Pianist Reiko Yamada

Reiko Yamada Plays Ifukube`s "Ritmica Ostinata" Author: Ed Godziszewski Japanese Giants On the evening of March 28, 2008, a rare performance of one of Akira Ifukube`s classical works, "Ritmica Ostinata", was held in the city of Kalamazoo, Michigan. Seldom performed stateside, on this night Ifukube’s "Ritmica Ostinata" was tackled by the Kalamazoo Symphony Orchestra, featuring former Ifukube pupil Reiko Yamada as the orchestra`s principal pianist, as part of a program titled `Japanese Garden`. Held on the campus of Western Michigan, the evening’s program consisted of: “Dream/Window” by Tohru Takemitsu “The Birds” by Ottorino Respighi “Ritmica Ostinata” by Akira Ifukube “Symphonic Metamorphosis on Themes of Carl Maria von Weber” by Paul Hindemith Having played with the Kalamazoo Symphony since 1995, Reiko Yamada began her career in music by taking a bachelor’s degree from the Tokyo College of Music during the 1980’s during which time she studied for four years with Maestro Ifukube. She moved to Chicago in 1990, obtained a master’s degree, and joined the Civic Orchestra of Chicago from 1992 to 1998. She also has played with the prestigious Chicago Symphony Orchestra and has performed under famed conductors such as Sir Georg Solti and Daniel Barenboim. She has performed Ifukube’s work in Japan on several occasions, including at a December 2006 memorial concert in Nikko for the composer. She currently resides in suburban Chicago, teaching music.

Kalamazoo Symphony Conductor, Raymond Harvey

Ms. Yamada performed "Ritmica Ostinata" in Japan in June 2006 with great success, although she confesses that this piece is one of the most challenging to perform for a pianist (you can read the full interview with her at www.akiraifukube.org). Witnessing her performance with the Kalamazoo Symphony, it is easy to see why. To perform this piece properly requires a style that belies Ms. Yamada’s slight physical stature. Incessantly she pounded away at the keyboard, treating the piano more like a percussion instrument. Ifukube’s strong rhythms require such an aggressive and demonstrative technique, and Ms. Yamada was more than up to the task, repeatedly bouncing off the piano bench to strike chords which could hold their own against the orchestral accompaniment. This went on for the better part of the Ritmica Ostinata’s 20 minutes, and conductor Raymond Harvey upheld his end of the bargain by coaxing a spirited performance from the orchestra. Early in the piece, intense concentration was etched on Ms. Yamada’s face, but as time went on, her expression began to lighten and as the finale approached, a wry smile appeared. Her passion for Ifukube’s music and her joy in performing came to the surface. When the piece concluded with a crescendo, an appreciative audience erupted in applause which quickly became a well-deserved standing ovation. On a pleasant March evening in the state of Michigan, Ms. Yamada and the music of Ifukube made a lot of people look forward to Fall 2008 when the first of a series of CDs of Ms. Yamada playing Ifukube’s works will be released.