Press Reviews to Atsuko Seki

Heiligenhafen
Magical moments do exist these days in Heiligenhafen. Considering the grim mayoral election campaign carried out presently, this does by no means refer to magical political moments. Rather, the “Warderstadt” experienced one of these notable moments, which stay in people’s memories for a long time, in the musical field. With her virtuous piano performance, artist Atsuko Seki touched the souls of her visitors in a very particular way, which Hildegard Kunow, president of the spnsors of the local museum and culture, characterized briefly and tellingly as a “magical musical moment at our premises”.

Board member Nikolaus Müller had announced the pianist as a “fantastic artist”, for whom playing the piano was the most important thing in life. After the first few minutes of performance it was already obvious that Müller had not promised too much. Without any sheet music for visual assistance Atsuko Seki celebrated her program, covering an array ranging from the classical to the early romantic era with a slight emphasis on the latter.

Strongly tied to this is the name Ludwig van Beethoven – who “brought the classical era to perfection”, says Hildegard Kunow. And in perfection did Atsuko Seki play Beethoven’s Piano Sonata A-Dur Opus 2 No.2. Before, Seki had attended to Robert Schumann’s butterflies (Papillons Opus 2), and stimulated the imagination of her enthusiastic audience with her interpretation of the individual sequences.

Atsuko Seki dedicated the second part of her concert to composer Franz Schubert, who counts as the most significant representative of the actual early romantic era, and who, according to Hildegard Kunow, “retained” a lot of Beethoven’s oeuvre from the classical era. Rarely had that become as apparent to her as while listening to Seki’s performance at that night. It had been “masterly how you brought time closer to us”, did Kunow allow full bent to her joy about the successful winter night.

The encore that Atsuko Seki granted her audience fit perfectly into this context: a composition from Mendelssohn Bartholdy’s “Songs Without Words”. The audience was nearly speechless and rendered homage to the artist with the single word: Bravo!

(by Sonja Müller-Eisold)

A record-breaking number of visitors at the 2nd Summer Matinee in the Solar-Energy-Forum of the Westfalenpark:

So many people came to the concert of Atsuko Seki that even the last chairs were occupied. As a consequence, the sympathetic Japanese pianist was passionately celebrated and an encore was called for.

Atsuko Seki is one of the “Great Dortmunder”. In 1991 she came to Dortmund as a student of Professor Arnulf von Arnim, and in the same year she won the first prize at the “International Schubert Competition”. She stayed in Dortmund, lives now in Dortmund, and continues her successful international career.

Yesterday also, she attracted the audience with two sonatas of Schubert. She has a special access to this romantic composer and his work with quite variable sentiments. She follows them with narrative gesture, with dynamic contrasts, transparency and light-footed fluency. In the Sonata H-major D 575 she played the first movement energetically, and then in the Andante played with almost suppressed sensibility in order to emphasize the simple song-like melody. The Scherzo and the Finale she presented in a playful and light manner.

Aware of sound and impression she outlined also the Sonata D-major D. 850: energetically, finely-chased, with large, widely spread lyrical arches, with dancing impulses in the Scherzo. Quite knowingly she went by Schubert’s renowned “Eintrübungen” in the Final movement., with a quite gentle and introverted conclusion. Seki knows convincingly how to explore emotions without becoming too much addicted to such feelings. She never interprets Schubert in a sentimental way, but most sensitively and emphatically – an interpretation that leaves a distinct trace behind.

WAZ 9. Juli 2007

While I did not know Ms. Seki's work before this, I listened to the samples and was drawn to download the album based on what I heard, even though I have versions of all this music, except possibly the Mozart variations, and I have heard those before as well. While I am not a pianist nor would a label myself an expert, I have lived with and loved the main works here by Haydn (a late sonata) and Schubert (4 of his impromptus) for at least 35 years, and am quite familier with at least a half dozen versions of each, all by more currently well-known performers than Ms. Seki, though on the strength of her stylish and intelligent playing, I would not be suprised if that changes. How does she measure up to big-name competition for me? She is as good or,  more often, surpasses them, and she is never inferior, I would say. I had doubts about the wisdom of getting more versions of these than I have already, but I am glad I did. Her playing is sensitive and poetic without ever being precious, strong and thoughtful without ever being loud or overdone. I really cannot find anything but affection for every note.

Anyway, this is a marvelous collection for you or someone you think might enjoy some of the best classical music for piano (the Haydn is spirited, enspiriting and sane; the Schubert is romantically-tinged poetry in sound, only better than any poetry I know except maybe the best haiku; the Mozart delicate and innocent -sounding) from that soulful, for lack of a better word, period of the classical and early romantic eras. Seki brings our these qualities in the music so well. For someone fairly new to the musical worlds these pieces come from, this recording will surely spur him or her to explore further [Haydn has 62 sonatas, Mozart lovely sonatas (and many sets of variations, etc.), and it should be noted that there are at least four more Impromptus of Schubert, depending what one categorizes as his impromptus, and the other four are as magical as these.] I cannot imagine anyone regretting this purchase, or rather not enjoying it. I do not write reviews often, but this player and collection are a little miracle one would like to tell other music lovers about. As I said, this can act as a sampler and springboard towards further exploration, but it works beautifully as a recital, united by the balance and, that word again, sorry, soulful quality of the music. In a word, this is special. I will be looking at more recordings by Atsuko Seki, and I am grateful for her work.

From "Amazon.com: Customers Reviews

Gifted Mozartian Pianism: Atsuko Seki Plays as for the Manner Born, May 22, 2010

There are a few pianists who defy labeling, especially when dealing with Mozart's piano sonatas. The classical discography abounds with more recordings than one's personal library can contain, therefore when choosing a particular recording for Mozart, the astute customer should do his/her research. I found this one off of Audiophile Audition's classical music review. Notwithstanding the scant information provided regarding the artist, recording venue or even the record label, it was rated quite well by its critic, especially for Seki's fine "gossamer" touch. Her piano produces a most crystalline sound: clear, gentle and quite inviting. Born in Tokyo, and being in her mid 40's, Ms. Seki released this recording in 2004.

After inserting this disc into my quite modest Boston Acoustics stereo, I was amazed to notice such virtuous playing. Notes just seemed to flow in abundance, cascading like water, rivulets of one stream, then diverging into another. Streams upon streams of magical playing. I believe Atsuko Seki is to the manner born: a true Mozartian. Unfortunately, Divox provides little comfort in the way to packing. The only note mentioned within the durable cardboard cover is the line: "from the land of the piano". Well since Seki is Japanese, would there be some correlation to the house of the rising sun? Perhaps in her own quiet way, Atsuko Seki is displaying the very essence of the Japanese sonnet or haiku, sublime simplicity in all its glory....