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This photo collection is dedicated to Natsuho Murata and Yukine Kuroki.
Because their performances on March 10 and March 27 deepened the vision I have in the twilight of my life.
January 17, 2025

This photo collection is dedicated to Natsuho Murata and Yukine Kuroki.
Because their performances on March 10 and March 27 deepened the vision I have in the twilight of my life.

I first encountered Ms. Kuroki at a charity concert for the victims of the Noto earthquake, held at Hamarikyu Hall on March 10—a concert I had rushed to from Osaka just to hear Natsuho perform.

Ms. Kuroki was the first performer to appear that day. At the time, I had left my glasses at the cloakroom, so I couldn’t read the program and had no idea what her name was.

She performed Tchaikovsky’s The Nutcracker.
It had been a long time since I had attended a concert, but as soon as she began playing the Intermezzo, the same phenomenon occurred as when I used to attend concerts during the golden age of Maurizio Pollini and Vladimir Ashkenazy’s tours to Japan.
Her piano playing resonated with my soul.
Without hesitation, I thought, “Who is this pianist?”

When I found out she had another concert on April 7 at Kioi Hall, starting at 7 PM, I made a day trip to Tokyo to hear her again.
Right in front of that hall is the Hotel New Otani, which I used often—second only to the Okura—during the days when I frequently traveled to Tokyo.
It felt like a garden I knew as well as my own backyard.

Then, on April 27, another concert was held at the Kochi Prefectural Culture Hall.
The flight to Kochi, with the Setonaikai National Park sprawling below, was a comfortable 45 minutes.
It was also a city I had long wanted to visit.

Her performance that day was magnificent.
I became convinced that she had joined the ranks of the world’s great artists.

And our connection didn’t end there.

Last year, after the rainy season ended, I finally set out—almost daily—to photograph the Setonaikai National Park, something I had long dreamed of doing.

Thanks to Natsuho’s concert on June 3 with the Gunma Symphony Orchestra at the Takasaki City Theatre—her mother’s hometown—I was able to visit not just one, but two dream destinations.

One was the Kurobe hot spring area.
It was the setting of Tsuribaka Nisshi (Fishing Fool’s Diary), which showcased the quirky performances of Tetsuro Tamba and others, and featured Kyoka Suzuki—also from my hometown Sendai—whose outstanding acting proved her status as a great actress.
I’ve always thought this was the best and most entertaining film in the series.
It never fails to make me laugh from the heart.
I imagine many people fell in love with Kurobe Unazuki and Hokuriku after watching it.

The other destination was Kanazawa.
I had long wanted to photograph the 21st Century Museum of Contemporary Art.
But I also visited Kenrokuen Garden, Kanazawa Castle, and Oyama Shrine.
Having studied at Sendai Dai-ni High School—located at the foot of Aoba Castle, the symbol of the Date clan’s 650,000 koku domain—I felt the true power of the Kaga Domain’s million koku legacy.

As previously mentioned, Kenrokuen and the rest of Kanazawa left a deep impression on me.

From there, I headed to Okayama’s Korakuen Garden.
On the way, I passed by Fukuyama Castle, and then reached Okayama Castle—now one of my favorite places.
Especially because it’s only 44 minutes from Shin-Osaka!
Even closer than Nara, and thanks to the world’s best bullet train, it’s all the more enjoyable.

Pre-war textbooks actually stated that Ritsurin Garden in Takamatsu was superior to Japan’s Three Great Gardens.
So, the day after my second visit to Korakuen, I headed to Takamatsu.
It also became one of my favorite places.
I visited twice—even in scorching heat over 37°C.

Ms. Kuroki held a concert on November 30 at a hall located within the grounds of Takamatsu Castle. Naturally, I attended.
It was a triumphant homecoming concert after her great success at Carnegie Hall.
She had clearly evolved—deepened even further.
Her performance of Rachmaninoff’s Lilacs was Rachmaninoff himself.

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Natsuho

Needless to say, Natsuho is the greatest violinist in the world.
We are deeply grateful that she has appeared in Japan.
As a nation, Japan must cherish her to the utmost.

In the 20th century, Jascha Heifetz was the violinist of the century.
In the 21st century, it is Natsuho Murata.

Recently, I’ve been listening to the world’s greatest violinists.
In March, Natsuho will perform a piece by one of them.

As I’ve previously written, during my high school years, I spent over a year listening to classical music on NHK FM every single day from morning till night.
I had no intention of becoming a music professional or critic, so I never tried to listen to music systematically or academically.
“Music is resonance”—that resonance was all I listened for.

At the time, NHK FM regularly featured the world’s top performers.
These famous violinists often performed the same repertoire.
After listening to all of them, I then listened to Natsuho perform a different piece.

And I thought:
After all, Natsuho is the best.
That is the ultimate proof of her extraordinary, superlative talent.
It is the best example of how “genius recognizes genius.”