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Tamami Honma
[piano]

CD details:

 MSV 92024 Premonitions
 MSV 92029 Star Preludes
 MSV 92071 John McCabe piano music

 

Tamami Honma's appearances in many of the world's great musical institutions have attracted notable acclaim, from the Bolshoi Hall in Moscow (as soloist with the Moscow Radio Symphony Orchestra) to the Weill Recital Hall at Carnegie Hall (‘ An eloquent, powerful performance ' - New York Times) and the Wigmore Hall in London (‘ an interpretation [of the Goldberg Variations] that was probably as transparent and faithful to Bach as it's possible to be on a modern piano ' - Music and Vision).

Tamami Honma has made numerous radio and television broadcasts in Europe and the US in partnership with leading orchestras and quartets, and participated in many major music festivals such as the Aldeburgh Festival and the Warsaw Autumn Festival. She regularly gives masterclasses and presentations in conservatories and appears on juries of international piano competitions at home and abroad. Tamami Honma's wide ranging commercial CD recordings of composers from Mozart and Chopin to Stravinsky, McCabe and Rawsthorne, to name a few, have won high accolades. Tributes in Gramophone Magazine for her disks include a Gramophone Award Nomination for her second Metier CD with violinist Peter ShepperdSkaerved (MSV92029)(2002), Editor's Choice (March 2004) and Critics' Choice (December 2004): ‘ Tamami Honma plays brilliantly… very strongly recommended' , March 2004; ‘Make no mistake Honma is a superb player… a remarkably eloquent achievement ', May 2004.

After her formative years in the US during which she won many competitions, Ms Honma studied in New York City with the legendary Byron Janis - himself a student of Vladimir Horowitz and the Lhevinnes. Her most recent disk released of the two Chopin concertos recorded in a piano quintet version with the Vilnius Quartet was the featured 'CD of the Week' in the UK's The Sunday Observer , which stated ' Tamami Honma plays exquisitely, lending a bright, forthright finish to the maestoso passages and a warm, singing, velvety line to the lovely larghetto movement of the first concerto. The whole recording is a complete delight' (December 2008).

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