To celebrate the release of “ATAK024 Midnight Swan” which was released on September 11, Keiichiro Shibuya will perform his first live-streamed, non-audience concert. In addition to the soundtrack of the movie Midnight Swan, he will perform a variety of music from films he worked on, including SPEC and Confessions, as well as recent works such as the Android Opera “Scary Beauty”. We will bring you the best quality of the sounds through the live feed.

COMMENTS

About Playing Piano in the Distance

Since the onset of the COVID-19 pandemic, I deliberately avoided participating in the surge of online live streaming. I had no interest in halfway efforts that felt like mere extensions of the need for validation. Instead, I waited for an opportunity to maintain and refine the quality of the piano solo concerts I’ve been performing while introducing something truly innovative.

That said, in reality, I was too immersed in creating my new opera, Super Angels, to even consider concerts or live streaming. Amidst that, I completed the soundtrack for the film Midnight Swan in just one week. This project ultimately became my first piano solo album in 11 years since ATAK015 for maria, and the album, titled ATAK024 Midnight Swan, was released on September 11.

After finishing the album and sending the mastered tracks to Mr. Kunisaki at Rittor Base as I usually do, he immediately responded with a proposal: why not do a live-streamed performance of this album at their venue? My instincts told me this was the right invitation to accept. I grew excited imagining the possibilities—combining the pursuit of the highest sound quality I’ve always aimed for in my piano solo concerts with a virtual acoustic environment tailored for streaming. That excitement has carried me through the preparations for the concert.

For the live performance, I’ve invited Toshihiko Kasai, who mixed the album, to serve as the sound engineer. With his expertise in the reverb and various effects available at Rittor Base, I aim to create a unique sense of presence that offers something distinct from listening in a concert hall, all from the comfort of the audience’s home.

Thanks to the support of B-tech Japan, I’m thrilled to be able to bring in my favorite instrument, a Bösendorfer piano. Additionally, I plan to incorporate the Waldorf Zarenbourg electric piano, permanently installed at Rittor Base, as well as the Moog One synthesizer—an instrument I’ve been most intrigued by since its release last year. I will switch between these instruments depending on the piece.

The setlist will include tracks from the film Midnight Swan, alongside music from other soundtracks I’ve worked on, such as SPEC and Confessions. I’ll primarily focus on film scores and recent works.

Though we are infinitely and endlessly apart, we are connected by sight and sound alone. Perhaps we can glimpse the continuation of the dream Glenn Gould once envisioned.

Keiichiro Shibuya