From the spring of 2020, many events at home and abroad have been canceled due to the spread of COVID-19. Under such circumstances, in May of this year, a well-known pianist from Argentina and living in Switzerland, Martha Argerich, came to Japan for the first time in three years and toured various cities for about a month to perform the world's highest performances. 

Among her performances, there was a rare program in which Argerich played together with Bunzō Otsuki, a living national treasure, who is a leading Shite (protagonist) in the Kanze school of Noh. There, Otsuki danced to J.S. Bach's ‘Partita’ Argerich played. 

The other day, I found an interview article with Argerich in a newspaper. On the day, after playing with Noh performer, she said with excitement, as following. 

“Noh fascinates my mind deeply. The very slow movements and the ‘Ma (time)’ of transformation from one movement to another reminded me of ‘legato’ in music.”

The article included a review on Argerich’s performance itself, too. 

“Her flowing tempo was well as usual. In addition, her communication ability that, by taking a little longer ‘Ma (time)’ to connect phrases, synchronized her piano with the movement of Noh dance was very wonderful, accordingly Bach's music and Noh dance showed a mysterious fusion which transcended the actual time and space of performance.” 

Here is a mutual resonance of Western and Japanese sensibilities thorough art. I think the essence of communication and its appearance are here.