STARS VON MORGEN - Keiko Kamada 06.12.2025

The Japanese pianist plays works by Bach, Beethoven, Haydn, Chopin, Debussy, Prokofiev and others.

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The Orchestra World Association presents the 49th concert of the series “Stars of Tomorrow in the First District", a concert series that is already enjoying great popularity.

The 49th episode of the series Stars of Tomorrow in the first district reveals a varied program through music history with the 24-year-old Japanese woman KEIKO KAMADA, which leads to the climax at the end via very short excerpts from many well-known works: FRANZ LISZT and his 15-minute work from the Years 1836-42 Vallée d'Obermann: It is the sixth and longest piece from the first volume of his Pilgrimage Years piano cycle, in which Liszt was inspired by the novel by the early romantic Senancour during his journey through Switzerland: it is about the melancholic and disillusioned title character Obermann, who turns away from society and finds solace in the Swiss Alps. The music captures the inner and spiritual struggle, with doubt, passion, nature experiences and ultimately the search for the meaning of life.

KEIKO KAMADA has already released a CD album in 2024 with, among others, Liszt, and first deals with baroque excerpts from BACH's Well-Tempered Clavier II from 1742 and HAYDNs Sonata No. 54 from 1784 “warm”. In the second, she will demonstrate “extraordinary dexterity” in “Presto”, as she did a few times this evening. BEETHOVEN'S 1. Movement from the Sonata No. 5 in C minor op. 10 from 1798 has a lot of contrast in terms of the motif.
CHOPIN's famous Étude Op. 10 No. 4 in C minor from 1833 is fiery fast and demanding in its continuous sixteenth notes with both hands, so that it is associated with a “torrent” (fall of water) and creates enthusiasm in the listener.

Only with an onomatopoeic, poetic, moderately strong rain can“Pour les Arpèges composés Etude No. 11“by DEBUSSY from 1915, in that it is based on broken chords (arpeggios), the tones of which are not played simultaneously, but closely one behind the other, like raindrops hitting next to each other. - It is one of Debussy's most demanding and technically brilliant pieces in the etude collection.
Great theatrical entertainment potential is offered by three pieces from PROKOFIEW's beautiful “Rome and Juliet” op 75, which the composer himself arranged from his orchestral ballet for piano solo. KAMADA plays from it:No. 4 - The young girl Julia, the world-famous No. 4. 6 in E minor/G major - The Monatagues and the Capulets (also: Dance of the Knights), as well asNo. 10 Romeo and Juliet before the farewell.
Finally, the Japanese pianist brings with her a composer of her origins: TORE TAKEMITSU, who died in 1996, and his thoughtful, dreamy contemporary piece Rain Tree Sketch II from 1992, which was lyrically and poetically composed in memory of the Frenchman Olivier Messiaen is.(text: Mag.Elfi Oberhuber)

Program:

J. S. Bach: Prelude and Fugue in E flat major (WTK II)
F. J. Haydn: Sonata No. 54 G major Hob. XVI: 40

I. Allegretto innocente
II. Presto

L. v. Beethoven: Piano Sonata No. 5 in C minor, Op. 10 No. 1
F. Chopin: Étude Op. 10 No. 4

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C. Debussy: Pour les Arpèges composés Etude No. 11
p. Prokofiev: Romeo and Juliet op. 75 10 pieces for piano
No. 4 The Girl Julia
No. 6 The Montagues and Capulets
No. 10 Romeo and Juliet say goodbye
Tōru Takemitsu: Regnbaum sketch II – In memory of Olivier Messiaen
F. Liszt: Vallée d'Obermann

IntroductionIntroduction: Evgeniia Lianskaya-Lininger

Keiko Kamada, Born in Tokyo (Japan) in 2001, from two years of playing piano. Studied at the Schubert Conservatory in Vienna, master classes with Kurt Seibert and Stephan Möller. Since 2021, class of Lilya Zilberstein at the University of Music and Performing Arts Vienna. There she also receives chamber music lessons from Sibila Konstantinova and Srebra Gelleva. In January 2024, her first CD album Harmony with works by Mozart, Beethoven and Liszt was released by KNS Classical. In June 2025 debut as a soloist with orchestra at the Music Fest Perugia, with an impressive interpretation of the first movement of Beethoven's 2nd Piano Concerto.