The eighth day God created  ... Yuzuko Horigome

- by Daniel Tytgat -

[French]  [Japanese]  [Home]

Yuzuko Horigome
I'm a scientist (Ph.D in electrochemistry), son of a gifted violinist (father), pupil of Szigeti and of a gifted pianist (mother), pupil of Marguerie Long and Yves Nat.

Really intoxicated by classical music, I tickle cello and piano in a very execrable way, not able to monitor a too high sensitivity to control a too loved music.

My ears sensitivity dictated to do an easiest job, science, independantly of high level. Very few see a mistake in an equation, everyone hears a mistake in Mozart. This enhanced my innated sense of sheer laziness.

From 1951 (Kogan) the CMIREB is a sabbatic period which nobody or nothing could disturb me : very rarely things are urgent they are mostly answer to questions asked too late !

So I discovered Fleisher .... and many others I don't cite (always my laziness). And so arrived 1980, a year which justify my CMIREB's assiduity . Already during semi-final my emotivity were in alert due to a young Japanese girl of 22 years old: Y. H..

A divine Bach, a second Ysaye sonate : remarkable, a Carmen Fantasy where you could have seen Carmen dancing impetuously like in a film.

I underlined immediately in my program this candidate having the firm intention to be absolutely free at her final date. And the final came. All my recording tools were ready. God, thank you, this was worthwhile.

It was a holy grace to hear this artist. Remarkable Van Rossum, Brahms n°1 sonata never heard so well before (my wife doing different things stopped immediatly when she heard Y.H. It has to be exceptional to promoted such a behaviour !!) . With J-C Vanden Eynden (piano) a rare musical moment attaining the summit of Brahms interpreters. Afterwards I never heard such a version. And then Sibelius.

But what a Sibelius! No dificulties (staccato, octaves, acrobatic jumps) could affect an absolute correctness (or exactness) in sound. Acrobates ...everyone knows one but here no rowdy virtuosity (no easy effect for the public), a phrase perfect and an incomparable musicality. Alone Oistrakh touch me the same in the second movement but in the first and the third Y.H. overpassed the Master David oistrakh. The D.O. version I put in the clouds before, after a incredible quantity of compared versions, falled down from it's pavis.

My memory tells me another version in 1959 from Laredo I put about in parallel with the D.O. version.

I've heard a lot of versions of this concerto by the greatest violinists but no one attains this version which stay from that time the "incontournable" of my CDs collection (recording realized live from a dBX system). And this independantly to the fact she was playing only a Giovanni Battista Cerutti, by far less good as Amati, Stradivarius and Guarnerius from well-known violinists and notably from the adjucatory committee.

When a concert is announced my fiery planning is conducted to avoid a loss of this opportunity to hear this artist.

Being honest, I can say that all the performances were not top level but never I was disappointed.

Among all the concerts I heard 6 are in my memory for ever:

    1- Un concert de sonates donné en 1989 à la ferme-château de la Hulpe ( Bach seconde partita, sonate de Debussy, Elegie de Takemitsu, Scherzo FAE de Brahms et quatre pièces de Webern). Son pianiste accompagnateur était le remarquable Pascal Sigrist.

    2- Le concerto de Bruch n°1 op.26 donné au Nations Unies à New York en 1981, concert transmis par la télévision RTBF, avec le Tokyo Symphony Orchestra sous la direction de Kazuoshi Akiyama).

    3- Le concerto de Berg " à la mémoire d'un Ange" sous la direction de Matthias Bammert avec le Sinfonieorchester des Südwestfunks Baden-Baden.

    4- Le concerto de Vieuxtemps n°5 avec les "I Fiamminghi" sous la direction de Rudolf Werthen en 1991.

    5- Le concerto de Dvorak donné dans la salle du Palais des Beaux-Arts de Bruxelles avec le Tokyo Philharmonic Orchestra sous la direction de Tadaaki Otaka.

    6- Le concerto de Stravinsky avec l'orchestre National de Belgique sous le bâton de Pierre Dervaux, prestation effectuée au Palais des Beaux-Arts de Bruxelles.

Each of them are exceptional musical moment with a Guarnerius del Gesu 1741 used for the majority of these references. (what a splendor ! but how can Y.H. let such a violin sound!)

I have found also some CDs:

Last, we can report a recording of the Beethoven concerto with the Dortmund Philh under Moshe Atzmon. The one who have the exact reference...

All these Cds are remarkable if not always in the summit of my prefered performances of Y.H. I join the Mozart (mainly 3 and 4) and the Bach in the pinacle.

I've to remember a LP (Brahms .... fantastic)

But which one is the summit, for me ? The Bach BWV 1004 given during the concert with Pascal Sigrist in the Hulpe's castle in 1989. This CD is not commercialized and could not be commercialized. It's a pity for music lovers for no version could approach such. If I'd to be on a desert island probably I take this CD with me.

I hope that this testimony will have for effect to invite producers to focus a little bit more on such a wonderful artist who is with no doubt by far better than other violinists written in fired letters on the programs or on CDs in mediatec or buyer shops.

Daniel Tytgat (

This page is written by Daniel Tytgat. Uploaded on July 12, 2000