Hikaru Suzuki | Akatsuki – Dawn
A Suite That Gives Space to Imagination.
Hikaru Suzuki: Akatsuki
Orchestration: for violin, violoncello and piano
Duration: 35'
"Akatsuki" means "dawn". These are memories from my childhood. I had a difficult childhood. This suite is something special. First, there are no dynamic indications. Secondly, the last piece is to be played without breathing if possible (about 30 seconds long). (The listeners should also hold their breath, but only if it is possible). And then at the end take a deep breath (feel freedom).
I believe that as soon as a piece passes from the hands of the composer into the hands of the musician, the performer takes the piece from there. Ideally, there should be no volume or other dynamic indications. I think that through a free perception of the score, the sensitivity and individuality of the performer can be emphasized. Musicians become even more creative and imaginative as a result. Perhaps a solo piece or a quintet becomes more lively this way than playing everything exactly as the composer prescribed!
In the absence of dynamic instructions, the same piece will increasingly be played in different colours by different performers.
It may be similar, or it may be a surprisingly different performance. The audience will be curious to see how this performer will play the piece. Isn't that a wonderful thing?
"It's often said that a piece should be played the way the composer intended it to be played," but even if the composer himself absolutely wanted the piece to be played that way, I think it's very possible that the composer will be moved by a surprising performance that he didn't expect.
Musicians can better show their musical talent. For example, in a trio: discussing together, building music together. I want the performer to play my music the way he feels it. It used to bother me when the notes said forte, piano. Now I compose myself. When I think about dynamics, there are so many different possibilities. So I decided not to prescribe anything this time. I usually wrote out the forte and the piano in my other works because I wanted it to be played that way. But I don't think that's the only way. I think it is more important to keep to the tempo that I feel, but even there, if the musician feels that slower or faster is better, then I also agree with that. This time I tried a new approach with the work "Akatsuki". I am sure that the musicians will feel stimulated in their talent and sensitivity. I think there is a lot to disagree with. However, what has been done in the world so far (it is natural that there are strong and weak symbols) is not everything and is not necessarily correct. It could be that I get criticism from people: " play without breathing is unthinkable!!!" But I want to. I think it's important to try things out and to be adventurous.
Contents: (with Japanese pronunciation)
1. The White World - (shiroi sekai)
2. Hunted Stone - (owareru ishi)
3. Swirling Sand - (uzumaku suna)
4. Where am i? Who am I? - (watashiwa doko? watashiwa dare?)
5. To the indifferent Sky - (mukanshin na sorani)
6. A dark path with no end in sight - (owarino mienai kurai michi)
7. With The Wind - (kazeto isshoni)
8. Screaming Blue - (sakebu ao)
9. A Dragon With a Heart - (kokoro-o motta ryu)
10. Wailing Cactus - (guchiru saboten)
11. Lonely Tree - (hitoribochino ki)
12. In the Storm - (arashino nakade)
13. Beyond Despair - (zetsubouno kanata)
14. The World That Is Breathless - (liberation -- ikimo dekinai sekai - kaihou)
Hikaru Suzuki
*1 May 1965
Hikaru Suzuki, born in 1965 and raised in Japan, showed an extraordinary talent for piano playing at a young age. Although she actually not liked at all the piano because of family difficulties and she had practised almost nothing, she thrilled the jury every time at the competition. At a public piano seminar, the professor from Osaka Music University told the assembled audience about Hikaru Suzuki that she was a "golden egg". Actually, she much preferred to become a sportswoman.
At a master's course at the Mozarteum in Salzburg, a professor attested to her musical expressiveness of the highest level. And he said to her that if she had practised properly in her childhood, she could have reached the top as a pianist.
After studying piano in Japan, she continued her studies at the Winterthur Conservatory and graduated with a concert diploma. She has an incredible talent for grasping notes quickly and intuitively and reflecting it. Her personal favourite is J.S. Bach.
1995-2014 she works as a piano teacher.
In 2005 she was diagnosed with a motor nerve disease (MMN) in her hands, therefore she could not perform properly as a pianist.
In 2008, she wrote her first work. It was a sudden start. She never thought she would become a composer, nor did she ever want to be a composer.
By the end of 2019, she had written about 40 works (with over 200 pieces). These include 4 trios, violin-, flute- and cello-sonatas and various piano works for solo, four hands and 2 pianos.
Since 2018, the death of her beloved dog Banon has severely slowed down her creative energy. She almost doesn't compose anymore. But now (2021) she has finally started composing something again. She had a very difficult childhood. She shows these feelings in her plays "Hishou" and "Akatsuki".
In 2020 she was invited to a retrospective concert about Thurgau composers of the last 100 years (Thurgau Mosaic).
Hikaru Suzuki/p>
Wälder der Erinnerung
P0277502
Hikaru Suzuki/p>
Klaviersonate Nr. 1
P0260480
Hikaru Suzuki/p>
Flötensonate Nr. 2 "Hokusai"
P0214835
Hikaru Suzuki/p>
6 Stücke nach Bildern von van Gogh
P0214828
Hikaru Suzuki/p>
Toscana
P0214837
Hikaru Suzuki/p>
14 Konzert Etüden
P0214805
