Hidetaka Nakagawa

NAKAGAWA Hidetaka

Bassoon

He is a bassoonist with the Japan Philharmonic Orchestra, a member of Ensemble FOVE, and the Lucerne Festival Ensemble, and a part-time lecturer at the Tokyo Music School.
Graduated from Kyoto City University of Arts. Completed studies at the Paris Conservatoire, the Frankfurt University of Music Graduate School, and the Ensemble Modern Academy in Germany. Received the Kyoto City Special Encouragement Award for Arts and Culture. Overseas Music Trainee from the Meiji Yasuda Quality of Life Cultural Foundation.

What made you start playing an instrument?	Wide range of notes, tone, and use over a wide period of time
One of my favorite songs	Debussy: Comma, orchestrated by Charles Koechlin I would like to introduce a piece that is rarely performed. Comma is a ballet music composed by Debussy. He completed the two-piano version and began orchestrating it, but abandoned it midway, so fellow French composer Charles Koechlin completed an orchestral version based on Debussy's ideas. In the orchestral version, small motifs are transmitted throughout the orchestra to form a larger flow, and even when they are expressed to the fullest extent, the musical form is not lost, resulting in a satisfying and tasteful feel. The extreme orchestration of double reed instruments, beginning with a convulsive bassoon and ending with a fragile, sorrowful cor anglais, is a performer's delight. Although it is rarely performed, it is truly a masterpiece by two great composers, in which the orchestra mutually derives abstraction from the music, its meaning, and its sensations.
Personal account	https://youtube.com/@hidetakanakagawa6985?si=iV1CLVFIpSk_83Gx

What made you start playing an instrument?

Wide range of notes, tone, and use over a wide period of time

One of my favorite songs

Debussy: Comma, orchestrated by Charles Koechlin

I would like to introduce a piece that is rarely performed.
Comma is a ballet music composed by Debussy. He completed the two-piano version and began orchestrating it, but abandoned it midway, so fellow French composer Charles Koechlin completed an orchestral version based on Debussy's ideas. In the orchestral version, small motifs are transmitted throughout the orchestra to form a larger flow, and even when they are expressed to the fullest extent, the musical form is not lost, resulting in a satisfying and tasteful feel.
The extreme orchestration of double reed instruments, beginning with a convulsive bassoon and ending with a fragile, sorrowful cor anglais, is a performer's delight.
Although it is rarely performed, it is truly a masterpiece by two great composers, in which the orchestra mutually derives abstraction from the music, its meaning, and its sensations.

Personal account

https://youtube.com/@hidetakanakagawa6985?si=iV1CLVFIpSk_83Gx

Hidetaka Nakagawa

Bassoon

About the Japan Philharmonic