The ticket was quite expensive, but I’m genuinely glad I went ☺️

It was absolutely worth it.

If I had to pick the performances that left the strongest impression, I’d start with Eric Lu’s Nocturne No. 8.

This is exactly how I want to hear a Nocturne.

When I closed my eyes, it didn’t sound like a young pianist at all—it felt as if a seasoned master who has lived with this music for decades was playing. It was the kind of performance that made me want to listen forever.

You could clearly feel how deeply researched and thought through his playing was. Above all, his overall level of completion was simply outstanding.

That said, there were moments that felt familiar—phrases and gestures where I thought, “I’ve heard this kind of approach before.”

But the fact that he can reproduce that tradition with such extraordinary precision is already remarkable, and I was honestly grateful to hear it played that way. He may not be the type whose individuality jumps out immediately, and people’s tastes may differ, but that Nocturne made perfect sense exactly because it was played in that manner. That’s why it stayed with me so strongly.

Kevin Chen’s Piano Concerto was another highlight.

Being able to experience that feeling live made me think, from the bottom of my heart, that I was really glad I came.

The third movement, where pure technique truly matters, was overwhelming. The balance and dialogue with the orchestra were unbelievably satisfying—pure pleasure. It felt as if my brain was waking up through music, and I realized I had been smiling naturally the entire time.

That sensation is something only someone who truly understands Chopin can create. I felt grateful just to be there in that moment.

It was incredibly, incredibly satisfying.

Honestly, I want to hear all of his Études too—his technique is so extraordinary that it’s almost addictive.

Shiori Kuwahara.

Every time I hear her play, the phrase “astonishing legato ability” flashes through my mind. (Seriously.)

In both good and bad ways, her sound connects endlessly. Sometimes I even jokingly think she could play without pedal—just a joke, of course.

In the Polonaise, I personally prefer a sharper, more cutting approach, so although she played it beautifully, it didn’t leave as strong an impression on me. However, the Scherzo was completely my type. It was very, very good.

Her playing really shines live, depending on the repertoire. Especially in Scherzos and minor-key works where low and high registers overlap, her deep layers of sound and legato become especially effective.

There are moments where she lets you hear the sound deeply—that seems to be one of her defining traits, and it’s genuinely captivating.

If I had to say one thing, her playing feels less “Chopin-like” and more Beethovenian to me, with long resonances that evoke something distinctly German. Whenever I listen to her, I find myself picturing vast, flat German landscapes.

Vincent Ong played a Mazurka, but to be honest, I really wanted to hear his Polonaise-Fantaisie, which completely captivated me during the Chopin Competition. Apparently, he’s coming to Japan this summer—I definitely want to go to that concert.

And the most unexpectedly memorable performance was William Yang’s Barcarolle.

At the Chopin Competition, his Chopin felt rather neutral and straightforward, and I thought lyrical works like the Barcarolle or Nocturnes—with their sweet melodies—might not suit him as well.

But hearing him live completely changed that impression. His control of p and pp dynamics was incredibly refined, far more delicate and sensuous than online, and he made full use of the Steinway’s beauty. I honestly felt myself melting, thinking, “So this is how beautiful a piano can sound.”

Soft-dynamic–focused performances can easily become dull, but his unique, effortlessly flowing sense of rhythm kept the music alive and natural. Among the performers, only Eric Lu and William Yang gave me that sense of stability that comes from real stage experience.

It felt mature—nothing messy or excessive in the structure, for better or worse. With a piece like the Barcarolle, even great technique isn’t enough; without a strong sense of rhythm, timing, and musical balance, the middle section and climax often fall flat. His sense of balance was exceptional. Balance is so important—and so difficult. Truly impressive.

During the competition, I remember thinking, “Is it really okay to let a Nocturne flow this lightly?”

But now I understand that it was the result of careful structural planning and musical integration. His playing is refined and naturally flowing.

The music I want to listen to forever is the kind that allows me to surrender to that flow—and of course, that kind of playing also requires extraordinary technique.

Another great thing about him is that he never sounds like a copy of someone else.

His rhythm and musical sensibility are fascinating, and he reminded me of Charles Richard-Hamelin. His music flows like a natural phenomenon—like wind, storms, or water.

As listeners, we can analyze and put things into words endlessly. But to actually feel all of this while playing is an incredibly difficult task. Once again, I was reminded of how extraordinary true talent really is.

There is no doubt that this concert was worth attending.

It was a sensation I rarely get to experience.

Kana