to perform with Torii-san, a professional level pianist who also joined us last year. Although there were some stories of mistakes, it was a fun time for amateur performers. Next year, it is scheduled to be held on April 5th at the same Musashino Civic Cultural Center.

Chapter 16: Wolfgang Amadeus Mozart (No. 2)  ( 1756～1791 , died at age 35) Opera: 1.      "The Marriage of Figaro" : Carlo Maria Giulini conducting / Philharmonia Orchestra and Chorus. The recording by Eberhard Wächter (Br), Elisabeth Schwarzkopf (So), Giuseppe Taddei (Br), Anna Moffo (So), Fiorenza Cossotto (M. Sop) is excellent in both performance and recording quality. 2.      "The Abduction from the Seraglio" : Dorian Marthaler's innovative concept, set at Salzburg airport. The costumes, lighting, and other innovative ideas make for an innovative stage performance that I've never seen before, but I wonder how it will turn out as a concert. 3.      "The False Gardener" : I watched a video of the Milan La Scala performance (2018), with costumes and stage direction that gave the performance an opera buffa atmosphere. I was very satisfied with the orthodox direction, singing, and acting. 4.      "Don Giovanni" : After achieving great success with his staging of "The Marriage of Figaro" in Prague, Mozart chose the medieval legend of Don Juan as the subject of a new work, and asked Da Ponte, who had written the libretto for "Figaro," to complete the composition in a short period of time. Of the performances I listened to again this time, the ones that stood out were the best, including the stage sets and costumes of the singers (Grümmer,   Schwarzkopf , Siepi) conducted by Furt Wängler at the Vienna State Opera (1954) and the performance and singing (Schwarzkopf, John Sutherland, Taddei) conducted by Gerini and the Philharmonia Orchestra (1959). Among the arias in the play, the part I particularly like is Donna Elvira's "Restativo and Aria" (No. 21C) sung by Schwarzkopf (2), with its intense emotion and beautiful melody, but according to the commentary, this part was added at the singer's request after the composition, which is strange as it doesn't seem to have a special title. 5.      "Cosi van Totte" : I listened again to the best performance conducted by Karl Böhm, recommended by critics such as Elisabeth Schwarzkopf and Christa Ludwig, and I once again felt that this opera is one to enjoy the pleasant harmonies of the choruses (duets, trios, polyphony) rather than the less familiar arias. In that sense, I think that this is the most difficult opera to perform among Mozart's famous operas, and is more suitable for connoisseurs. 6.      "The Magic Flute" : I reviewed the video recordings of two performances that seemed to attempt a period-like direction and performance (at La Scala in Milan in 2011 and at the Glyndebourne  Festival in 2019), and one performance with an orthodox direction and performance (at the Salzburg Festival in 2006, conducted by Riccardo Muti). Of these, I enjoyed the performance conducted by Muti, which gave me the impression of a serious approach. On the other hand, the record (recorded in 1964) conducted by Karl Böhm and performed by the Berlin Philharmonic Orchestra offered a lot of enjoyment in the arias and duets sung by such great singers as Fritz Wunderlich in the role of Tamino, Roberta Peters in the role of the Queen of the Night, and Dietrich Fischer-Dieskau in the role of Papageno. For reference, the following table lists the works of the composers I listened to again when recording my impressions this time.

Chapter 16: Wolfgang Amadeus Mozart  ( 1756～1791 , died at age 35) Salzburg, Wolfgang Mozart's birthplace, was a small Roman-style city with a strong Catholic influence. The father, Leopold Mozart, had his elder daughter Nannerl and younger son Wolfgang learn the clavier from an early age, and Wolfgang showed extraordinary talent. Leopold took 6-year-old Wolfgang and 11-year-old Nannerl on a concert tour to Munich, and the following 10 years were spent on concert tours to Paris, London, Amsterdam, and Italy. From the age of 17, Wolfgang worked as a court musician in Salzburg for seven years. While traveling to Mannheim, he fell in love with Aloysia of the Weber family, but was heartbroken. He then married Aloysia's younger sister Constanze at the age of 26. At the age of 25, he broke up with the Archbishop of Salzburg and settled in Vienna, aiming to become an independent musician.   The works he composed one after another were enthusiastically received by the citizens, but his wife Constanze lacked the ability to manage the household, so it did not necessarily mean financial success. He witnessed the deaths of his eldest and third sons and his father, and he himself fell seriously ill, so in the last four years of his life, contrary to his worldly success, he lived a gloomy life both physically and mentally. At the age of 32 (1788), he completed the so-called three great symphonies in two months, and at the age of 34, just before the completion of the opera "The Magic Flute," he was visited by an unknown man dressed in gray clothing and asked to compose "Requiem," but he died at the age of 35 without completing it.   The following is a short summary of my impressions of Mozart's music from the performance I watched and listened this time.   Symphony : In the short period of two months in 1788, when Mozart was struggling financially, he composed Symphony No. 39, No. 40, and No. 41 (Jupiter), which would later be referred to as his "last three great symphonies." These are wonderful works, with no dark, mundane shadows to be found anywhere in the clear beauty of No. 39, the noble sadness of No. 40, and the glorious splendor of No. 41. Of Mozart's 41 symphonies, only No. 25 and No. 40 were written in minor keys. In a recent recording of a concert, the consecutive performance of No. 39, No. 40, and No. 41 by the Vienna Philharmonic Orchestra conducted by Nikolaus Harnoncourt (Tokyo performance in 2006) was particularly moving, as it evoked the sounds of Mozart's hometown. Sinfonia Concerto: I listened to Sinfonia Concerto in E-flat major, K.364 on a CD I bought at a concert held at the Vienna Philharmonic, a memorable piece. It is a masterpiece composed by Mozart after returning to Salzburg during his trip to Mannheim and Paris (1797-1799). The Sinfonia Concerto was a popular piece at the time, with multiple solo instruments.   Violin Concertos : The first movement of Violin Concerto No.3 features a wonderful exchange between the orchestra and the soloists, and the extremely beautiful melody of the Adagio resonates pleasantly. In No.5, a musical idea with a Turkish rhythm suddenly appears in the middle of the third movement, and the performance by the virtuoso Yehudi Menuhin is a masterpiece that makes the most popular masterpiece among Mozart's violin concertos enjoyable. Chamber/Orchestral Music : Serenade No.13 "Eine Kleine Nachtmusik" is a masterpiece as well. This time I listened to the performances by the Dresden State Opera Orchestra conducted by Otmar Suitner and the Vienna Philharmonic Orchestra conducted by Furtwängler, and I was reminded of this once again. I listened to the Divertimento in D major performed by I Musici, and it was a wonderful performance with a clear and light feel. No. 17 consists of six movements including two minuets, and the third movement, Minuet, in particular, is famous as the so-called "Mozart Minuet."   Clarinet Concerto : I also listened to the Clarinet Concerto in A Major, K.622, on a CD purchased at a concert held at the Vienna Philharmonic Society, which I hold fond memories of. It is a masterpiece that weaves together the right proportions of orchestra and solo, composed for his friend Anton Stadler (clarinetist) a few months before his death. The Clarinet Quintet in A major, K.581, has the subtitle "Stadler", and as this piece was composed for a friend, it is a masterpiece among masterpieces, with a strong emotional expression, concerto-like treatment of the instruments, chamber music-like precision, and impeccable instrument arrangement. In particular, the performance by Leopold Urach (Cl)/Wiener Konzerthaus Quartet is by far the best, allowing you to fully enjoy the essence of the Viennese performance style.   Flute Concerto : Concerto for Flute and Harp, K.299, was composed at the request of duc de Guînes during his stay in Paris, and sounds like elegant salon-style music, with elegant musical ideas that make full use of the characteristics of solo instruments and a graceful progression. Flute Concerto No.2 is more beautiful than Flute Concerto No.1, but James Galway is a natural flutist.   I listened to Flute Quartets No. 1 to 4, and I felt that the clarinet, as a solo instrument, is much more compatible with the string section than the flute. There are records that Mozart did not like the flute very much due to its lack of functionality and unstable pitch.   Piano Sonatas and Concertos : Piano Sonatas No.1 to 7 and No.9 are performed by Glenn Gould, and are all excellent pieces that are pleasant to listen to. Piano Sonata No.8 is performed by Dinu Lipatti with exquisite style. Piano Sonata No.11 "Turkish March" is a masterpiece with a fast tempo and an exceptionally pleasant rhythm. Piano Concertos No. 20 and 21 are extremely beautiful masterpieces among all of Mozart's works. The 21st was performed by Barenboim and Lipatti, and the second movement in particular was used in the Swedish film "Brief but Beautiful", so the fleeting but beautiful melody touched my heart. I listened to the 23rd performed by Rubinstein, and the melancholic melody of the second movement, Adagio by Siciliano, and the third movement, Rondo, were particularly memorable. Mao Fujita's Mozart recital at the Verbier Festival 2021 in Switzerland was a truly light, energetic and magnificent performance. Horowitz's performance of Piano Sonata No. 10 was touching, as the scene showed the great maestro Argerich leaning back and praising his delicate and soft touch on the keyboard. The "Sonata for Two Pianos" and the three "Piano Duet Sonatas" by the greatest pianists of our time, Argerich and Barenboim, were a precious and well-coordinated performance by the two. Sacred music : The motet "Dance, Rejoice, Thou Blessed Soul" is a masterpiece among masterpieces. I listened to Maria Stadel's soprano again for the first time in a long time. I also listened to the mass "Coronation Mass" for the first time in a long time. The "Requiem," said to be the greatest requiem in music history, was a masterpiece that soothes the soul no matter how many times I listen to it, and I sang it on stage as a choir member when I was a student. I like listening to Karajan and the Berlin Philharmonic on record, but the performance by the Royal Concertgebouw Orchestra  conducted by Klaus Mäkelä  on video is overwhelming. Also, the performance by the Musica Eterna Orchestra and Chorus of the Felsenreitschule in Salzburg and the video recording of the Vienna Philharmonic Chorus' concert in Japan are unique and wonderful. Arias : I listened to about 20 of Schwarzkopf's songs, but I particularly liked "Das Vilchez" and "Longing for Spring ( Sehnsucht nach dem Frühling) ." For your reference, the following table lists the works of composers that I listened to again when writing this collection of thoughts.

Shozo, a shy potter, accidentally makes a blue vase and is praised by his wife. The vase is sold at a department store and purchased by a retired couple, who send it as a gift to a boss who had been kind to him at work. Then it goes to the home of another couple...   The vase then travels overseas, is kept in several homes, and returns to Japan. Through "The Blue Vase," the author depicts various family circumstances during and after the war.   Finally, the vase appears by chance in front of Shozo and an antiques appraiser. The appraiser says, "This is a precious work of art and is highly valuable," but Shozo is sure that it is the vase he made. Shozo gets in a taxi and goes home, but even as he listens to the driver's casual story, he can't get the "Blue Vase" out of his head.     A celadon vase accidentally created by an unknown potter travels through the lives of many people and appears in front of the potter 10 years later with a beautiful antique color (but it doesn't come back to him). Although I couldn't find a major theme, the 13 stories were based on the social situation, lifestyle, and relationships between couples and companies in the Showa era, and were sprinkled with unique language, all of which were full of humanity. I'm very glad to have come across "The Blue Pot." Thank you for suggesting it. If I read it over and over again, I'll probably find mysteries and messages from the author that I didn't notice the first time, and I'd like to read it again. The story of a couple who celebrated their wedding anniversary in a Japanese air raid shelter during the war was very impressive. The husband, who was stationed overseas in France, imaginatively explains to his wife all the wine and treats he could. Even in the air raid shelter, the husband is a gentleman, and the wife is grateful for that. It must have become a precious memory that only the couple can understand.   I enjoyed it. It is a work of a completely different quality from the only one I've read in the past, Sawako Ariyoshi's "Complex Contamination," and it overturned my previous image of the author, so I'm glad I came across this book.   I've never been interested in Sawako Ariyoshi's books, so I've never read them, but I'm glad I had the opportunity to read them this time. I also enjoyed the nostalgic and warm depiction of Showa-era families and life, and the fact that even professionals have different opinions on the value of artwork. When I asked the book club members how they imagined the Blue Vase, each member replied with a different answer, such as the color of a book cover or a small size. Author: Sawako Ariyoshi Sawako Ariyoshi