Momo Kodama piano
Mito Chamber Orchestra
Seiji Ozawa conductor
Recorded December 2006, Concert Hall ATM, Art Tower Mito
Engineer: Yoshinori Nishiwaki
Balance engineer: Suenori Fukui
Cover photo: Max Franosch
An ECM Production
Release date: April 12, 2021
After making her ECM New Series solo debut with 2013’s La vallée des cloches, followed by Point and Line in 2017, pianist Momo Kodama belatedly presents a finely articulated diptych of compositions. Under the baton of Maestro Seiji Ozawa, she joins the Mito Chamber Orchestra for this live recording from 2006, which saw the premiere of the opening work, Lotus under the moonlight, by Toshio Hosokawa. Written for Kodama, this homage to Mozart for piano and orchestra resulted from a commission that same year by the Norddeutscher Rundfunk, for which Hosokawa chose a favorite Mozart piano concerto and wrote this companion piece. Using the F-sharp minor slow movement as inspiration, it begins suspended before subtle disturbances, like the fluttering of butterfly wings, waft through the air. Paintings in moonlight on watery canvas take shape, turning darkness into speech and speech into song. There is patience gently asked for—and returned—by the willing listener, whose ears may finesse the scene with details unknowable through any other sensory organ. Music like this needn’t ask for breath because it is breath incarnate. It inhales silence and exhales shifts in climate activated by the kind of touch that skin cannot evoke or experience. It is, instead, an experience of the soul, which trembles and prays. There are moments of absolute sublimity, as when the piano scales downward and upward beneath gossamer strings. Siren-like cries reach quietly overhead, linking their verses through the clouds, ending in windchimes of an otherwise forgotten past.
In the wake of that internal gesture, the externality of Wolfgang Amadeus Mozart’s Concerto No. 23 in A major, K. 488, shines like a blast of refined light, moving through its motifs at the shake of a bough in morning light. With barely a nod to the dream that came before, we emerge onto sunlit pasture, hand in hand with the solstice. Kodama’s entrance is likewise imbued with spectral awareness. Every arpeggio is as legato as it is staccato and points our attention to a time when joy was of central artistic concern. That said, there is great mystery in this music still, coaxing from our hearts an awareness that is anything but chronological. The Adagio flips this world upside down. A ponderous quality pervades. It is cautious yet all the more alive for it. Faith is restored in the Allegro assai, flowing with blessed assurance but also a lightness of step that never fails to smile. Those looking for a thrilling Mozart will not be able to punch their ticket here. Rather, one will encounter a regard for pathos: a worthily prosaic shade to include in the spectrum alongside Hosokawa’s poetry.
Orchestras tend to be seen as the context into which a soloist is placed. Then there is Kodama, who plays with such generosity that this recording feels the other way around: she provides the landscape across which the orchestra may travel. Ozawa makes sure that every nomadic step is faithfully documented for posterity. Despite aging in the ECM vaults for 15 years, we are invited to feel the presence of its creation here and now.