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Here is a lightly polished version that keeps your voice, warmth, and reflective tone while smoothing flow and clarity: Hello from Kobe, Japan, Although Miho Takagi’s result in last night’s Milan–Cortina Olympics women’s 1500m speed skating was disappointing, I would like to close these two weeks by expressing my gratitude for the many dramatic and moving moments we witnessed. My applause goes not only to the medalists but also to those who did not reach the podium. I believe the color of a medal often comes down to luck. Of course, a “monster” athlete like Norway’s Klaebo in the Nordic skiing events is naturally expected to win gold, but even he benefits from the three elements of good timing, good conditions, and good fortune—while many other athletes compete in fields where the smallest shift in timing determines the outcome. I have always loved watching alpine skiing, ski jumping, and figure skating at the Winter Olympics. When I worked overseas, I visited several Olympic ski jumps—not in winter, but in summer during the European Ski Jumping Week. I enjoyed climbing up to the start gates and looking out from the landing areas, and over the years I visited quite a few of them. Among them, the places I remember most clearly are: • Holmenkollen : Located on the outskirts of Oslo, Norway. Used in the 1952 Olympics and considered a mecca of Nordic skiing. • Innsbruck : Host city of the 1964 and 1976 Winter Olympics in Austria. • Kitzbühel : A ski jumping hill in the Tyrol region of Austria. • Garmisch-Partenkirchen : Site of the 1936 Winter Olympics, in southern Germany near the Austrian border. • Oberstdorf : A regular venue for European Ski Jumping Week in southern Germany. • Lake Placid : Located in the eastern part of New York State, used for the 1980 Winter Olympics. When I arrived in New York in March 1980, the Winter Olympics had ended just a month or two earlier. I first visited Holmenkollen in 1964, but I cannot immediately find any photos, so I will skip those. Instead, I’ve attached some photos of the other places—souvenir “patches” (called Wappen in German)—that I collected as mementos of my visits. I hope you enjoy them.

Now, in the alumni association of the company where I used to work, there is a gentleman named Tsutomu Ando, who will be celebrating his 99th birthday this year (according to the traditional Japanese age‑counting system). He holds a solo recital every few years as a hobby, and I recently received an invitation announcing that he will be giving a concert to commemorate his 99th birthday. I am once again amazed that there are such energetic elderly people. Although I worked in a different division, I had the opportunity to assist him several times during my time in Hamburg and New York. He is also fond of painting and is a very talented individual. In the past, his recitals were usually held in medium‑sized halls with a capacity of 500–600 people, but when I met him at the alumni association meeting last October, he mentioned that he was planning to rent a large hall with a capacity of 1,300 people this time. It is customary for him to sing without a microphone, but I wonder what he will do on this occasion. His vitality is truly remarkable for someone of his age. Speaking of which, I am reminded of being surprised two years ago by The Akahoshi Family’s Golf DNA, a book published by my friend’s older sister, who was also 99 at the time. If anyone is interested in attending the solo recital, please let me know.

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

Chapter 15: Johannes Brahms  (1833-1897, died at age 63) Brahms was born in Hamburg, Germany, and learned to play the piano well from an early age. He was familiar with playing in taverns and arranging music as a pianist who helped support his family since he was young. His father was a string player in a theater orchestra. He was the middle child of three siblings, with an older sister and a younger brother. At the age of 17, he met the excellent violinist Eduard Remenyi, and on their first concert tour together, he met Remenyi's friend, the great violinist Joseph Joachim, and they became close friends. Joachim continued to be a good adviser to Brahms' creative endeavors, and showed him an unchanging friendship throughout his life. The two also visited Weimar, where they got to know Liszt, who was at the height of his popularity at the time, but the music of Liszt and Brahms was so different that the new music of Liszt and Wagner and the neoclassical music that Brahms aimed for were incompatible throughout their lives. Joachim introduced Brahms to the Schumanns, who lived in Düsseldorf, where Schumann sensed the extraordinary talent of Brahms and introduced Brahms in various publications. Thus, Brahms was on the path to success, but he faced the tragic death of his mentor Schumann, and Brahms maintained a lifelong friendship with Schumann's grieving wife Clara and their children. After serving as conductor at the Wiener Singakademie and the Wiener Musikverein, he settled in Vienna in 1878. He was one of the greatest German composers of the 19th century, and was one of the "Three Great German B's (Bach, Beethoven, Brahms)," a phrase left behind by the first great conductor in history, Hans von Bülow.   He drew a line at the new music of Liszt and Wagner. Although Brahms did not compose operas or program music, he composed symphonies, orchestral works, and, to my surprise, an astonishing number of choral pieces.   "From my personal experience, I lived in the Hamburg branch office of my company in Germany (then West Germany) for one year from 1963 (as an overseas trainee) when I was single, two years after I started working for the company. Then from 1973 to 1977 (as a staff member of the branch sales and information gathering of the market) I stayed in Hamburg with my family. At that time, I think that any Japanese person with even a slight interest in classical music knew that Brahms was born in Hamburg, and similarly, it was known that Mendelssohn was born in Hamburg, but the house where Brahms was born and raised was hardly known, and the city still had a large scar and damage from the World War II, thus there were no remains of Brahms' birthplace for tourists to visit."   The following is a short summary of my impressions of Brahms' music from the performance I listened this time.   Symphony No. 1 : The historic concert in Tokyo (1975) by conductor Karl Böhm (age 80) with the Vienna Philharmonic remains moving no matter how many times I listen to it. In all of Brahms' symphonies, the process in which a beautiful melody gradually emerges from a murky sound is expressed very naturally and well, which resonates with the listener. This is especially evident in Symphony No. 1. Another performance, conducted by Kyohei Sorita, took place in the rain in the front garden of the Great Buddha Hall of Todaiji Temple in Nara Prefecture. Even under these adverse conditions, Sorita's passion for music as a pianist was clearly apparent.   Symphony No. 3 : Brahms completed Symphony No. 1 after many years of hard work, when he was 43 years old and had gained a relatively large amount of life experience. I believe that his subsequent Symphonies No. 3 and 4 became masterpieces that represent the German Romanticism after Beethoven's death. The third movement of Symphony No. 3 is heavy and melancholic, while the fourth movement is full of power and a familiar and beautiful melody. Some conductors say that the reason Symphony No. 3 is performed less often than other symphonies is because the final movement ends too quietly.   Symphony No. 4 : The first theme played by the violin at the beginning of the first movement captures the listener's heart. Although it was composed shortly after Symphony No. 3 was composed, it is a masterpiece that is permeated with a particularly lonely sadness and allows the listener to freely imagine the composer's feelings.   Piano Concerto No. 1 : Although it is a large piece, it is unfinished as a piano concerto, and one can certainly see why it is said to be a piano piece that accompanies a symphony that is mainly performed by the orchestra. But finally in the fourth movement, a beautiful, familiar melody appears that is elegant as a piano concerto. It is a strange feeling that when listening to A. Rubinstein's piano performance (BBC Symphony), this piece sounds more like a rare masterpiece than when performed by other pianists.   Piano Concerto No. 2 : Though said to be a symphony accompanied by piano, it was composed 20 years after the First. It is said to have been inspired by a trip to Italy, and is a masterpiece with a strong German flavor, with a grandioso piano melody, string players in orchestra play an important role in the performance. Piano Quintet : A masterpiece composed when Brahms was 31 years old, full of lyricism and passion, with a piano that has a sense of weight and grandeur in competition with a string quartet.   Violin Concerto : A masterpiece composed in 1878 when Brahms was 45 years old, with a pastoral lyricism seeping out of the piece, perhaps because he began composing in the Austrian countryside. It is said that he sought advice on the solo parts from his friend violinist Joachim*.   *We must not forget the achievements of Joseph Joachim (1831-1907), who left his name in posterity as the violinist who premiered Brahms' Violin Concerto.   Violin Sonatas: No. 1 : So called "Rain Song" was composed at the age of 46, the period when he was at the height of his creative prowess, and is a masterpiece that blends the Southern European sense of freedom and passion he gained from a trip to Italy with Brahms' distinctive Northern European lyricism. Violin Sonata No. 2 and No. 3 also feature beautiful and gentle melodies. The performance by Friedrich Schelling (Vn) / A. Rubinstein (Pf) is particularly full of emotion.   German Requiem (7 songs) : Based on Martin Luther's German translation of the Bible, different from typical mass music, German Requiem is focusing on the sorrow of the survivors rather than the dead. It is said that the inspiration for the composition was a memorial to Schumann. The fourth song has a beautiful melody, the fifth song has a chorus following a high-pitched soprano solo, and the sixth song has a chorus following a baritone solo. It is the equivalent of the traditional Requiem's ​​"Die Irae", and builds up with powerful melodies. Of the performances I heard this time, the Tokyo performance conducted by Herbert Blomstedt/Gewandhausorchester Leipzig / Wiener Philharmoniker was particularly impressive.   Clarinet Quintet in B minor, Op. 115 : Just when he felt that his creative powers had dried up and he had decided to give up composing, he met the excellent clarinetist Richard Mühlfeld, and his desire to compose was stimulated again. This work was completed in 1891, and is the most resigned and lyricism of his works. It is considered a masterpiece of a clarinet quintet, on a par with Mozart's.   String Sextet No. 1, Op. 18 : This work was written when he was 27 years old (1860). The rich, orchestral sound of the bass fills the air with the yearning lyricism that is characteristic of Brahms, and the melody, which exudes a pastoral, sentimental sweetness, is sometimes used in film music.   For your reference, the following table lists the works of composers that I listened to again when writing this collection of thoughts.

In this occasion I played Brahms Piano Trio op114 with Kazuyuki Torii (piano) and Dr. Steffen Luitz (cello). Steffen was visiting Japan for the first time, and is a cellist who plays piano trios with me in the US. It was easy to play ensembles with Steffen because we knew each other's style. I asked Torii-san, a professional level pianist, who played Mendelssohn piano trio op 66 last year with me, to play Brahms this year. It was a lot of fun. Norm, a pianist who plays piano trios with us in the US, also participated in the festival from the US. He gave an enthusiastic performance of Schumann's Piano Quintet op44 with Japanese musicians. It is a very difficult task for amateurs to bring the five of them to a performance level with such limited rehearsal time. They did a fine job. This stay in Japan was a particularly enjoyable memory for each of us.

Chapter 14 Franz Joseph Haydn   (1732 ～ 1809, died at 77) Haydn was Born in Rohrau, Austria. His father was a wheelwright who loved music. Haydn was the eldest of 12 siblings, and had a talent for music. At age 6, he was taken in by his uncle-in-law and educated. At age 8, he was accepted into the choir of St. Stephen's Church in Vienna, but left at age 17 due to his voice changing. At age 27, he got a job as the music director for Count Morzin in Bohemia, and began composing. The following year, he married Maria, the daughter of a Viennese wig maker, but she became a rare bad wife and tormented Haydn for the rest of his life. At the age of 29, he arrived in Eisenstadt as vice-director of the orchestra for Prince Esterházy, who was enthusiastic about art, and at the age of 34, Haydn became the director of the orchestra, a position he held for the next 25 years, during which he composed many works.   Haydn was the most important composer during the formative period of classical music, leaving behind many excellent works in absolute music in sonata form, such as symphonies and string quartets, and built the foundations of the Viennese classical period, which reached its zenith when it was passed down to Mozart and Beethoven.   I thought that I had not had many opportunities to listen to Haydn's music in recent years, but when I listened to his music in order on the media I had, I surprisingly found that I had listened to it quite a lot. When I was young, I listened to a lot of symphonies by Haydn, but there were many melodies that stuck in my mind, and that was my impression after listening to them again this time.   Symphony No. 96 (The Miracle), Symphony No. 100 (Military), and Symphony No. 101 (The Clock) were all mature masterpieces that Haydn composed during his second visit to London (No. 98 to No. 104).   All of the string quartets are also masterpieces, and among No. 75, No. 76 (Quinten), No. 77 (Kaiser) and No. 78 (The Sunrise), No. 77 (Kaiser) left a strong impression with its beautiful melody based on the Austrian national anthem " God save Francis the Emperor " (now the German national anthem).   Large-scale oratorio "The Creation", I only listened to one piece this time, but I thought it was a very beautiful piece, so I would like to listen to the whole piece again in the near future. However, Handel's oratorios are said to have been Haydn's model, so I definitely intend to listen to more of Handel's oratorios.   For your reference, I have compiled the list of works by composers that I listened to again in recording my impressions this time in the table below.