logotype

Concert organist, Recording Artist, Pedagogue,
Artistic Director & Music Researcher

koito orgue

Biography

Kei Koito enjoys her career as an esteemed concert organist. She has performed throughout Europe, Russia, Japan, and the Americas. She is acclaimed for her expertise on Baroque and Renaissance music, especially that of J.S. Bach. Kei Koito has won numerous prestigious prizes as a recording artist and is often invited to judge international organ competitions. She is also a founder of the Festival Bach de Lausanne (Lausanne Bach Festival / Bachfest Lausanne), of which she has served as artistic director since its genesis in 1997. Kei Koito is currently an organ professor at the Haute Ecole de Musique / Conservatoire de Lausanne (Lausanne University of Music / Musikhochschule Lausanne) in Switzerland.

Education

Kei Koito was born in Kyoto, the ancient capital of Japan, into a family of artists. Her childhood was steeped in the arts and culture. She was attracted to the world of music at an early age, especially that of J.S. Bach. She began her musical training at the age of six, first with piano, followed by cello and voice. At the age of twelve, she discovered the organ, which soon became her favourite instrument.

As a student at Hiranuma College of Yokohama, Kei Koito played the cello for two years in the school orchestra. Also as a proficient pianist, she performed Beethoven’s Third Piano Concerto with City Orchestra of Yokohama. After graduation from this High School, she decided to dedicate herself to organ studies. She was sixteen at the time.

Kei Koito graduated from National University of Fine Arts and Music of Tokyo / Tokyo Geijutsu Daigaku, where she achieved high distinctions in organ, harpsichord, music theory, chamber music, philosophy and musical esthetics. She also has a master’s degree from the Conservatory of Geneva / Conservatoire de Genève / Musikhochschule Genf, where she won several prestigious prizes including the First Prize of Organ Virtuosity with distinction, of Improvization and of Basso Continuo, Special Grand Prix of the Year, and Otto Barblan Prize for the best interpretation of J.S. Bach. All was awarded unanimously.

Kei Koito studied organ under Pierre Segond (general organ studies) in Geneva, and under Xavier Darasse (romantic, symphonic and contemporary repertoires) in Toulouse. She also studied early music performance and introduction to musicological research with Luigi Ferdinando Tagliavini in Fribourg, baroque music with Reinhard Goebel in Köln, and orchestration, music analysis and composition with Eric Gaudibert in Geneva.

Repertory

Starting in 1985, Kei Koito focused in on the music of J.S. Bach and his important predecessors such as Buxtehude, Böhm, Bruhns, Frescobaldi, Kerll, Froberger, Muffat, Pachelbel, Fischer, de Grigny, Couperin, and their precursors. Consequently, the research of early music became one of Kei Koito’s major interests. She not only adapts her style of playing based on principles of early performance practices, but incorporates her own understanding and observation of historical instruments, and her personal inspiration and intuition into her playing.

Prior to 1985, Kei Koito was a keen performer of romantic and symphonic music (Schumann, Brahms, Liszt, Reubke, Widor, Duruflé, etc.).

Between 1978 and 1996, she was ardently involved in avant-garde music including Ligeti, early Maxwell Davies, Berio, and other 20th-century composers from all over the world. She devoted considerable amounts of time to performing world premieres of newly composed pieces, some of which were dedicated to her. Read more

Performances of contemporary music
1978 through 1996 including world premières

Messiaen, Les Corps Glorieux (integrale) : NHK Radio Japan, Tokyo (1978) / Ohana, Messe : Festival Estoril (1980) / Otaka, Essai : Cathedral of Tokyo (1980) / De Pablo, Modulos V : Cathedral of Lisbon (1980) / Eben, Laudes : Auditorium Maurice Ravel de Lyon (1980) and Fraumünster Zürich (1981) / Koito, Passacaglia * : Radio Suisse Romande (1982), Festival Ravenna (1982), Festival Lille (1982) / Berio, Fa-Si, Yun, Fragment, Darasse, Organum III : International Organ Festival Haarlem (1983) / Ligeti, Etudes : International Organ Festival de Chartres (1983) / Matsushita, Mini Max : Festival de Genève (1983), Eté Japonais / Ballif, Quatrième Sonate, Messiaen, L’Ascension (integrale) : Festival Estival de Paris (1984) / Koito, Permutation * : Concerts of Gulbenkian Foundation, Lisbon (1984) / Huber, In Te Domine speravi, Sigrist, … Und ruhte am siebenten Tage von allen seinen Werken …, Baumgartner, Post Tenebras Lux * : Festival de Genève (1986), Eté Suisse / Koito, Fragment on « Wenn aus der ferne… » of Hölderlin * : Cleveland Art Museum, Cleveland (Ohio – USA) (1986) / Messiaen, La Nativité du Seigneur (integrale) : Cracow Philharmonic Hall (1986), Cathédrale du Havre (1986), Radio Suisse Romande (1986) / Stockhausen, Tierkreis (organ version by Koito *), Jolivet, Hymne à l’Univers, Legoupil, En forme de Mouvance *, Kagel, Rrrrrr …, Koito, Passenger *, Cage, Souvenir, Albright, The King of the Instruments, Bouldjoua, Shamballa *, Cage, 4’33’, Gaudibert, Jetées * : 3 recitals, Festival Extasis de Genève (1987) / Jolivet, Mandala : Auditorium S. Pietro al Carmine of Syracuse (1987), Grand Auditorium de Radio France / France Musique, Paris, (1988) / Furrer-Münch, Silben, Lefebvre, Verzweigungen-Ramifications, Koito, Cristal Axe * : Internationale Wochen für die Neue Geistliche Musik, Bonn (1988) / Hoch, Dopo Endlich * : Fête des Musiciens Suisses (AMS), Cathedral Solothurn (1988) / Pousseur, Deuxième vue sur les Jardins Interdits, Scelsi, In Nomine Lucis : International Organ Festival New York (1988) / Messiaen, Messe de la Pentecôte (integrale) : Festival Estival de Paris (1988) / Maxwell Davies, O Magnum Mysterium, Joyce, Regards dans le Jardin d’amour *, Demierre, Altus *, Szathmáry, Strophen * : Festival Extasis de Genève (1988) / Halffter, Ricercare : International Organ Weeks, Palma de Mallorca (1989) / Calame, Incantation *, Wohlhauser, Lumière(s) * : Festival International de l’Orgue Ancien, Sion-Valère (1989) / Pousseur/Butor, L’Ecole d’Orphée *, Furrer-Münch, Forme et Mystère *, Marti, Dialogue *, Takahashi, « Urworte. Orphisch », poem of Goethe *, Marco, Astrolabio ; Messiaen, Livre d’orgue (extracts) : Festival Extasis de Genève (1989) / Jolivet, integrale, including Cinq Interludes * : Festival d’Art Sacré, Paris (1989) / Yun, Tuyaux sonores : Grosser Sendesaal ORF-Radio Wien (1990) / Goodman, Signaturen * : Studio für neue Musik, Berlin (1990) / Schlee, Offrandes * : Festival de Musique Sacrée, Fribourg (1990), International Organ Festival Haarlem (1990) / Halffter, Ricercare : Riverside Church, New York (1990) / Tanguy, Avènement de la ligne *, Gubaidulina, Light and Dark : Festival Extasis de Genève (1990) / Ligeti, integrale, Volumina, Etude no 1 « Harmonies », Etude no 2 « Coulée » : Tage für Neue Musik Zürich (1990) / Ferneyhough, Sieben Sterne : Festival d’Automne de Paris (1990) / Huber, complete organ works : In te Domine speravi, Cantus cancricans, Gondaï, Das siebente Siegel *, Scelsi, In nomine, Hovland, Elementa * : Festival Extasis de Genève (1991) / Gubaidulina, integrale, Hell und Dunkel, In Croce : Musik Festival, Davos (1991) / Nishimura, Meditation of Vishnu *, Koito, Improvisation * : Musica de Strasbourg (1993) / Schlee, Cantilène *, Corregia, Sicut Umbra *: L’Europe et l’Orgue, Maastricht (1993), Zinsstag, Cut Sounds * : Internationale Musikfestwochen, Luzern (1994) / Feldman, Principal Sound, Mâche, Guntur Sari *: Musica de Strasbourg (1994) / Cavana : Jodl *, Tanguy, Cinq pièces nouvelles * : Ars Musica, Bruxelles (1996).

* world premières

Kei Koito’s interpretation of music for every repertory is defined not only by the different aesthetics of the relevant repertoire, but also by the direct emotional impact which engenders contemporary audiences.

Discography

Kei Koito performs using historically important organs in all her recordings :

Untitled2
Untitled1

Organ Music before Bach

Works by Pachelbel, Froberger, Georg Muffat, Kerll, Fischer

Programme:

Pachelbel : Toccata in C, in D, in g, Prelude & Fugue in e, Fantasia in C, in D (ex Es), Ciacona in d, in g (ex f), Vom Himmel hoch, da komm’ ich her, Froberger : Canzon in G, FbWV 305, Ricercar in d, FbWV 411, Meditation, FbWV 611a faist sur ma Mort future laquelle se joue lentement avec discrétion, Georg Muffat : Toccata prima, Toccata decima, Kerll : Passacaglia in d, Fischer : Ricercar pro Festis Pentecostalibus, Chaconne in F, Rigaudon & Rigaudon double, Passacaglia in d

Johann Jakob Hör Organ (1736)
restored by Hermann Weber (2008)
Pfarrkirche St. Katharina (formerly Stiftskirche), Wolfegg (Germany)

 

Deutsche Harmonia Mundi – Sony Music 8843040912

D_HARMONIA_MUNDI_4C_NEU SonyMusicLogo_09_4Color_Horizontal_Large

www.sonymusicclassical.de

 

Executive producer : Martin Korn, Sony Music
Artistic consultant : Gabriel Dubath, Jean-Daniel Noir
Recording & mastering : Jean-Daniel Noir, JDN Enregistrements
Recorded, 9-11 June, 2014

 

les-maitres-de-l-orgue-francais

Les Maîtres de l’Orgue français, 8 CDs / French Organ Masters, 8 CDs, De Louis XIII à la Monarchie de Juillet / From Louis XIII to Louis-Philippe

From Titelouze to Boëly
played by Kei Koito and some other organists

Works by : J. Titelouze, Ch. Racquet, F. Roberday, L. Couperin, N. Lebègue, J.-B. Lully, G.-G. Nivers, J. Boyvin, G. Jullien, F. Couperin, L. Marchand, N. de Grigny, P. du Mage, L.-N. Clérambault, J.A. Guilain, J.-F. Dandrieu, J.-Ph. Rameau, L.A. Dornel, L.-Cl. Daquin, M. Corrette, Cl. Balbastre, A.-L. Couperin, J.-J. Beauvarlet-Charpentier, J.-Fr.-J. Benaut, G. Lascaux, G.-F. Couperin, A.-P.-F. Boëly

Organs of : Saint-Michel en Thiérache (1714), Souvigny (1783), Sarlat (1752), Saint-Maximin (1774), Poitiers (1791), Cintegabelle (1741), Bordeaux/Sainte-Croix (1748), Dole (1754-1856), Toulouse/La Daurade (1862-64)

Collection « Tempéraments », TEM 316045/52
Radio France/Harmonia Mundi, 2014,
www.kiosque.radiofrance.fr

Masterpiece4

Bach, Organ Masterworks – vol. 4

Passacaglia con Thema fugatum in c, BWV 582, Herr Jesu Christ, dich zu uns wend, BWV 709, Wo soll ich fl iehen hin, BWV 694, Prelude & Fugue in c, BWV 549, Allein zu dir, Herr Jesu Christ, BWV 1100, Partita « O Gott du frommer Gott », BWV 767, Allein Gott in der Höh sei Ehr, BWV 663, Erhalt uns, Herr, bei deinem Wort, BWV 1103, Adagio in Es, BWV 1017, Fantasia & Fugue in c, BWV 537, Allegro/Chaconne in G, BWV 571, Prelude & Fugue in C, BWV 547

Schnitger organ of the Martinikerk, Groningen (Netherlands)

Claves Records CD 50-1314, www.claves.ch, 2013

 

MAsterpiece3

Bach, Organ Masterworks – vol. 3

Prelude & Fugue in b, BWV 544, Prelude (Concerto) in a, BWV 894, Fugue in b on a theme by Corelli, BWV 579, Concerto in d, after A. Marcello, BWV 974, Toccata & Fugue in F, BWV 540, Ich ruf’ zu dir Herr Jesu Christ, BWV 639, Aria  Vergnügte Ruh, beliebte Seelenlust, BWV 170, Erbarm’ dich mein, o Herre Gott, BWV 721, Valet will ich dir geben, BWV 736

Christian Müller organ of St. Bavokerk, Haarlem (Netherlands)

Claves Records CD 50-1107, www.claves.ch, 2011/2012

show

Bach, Organ Masterworks – vol. 2

Toccata & Fugue in d, BWV 565, Fantaisie & Fugue in g, BWV 542, Ouverture à la française, BWV 831, Toccata, Adagio & Fugue in C, BWV 564, Fantasia in c, BWV 562, Nun komm’ der Heiden Heiland, BWV 659, 660, 661, Herr Jesu Christ, dich zu uns wend, BWV 655, Sonatina/Actus Tragicus, BWV 106, In dir ist Freude, BWV 615.

G. Silbermann organ of the Cathedral / Hofkirche, Dresden, Germany

Claves Records CD 50-1008, www.claves.ch, 2009/2010

show_CD_2908

Bach, Organ Masterworks – vol. 1

Praeludium & Fugue in e, BWV 548, Praeludium & Fugue in A, BWV 536, Praeludium & Fugue in a, BWV 543, Partita “Sei gegrüsset”, BWV 768, Adagio, BWV 1016, Trio in G, BWV 1027/1027a, Liebster Jesu, wir sind hier, BWV 731, Ach, was ist doch unser Leben, BWV 743, Schmücke dich, O liebe Seele, BWV 654.

Schnitger  organ of the Martinikerk, Groningen, Netherlands.

Claves Records CD 50-2908, www.claves.ch, 2009

bach2

Bach, The Art of Fugue, BWV 1080 (part 1)

7 contrapunctus & 3 canons.

Dom Bedos organ, 1748, Sainte Croix, Bordeaux / France.

Collection “Tempéraments”, TEM 316016, Radio France (France Musique) / Harmonia Mundi, 1998/1999 (http://sites.radiofrance.fr/radiofrance/kiosque/liste)

bach2

Bach, The Art of Fugue, BWV 1080 (part 2)

9 contrapunctus & 1 canon (contrapunctus 12 & 13 with Kenneth Weiss)

Dom Bedos organ, 1748, Sainte Croix, Bordeaux / France.

Collection “Tempéraments”, TEM 316017, Radio France (France Musique) / Harmonia Mundi, 1998/1999 (http://sites.radiofrance.fr/radiofrance/kiosque/liste)

ubung3frfr

Bach, Clavier-Übung III, (Organ Mass, part 1)

Praeludium in Es, BWV 552/1, Chorals, BWV 669-681

With alternated chorals. Soloists: Agnès Mellon, Andreas Scholl, Gerd Türk, Ulrich Messthaler, conducted by Dominique Vellard.

Hinsz organ, Bovenkerk, 1741, Kampen / Nederland.

Harmonic Records H/CD 9352, Paris / France, 1993/2001 (www.harmonicclassics.com)
Download (www.micmacmusic.com)

ubung3frfr

Bach, Clavier-Übung III, (Organ Mass, part 2)

Chorals, BWV 682-689, 4 Duets, BWV 802-805, Fugue in Es, BWV 552/2

With alternated chorals. Soloists : Agnès Mellon, Andreas Scholl, Gerd Türk, Ulrich Messthaler, conducted by Dominique Vellard.

Hinsz organ, Bovenkerk, 1741, Kampen / Nederland.

Harmonic Records H/CD 9353, Paris / France, 1993/2001 (www.harmonicclassics.com)
Download (www.micmacmusic.com)

bachsonatas

Bach, 6 Trio Sonatas, BWV 525-530 (18 movements)

Schnitger organ, 1692, Martinikerk, Groningen / Nederland.

Harmonic Records H/CD 8828, Paris / France, 1989/1990 (www.harmonicclassics.com)
Download (www.micmacmusic.com)

bachsonatas

Bach, 5 Concertos & Canonic Variations, (after Vivaldi & Ernst), BWV 592-596 (14 movements) and BWV 769

Schnitger organ, 1692, Martinikerk, Groningen / Nederland.

Harmonic Records H/CD 8829, Paris / France, 1989/1990 (www.harmonicclassics.com)
Download (www.micmacmusic.com)

Buxtehude

« Buxtehude &… », (part 1)

D. Buxtehude’s anthology: BuxWV 137, 148, 149, 150, 160, 161, 168, 173, 181, 196, 197, 199, 207, 211, 212, 217, 224, 235.

Hamburg / Germany (St. Jacobi – Schnitger organ, 1693), Groningen / Nederland (Martinikerk – Schnitger organ, 1692)

Claves Records 50-2704, www.claves.ch, 2007/2008.

Buxtehude

« Buxtehude &… », (part 2)

D. Buxtehude’s anthology: BuxWV 76/1, 76/2, 139, 145, 151, 159, 185, 218, 220, 221, 255 & M. Radeck.

Roskilde / Denmark (Mülish-Botz organ, 1655), Payerne / Switzerland (Grob organ, 1784), Hamburg / Germany (St. Jacobi – Schnitger organ, 1693)

Claves Records 50-2705, www.claves.ch, 2007/2008.

Buxtehude

« Buxtehude &… », (part 3)

Magnificat of Buxtehude, BuxWV 202, 203, 204, 205, & Delphin Strunck, Jakob Praetorius, Hieronymus Praetorius III, Heinrich Scheidemann, Matthias Weckmann, Franz Tunder, J.S. Bach.

Hamburg/Germany (St. Jacobi – Schnitger organ, 1693), Tangermünde/Germany (St. Stephan – H. Scherer the younger organ, 1624)

Claves Records 50-2706, www.claves.ch, 2007/2008.

nivers12

Guillaume-Gabriel NIVERS

Livres d’orgue : Messe, Magnificat, Suite du 3e ton, Graduel, Motet

Providing the plainsong alternatim with the Vocal Ensemble Gilles Binchois.

Boizard organ, 1714, Abbaye de Saint-Michel-en-Thiérache/France.
Collection “Tempéraments”, TEM 316033.

Radio France (France Musique) / Harmonia Mundi, 2006/2007.
(http://sites.radiofrance.fr/radiofrance/kiosque/liste)

nivers12

Guillaume-Gabriel NIVERS

Livres d’orgue : Te Deum, Hymne : A Soli hortus, Suite du 1er ton, Suite  du  2e  ton, Motets

Providing the plainsong alternatim with the Vocal Ensemble Gilles Binchois.

Boizard organ, 1714, Abbaye de Saint-Michel-en-Thiérache/France
Collection “Tempéraments”, TEM 316034.

Radio France (France Musique)/Harmonia  Mundi, 2006/2007
(http://sites.radiofrance.fr/radiofrance/kiosque/liste).

Other Recordings on various organs

The well-known French television channel TF1, recorded a recital entitled ‘Splendeurs de la musique préclassique et classique française’ : F. Couperin, Grigny, Titelouze, Guilain, Marchand, Dandrieu, during the Festival of Sablé (Levasseur organ, 1640, La Flèche/France).

Kei Koito has also made numerous international broadcast recordings for her ‘live’ concerts playing on Renaissance, Baroque, Romantic and modern instruments, among others; Sweelinck, P. Cornet, Cabezón, Correa de Arauxo, Bruna, G. Cavazzoni, G. & A. Gabrieli, Trabaci, Frescobaldi, W. Byrd, J. Bull, P. Philips, O. Gibbons, J. Blow, H. Purcell, H.L. Hassler, Froberger, Kerll, Muffat, Fischer, Pachelbel, Scheidt, Böhm, Buxtehude, Bruhns, Walther, J.S. Bach, C.P.E. Bach, Schumann, Brahms, Mendelssohn, Liszt, Hindemith, Saint-Saëns, Widor, Vierne, Duruflé, and contemporary music.

New CDs

New Release! New CDs!

Untitled2
Untitled1
1280px-Wolfegg_Pfarrkirche_Orgel
2010 juni 077
2010-juni-026
2010-juni-060

Organ Music before Bach

Works by Pachelbel, Froberger, Georg Muffat, Kerll, Fischer

Programme:

1. Pachelbel  Toccata in D Minor
2. Ciacona in D Minor
3. Muffat Toccata prima
4. Pachelbel Fantasia in D Major (ex E-Flat Major*)
5. Vom Himmel hoch, da komm’ ich her
6. Fischer Ricercar pro Festis Pentecostalibus
7. Chaconne in F Major
8. Pachelbel Toccata in G Minor
9. Ciacona in G Minor (ex F Minor*)
10. Fantasia in C Major
11. Toccata in C Major
12. Muffat Ciacona in G Major
13. Kerll Passcaglia in D Minor
14. Froberger Ricercar in D Minor, FbWV 411
15. Pachelbel Prelude in E Minor
16. Fugue in E Minor
17. Froberger Canzon in G Major, FbWV 305
18. Fischer Rigaudon & Rigaudon double
19. Passacaglia in D Minor
20. Froberger Meditation, FbWV 611a
faist sur ma Mort future laquelle se joue lentement avec discrétion
21. Muffat Toccata decima

 

* transposed the tonality after the temperament ; ex = original tonality

 

 

Specification of organ & Registrations

 

Texts by Brenno Boccadoro & Kei Koito :

English text
Deutscher Text
Texte en français

 

Johann Jakob Hör Organ (1736)
restored by Hermann Weber (2008)
Pfarrkirche St. Katharina (formerly Stiftskirche), Wolfegg (Germany)

 

Deutsche Harmonia Mundi – Sony Music 8843040912

D_HARMONIA_MUNDI_4C_NEU SonyMusicLogo_09_4Color_Horizontal_Large

www.sonymusicclassical.de

 

Executive producer : Martin Korn, Sony Music
Artistic consultant : Gabriel Dubath, Jean-Daniel Noir
Recording & mastering : Jean-Daniel Noir, JDN Enregistrements
Recorded, 9-11 June, 2014

 

les-maitres-de-l-orgue-francais
images-1
images
l_console-saint-maximin
orguesfrance.com

Les Maîtres de l’Orgue français, 8 CDs / French Organ Masters, 8 CDs, De Louis XIII à la Monarchie de Juillet / From Louis XIII to Louis-Philippe

From Titelouze to Boëly, from the dawn of the 17th century until the end of the monarchy in 1848, an anthology of French organ music from the archives of the label Tempéraments. Thirty composers, twenty performers and ensembles performing over two centuries of music on eight CDs, each programmed in the spirit of a concert, associating organ masterpieces with ten historic instruments, and different instrumental and vocal repertoire. A production coinciding with the tri-centennial of the J.-Boizard organ (1714) of the Abbey of Saint-Michel en Thiérache, an instrument associated with the Tempéraments collection from the beginning – a Radio France label co-produced with the Département de l’Aisne.

played by :
Michel Alabau, Olivier Baumont, Fabio Bonizzoni, Jean Boyer, Frédéric Desenclos, Martin Gester, Gilles Harlé, Aude Heurtematte, André Isoir, Kei Koito, François Ménissier, Davitt Moroney, Serge Schoonbroodt.

Works by : J. Titelouze, Ch. Racquet, F. Roberday, L. Couperin, N. Lebègue, J.-B. Lully, G.-G. Nivers, J. Boyvin, G. Jullien, F. Couperin, L. Marchand, N. de Grigny, P. du Mage, L.-N. Clérambault, J.A. Guilain, J.-F. Dandrieu, J.-Ph. Rameau, L.A. Dornel, L.-Cl. Daquin, M. Corrette, Cl. Balbastre, A.-L. Couperin, J.-J. Beauvarlet-Charpentier, J.-Fr.-J. Benaut, G. Lascaux, G.-F. Couperin, A.-P.-F. Boëly

Organs of : Saint-Michel en Thiérache (1714), Souvigny (1783), Sarlat (1752), Saint-Maximin (1774), Poitiers (1791), Cintegabelle (1741), Bordeaux/Sainte-Croix (1748), Dole (1754-1856), Toulouse/La Daurade (1862-64)

Collection « Tempéraments », TEM 316045/52
Radio France/Harmonia Mundi, 2014,
www.kiosque.radiofrance.fr

Masterpiece4
image-1
image-2
image-3
image-4
image-5

Bach, Organ Masterworks – vol. 4

Passacaglia con Thema fugatum in c, BWV 582, Herr Jesu Christ, dich zu uns wend, BWV 709, Wo soll ich fl iehen hin, BWV 694, Prelude & Fugue in c, BWV 549, Allein zu dir, Herr Jesu Christ, BWV 1100, Partita « O Gott du frommer Gott », BWV 767, Allein Gott in der Höh sei Ehr, BWV 663, Erhalt uns, Herr, bei deinem Wort, BWV 1103, Adagio in Es, BWV 1017, Fantasia & Fugue in c, BWV 537, Allegro/Chaconne in G, BWV 571, Prelude & Fugue in C, BWV 547

Schnitger organ of the Martinikerk, Groningen (Netherlands)

Claves Records CD 50-1314, www.claves.ch, 2013

 

 

Artistic Consultant: Maximilian Ruisseau et Jean-Daniel Noir
Recording engineer: Jean-Daniel Noir

English Text: Georg B. Stauffer
Deutscher Text: Peter Wollny
Texte en français: Gilles Cantagrel

MAsterpiece3
masterpiece3_b
masterpiece3_c

Bach, Organ Masterworks – vol. 3

Prelude & Fugue in b, BWV 544, Prelude (Concerto) in a, BWV 894, Fugue in b on a theme by Corelli, BWV 579, Concerto in d, after A. Marcello, BWV 974, Toccata & Fugue in F, BWV 540, Ich ruf’ zu dir Herr Jesu Christ, BWV 639, Aria  Vergnügte Ruh, beliebte Seelenlust, BWV 170, Erbarm’ dich mein, o Herre Gott, BWV 721, Valet will ich dir geben, BWV 736

Christian Müller organ of St. Bavokerk, Haarlem (Netherlands)

Claves Records CD 50-1107, www.claves.ch, 2011/2012

 

Artistic Consultant : Maximilian Ruisseau
Recording engineer : Jean-Claude Gaberel
Texte en français Gilles : Cantagrel
Deutscher Text : Gilles Cantagrel
English Text : George B. Stauffer

show
orgue
masterpiece2a
masterpiece2_c
masterpiece2d

Bach, Organ Masterworks – vol. 2

Toccata & Fugue in d, BWV 565, Fantaisie & Fugue in g, BWV 542, Ouverture à la française, BWV 831, Toccata, Adagio & Fugue in C, BWV 564, Fantasia in c, BWV 562, Nun komm’ der Heiden Heiland, BWV 659, 660, 661, Herr Jesu Christ, dich zu uns wend, BWV 655, Sonatina/Actus Tragicus, BWV 106, In dir ist Freude, BWV 615.

G. Silbermann organ of the Cathedral / Hofkirche, Dresden, Germany

Claves Records CD 50-1008, www.claves.ch, 2009/2010

 

“After her magnificent Buxtehude boxed-set in 2007 (CD 50-2704/06), and a first volume dedicated to Johann-Sebastian Bach (CD 50-2908), Japanese organist Kei Koito pursues her collaboration with Claves Records by laying the second stone of a cycle dedicated to masterpieces by the Cantor of Saint-Thomas. Recorded on the organ of Dresden Cathedral (formerly Hofkirche), she presents an anthology of pieces selected with utmost care, as always. The grand Toccata and Fugue in D Minor BWV 565 – undoubtedly Bach’s most famous work – opens the recording. This is followed by three Chorales for Advent time, written on the well-known hymn «Nun komm’ der Heiden Heiland»: pages found in the collection left by the musician on his work table at the time of his death. The Fantasy in C Minor BWV 562 occupies the central part of the CD, going back both to the French tradition (through its theme and ornamentation) and to the great German polyphony school (through its monumental five-part Ricercar). France – for whom Bach had the greatest of admiration – is also featured in the following work: the Overture in B Minor BWV 831, a transcription by Kei Koito herself of a work originally for harpsichord – an art in which she excels. Next on the programme are a “triptych”, which may or may not have been conceived as such by Bach (there is no signature to prove authenticity), and the Fantasy and Fugue in G Minor BWV 542, composed to dazzle all of Hamburg when Bach applied for the post of organist at Saint James’s church – for which he was unanimously nominated but refused to buy the duty, preferring to remain in Coethen. The CD ends on two pieces bathed in light: the opening Sonatina of Cantata 106 (known as “Actus Tragicus”), transcribed for the organ by Alexandre Guilmant, and the Italian hymn «In dir ist Freude» BWV 615.”

Claves News

 

Executive producer : Thierry Scherz
Recording : Image & Son
Recording engineer : Jean-Claude Gaberel
Text : Gilles Cantagrel

English commentary inside / Mit deutscher Textbeilage / Texte en français

show_CD_2908
masterpiece1_a
masterpiece1_b

Bach, Organ Masterworks – vol. 1

Praeludium & Fugue in e, BWV 548, Praeludium & Fugue in A, BWV 536, Praeludium & Fugue in a, BWV 543, Partita “Sei gegrüsset”, BWV 768, Adagio, BWV 1016, Trio in G, BWV 1027/1027a, Liebster Jesu, wir sind hier, BWV 731, Ach, was ist doch unser Leben, BWV 743, Schmücke dich, O liebe Seele, BWV 654.

Schnitger  organ of the Martinikerk, Groningen, Netherlands.

Claves Records CD 50-2908, www.claves.ch, 2009

 

“After her magnificent Buxtehude boxed-set in 2007 (CD 50-2704/06), Kei Koito pursues her collaboration with Claves Records by laying the foundation stone of a cycle dedicated to masterpieces by Johann Sebastian Bach. She presents an anthology of – as ever – most carefully selected pieces. Original scores such as the Preludes and Fugues BWV 543 in A Minor, 548 in E Minor and 536 in A Major, the chorals “Liebster Jesu, wir sind hier” and “Schmücke dich, O liebe Seele”, and the Partita “Sei gegrüsset, Jesu gütig”, but also transcriptions by Bach (Trio in G Major from the Sonata for viola di gamba and harpsichord BWV 1027) and by herself (Adagio from the Sonata for violin and harpsichord BWV 1016). Kei Koito excels in them, showing to those who had not yet encountered it her very special affinity with the St-Thomas cantor. She founded a Bach Festival in 1997 in Lausanne (where she lives), Festival that has become a reference in the matter.”

Claves News

 

Executive producer : Thierry Scherz
Recording : Image & Son
Recording engineer : Jean-Claude Gaberel
Text : Gilles Cantagrel

English commentary inside / Mit deutscher Textbeilage / Texte en français

Buxtehude555
OLYMPUS DIGITAL CAMERA
PAYERNE ORGUES
Hamburg_StJacobi
Groningen+Martinikerk+organ
D_Tangermuende_StStephan

« Buxtehude &… » 3 CDs

Claves Records 
50-2704/06
, www.claves.ch

Buxtehude’s anthology and some of the most beautiful pages of North German repertory : Buxtehude, BuxWV 76, 137, 139, 145, 148, 149, 150, 151, 152, 159, 160, 161, 168, 173, 181, 185, 196, 197, 199, 202, 203, 204, 205, 207, 211, 212, 217, 218, 220, 221, 224, 235, 255, including « Magnificat » of Buxtehude, of Delphin Strunck, Jakob Praetorius, Hieronymus Praetorius III, Martin Radeck, Heinrich Scheidemann, Matthias Weckmann, Franz Tunder, J.S. Bach.

 

On five famous historical organs:

  • Hamburg / Germany (Schnitger organ, 1693),

  • Groningen / Nederland (Schnitger organ, 1692),
  • Roskilde / Denmark (Mülish-Botz organ, 1655),

  • Payerne / Switzerland (Grob organ, 1784),

  • Tangermünde / Germany (H. Scherer the younger organ, 1624)

Recorded 2006-2007

 

Executive producer : Antonin Scherrer
Artistic Consultant : Peter Westerbrink
Recording engineer : Jean-Claude Gaberel
Text : Gilles Cantagrel

English commentary inside / Mit deutscher Textbeilage / Texte en français

Major Prizes

Major Prizes

  • Diapason d’or
  • Choc de Classica (formerly known as Choc du Monde de la Musique)
  • 10/10 of Répertoire
  • Événement exceptionnel/ffff of Télérama
  • 5 stars of Le Temps
  • Editor’s choice CD; Le Monde
  • Editor’s choice CD; Gramophone
  • Editor’s choice CD; ResMusica
  • Editor’s choice CD; Toccata Alte Musik Aktuell
  • Editor’s choice CD; Musik & Theater
  • Editor’s choice CD; The Record Geijutsu
  • Editor’s choice CD; Écouter-Voir
  • Editor’s choice CD; Scènes magazine
  • Editor’s choice CD; L’Éveil culturel
  • Editor’s choice CD; La Liberté
  • Editor’s choice CD; Classical Newsletter
  • Editor’s choice CD; Early Music Review
  • Editor’s choice CD; Music Web-International / Classical CD Reviews
  • Editor’s choice CD; Organists’ Review
  • Editor’s choice CD; Orgues Nouvelles

 Awards

  • Prix Culturel Vaudois de Musique (Fondation Vaudoise pour la Culture / Section musique), 2010
  • Fondation Pro Arte de l’Office suisse de la Culture, 1994

Distinctions

  • Her name appears in the International Who’s Who in Music and Musicians’ Directory, Cambridge,
    David M. Cummings, 1998/1999.
  • Her name appears in the Dictionnaire des interprètes, Paris, Robert Laffont, 1995.

Some critics

J.S. Bach, Organ Masterworks, I, II, III, IV

 

Bach et Koito : une rencontre au sommet et un toucher juste

Chaque nouveau disque Bach de Kei Koito est une découverte. Le Bach de Kei Koito est lumineux. Elle sait nous faire ressentir toute l’énergie que renferme cette musique, grâce à une respiration, un souffle, un engagement que peu d’artistes sont capable de donner dans cette musique. Nous attendons bien sûr la suite avec impatience.

Frédéric Muñoz, ResMusica

 

Kei Koito et sa rhétorique baroque
Comme à son habitude, Kei Koito développe un jeu fondé sur une respiration très personnelle. La clarté de l’articulation, la façon de relancer la phrase, avec une accentuation sans cesse variée, nous plongent au cœur de la rhétorique baroque. Kei Koito imprime des fluctuations de tempo (y compris à l’énoncé du thème de la Passacaille en ut mineur, ce qui peut surprendre de prime abord) qui donnent du relief au discours.

Julian Sykes, Le Temps

 

Sortir l’orgue de Bach du piétisme domestique pour retrouver dans sa musique la distinction du “compositeur de la cour royale de Pologne et électorale de Saxe”, dissiper autour de lui les vapeurs d’encens et fumées de cierges pour le faire resplendir parmi les stucs et les lambris, c’est offrir au Cantor une telle revanche posthume, et à l’auditeur un plaisir si faste que le Diapason n’en saurait être que d’or.

Paul de Louit, Diapason

 

Ihr Orgelspiel ist klar strukturiert, frisch und bietet immer wieder Überraschungen. Sie hat hörbar Freude an der Silbermannorgel, deren Register sie geschickt für ihre Bachinterpretation nutzt. Die Ouvertüre nach französischer Art BWV 831 hat sie vom Cembalo für Orgel transkibiert, sie klingt auf der Orgel ausgezeichnet.

Robert Strobl, Toccata-Alte Musik aktuell

 

It is amazing to hear the sound Koito creates by using clear registration and wonderful articulation to improve the lengthy reverberation of the church.

Hiro Aiba, The Record Geijutsu

 

Brillante et réfléchie, la pensée de Kei Koito nous entraîne immanquablement dans les profondeurs des « délires » musicaux du Cantor. Grâce à un jeu sensible et impérieux – l’un n’empêche pas l’autre –, le Bach qu’elle nous donne à entendre passe par une recherche des plus beaux enchaînements, sa flexibilité et sa spontanéité lui autorisant cela sans problème. Virtuose dans le sens noble du terme – c’est à dire dépourvue de toute attitude ostentatoire –, elle jette sur ces morceaux bien choisis un regard saisissant, intense et lumineux. Croisez-le, et vous en aurez la chair de poule, cf. la Fantaisie et fugue en sol mineur.

T. Hervé, Audiophile Mélomane

 

Kei Koito retrouve Bach à Groningen
Pris à la manière d’une gigue sur la pulsation à 9/8, que l’on retrouve dans diverses œuvres du cantor, ce prélude ainsi présenté évoque irrésistiblement l’orchestre baroque et les concertos brandebourgeois. L’orgue est transcendé, grâce à un jeu finement articulé, suffisamment posé, d’une clarté totale, et accordé parfaitement à l’acoustique généreuse du lieu.

Frédéric Muñoz, ResMusica

 

Japan is proud of Kei Koito’s international reputation as one of the most exciting and gifted performer of Bach’s organ works.

Nikkei Trendy

 

Bach par Kei Koito sur l’orgue de Haarlem

La perle de ce récital est sans nul doute l’adaptation d’une aria de la cantate BWV 170 «Bienheureuse paix, bien aimée béatitude ». Quelle musique émouvante et si bien rendue à l’orgue, sans qu’à aucun instant son sens profond n’en soit trahi. On entend un lit de jeux de fonds constituant l’orchestre et le continuo, un jeu soliste orchestral, et le chant même de l’aria sur un autre jeu, en trio : une pure merveille !

Frédéric Muñoz, Res Musica

 

A few years ago, the organist Kei Koito revolutionized our approach to the Art of the Fugue with a famous version recorded for Tempérament Radio France. Now, Claves Records has offered her an opportunity to pursue her exploration of the Cantor’s work, and this first volume reveals an artist as personal and inspired as ever, guided by generous phrasings and a sense of registrations that brings out Bach’s polyphonic science and inventive colouring to best advantage.

Classica, qobuz.com

 

Kei Koito has something she needs to say, and she says it loud and clear. Like a number of other organists, she is “Dionysian” in her embrace of a complete freedom of breath, a style sometimes contrasted with the “Apollonian”. These are two fascinating approaches to Bach’s œuvre for organ. Listening to this album, it become evident that there is still much to be discovered in Bach’s organ music and that it will continue to be recorded for many years to come. In this perspective, we ardently hope that this first very successful album will be followed by many more.

Frédéric Muñoz, ResMusica

 

 

« Buxtehude &… »

 

Buxtehude set firmly among his peers in a splendidly played survey. Koito’s playing is persuasive. Nothing is overdriven, the quieter and still moments are sublime and she steers her way through the many tempo changes with ease. Most importantly, she reveals the rich yet transparent palettes of these instruments.

Malcolm Riley, Gramophone

 

Was das dann bedeuten kann, hört man auf dieser packenden und hoch interessanten Orgel-CD, die ich jedem ans Herz legen kann. Das hier ist alles so absolut richtig, so absolut logisch, sowohl vom Duktus, als Auch von der Regiestrierung her. Das ist großartige Orgelintepretation !

Robert Strobl, Toccata-Alte Musik aktuell

 

[Traduction en anglais : We find out exactly what this can mean when listening to this absorbing and highly interesting CD of organ music, which I would recommend to everyone without hesitation. Everything here is so perfectly accurate, so perfectly logical both in terms of play and registration. This is a wonderful organ interprétation !

Robert Strobl, Toccata-Alte Musik aktuell]

 

Each track is an enchantment.

Bertrand Décaillet, Passé Composé/RTS

 

It is thoroughly recommendable in its own right; authority, powerful contrast, real delicacy, dance, dazzle, magical…

Brian Wilson, Musicweb international

 

These discs show us that in comparison to Bach, there is in Buxtehude something more spontaneous, more fantastical, more improvised, in a word, perhaps a touch of folly…

Benoît Latour, Scènes magazine

 

Poetry and colour… the sum of her explorations results in a very seductive interpretation.

Thierry Adhumeau, Le Monde de la musique

 

Everything rings with rhythmic vitality, lightness, fluidity and clarity; the counterpoints gain in malleability and legibility; every note is correctly weighted, like the syllables of a well-spoken declamation. What we have here, at last, is an “old-style” organistic interpretation like that of a good baroque orchestra! No need, therefore, to rush the tempi. This artist’s tempi are never frenzied; they impart to these works a tone of grandeur that matches their elegance.

Jacques Viret, Revue Musicale de Suisse Romande

 

Treasures of gentleness and fluidity.

Matthieu Chenal, 24 heures

 

In sum, this boxed set is more than a success…

Anne-Sophie Jacouty, Classica

 

A theme, cantus firmus, or basso continuo ensures a solid basis for the fierce pulse that is Kei Koito’s great strength. This base supports the other voices, like the columns and pillars of a baroque building, sprouting from the foundations to branch out in exuberant equilibrium above: marked attacks on the principal note are followed by subtle softening; downstrokes and upstrokes combine with inexhaustible rhythmic vitality, yet never break the melodic line…

Pierre Dano, Diapason

 

 

J.S. Bach : Trio Sonatas & Concertos for organ

 

Plus une interprétation se rapproche de l’idéal, plus on devrait respecter sa propre éloquence. J’aimerais cependant dire ici l’enthousiasme neuf  né de cette écoute : le bonheur. Perfection de la forme et du sentiment, prodigieux.

Michel Roubinet, Diapason, La discothèque idéale

 

Il a longtemps que nous n’avions entendu organiste oser des phrasés si libres, ductiles, organiste jouer de façon sensible, sans cette froideur mécanique que l’on peut regretter chez certains de ses confrères, organiste ne pas abuser des couleurs toutes faites de l’orgue. Rien n’est figé dans son jeu, rien n’est didactique ou éclatant. Kei Koito sait jouer de l’ombre et de la lumière.

Alain Lompech, Le Monde

Kei Koito construit comme une architecte, enlumine comme une décoratrice et sait faire vivre les pièces en utilisant des registrations magnifiques.

Xavier Lacavalerie, Télérama, Hors série

 

Orientation discographique, œuvres pour orgue :
Tout d’abord les Concertos pour orgue seul et les Sonates en trio par Kei Koito…

Luc-André Marcel, Bach, Paris, Seuil

 

L’habileté de Kei Koito à concilier l’aspect « exercice de la précision » avec son opposé, l’intensité d’une conduite formelle qui, malgré la fréquente compacité de l’articulation interne, doit exprimer une sorte de libération de toute sujétion matérielle, est remarquable. Les Concertos de 1713-1714 bénéficient d’une stimulante plasticité, d’une ardeur, d’une fraîcheur dans les contrastes dues plus à l’intuition de l’interprète qu’à une conception strictement musicologique, trop massive ou raide chez tant d’autres.

Patrick Szersnovicz, Le Monde de la musique

 

De l’or en Bach ! Kei Koito à Groningen. Ce programme qui illustre la présence du violon dans l’orgue de Bach tient du miracle. Incroyable coloriste, Kei Koito dessine de vertigineuses arabesques, des phrasés d’une éloquence à rendre jaloux plus d’un archet. Son contrôle de l’attaque est si précis que l’on sentirait presque la résistance de la corde sous le crin.

Gaetan Naulleau, Diapason, Bach en 2000

 

 

J.S. Bach : Clavier-Übung III/Deutsche Orgelmesse
(Organ with alternated chorals)

 

Ihre vorherigen Aufnahmen liessen es bereits erahnen, ihre Klavierübung III von Bach bestätigt es : Kei Koito ist eine der grössten Organistinnen der Gegenwart. Zum Gänsehaut kriegen !

Antonin Scherrer, L’Eveil culturel

 

This is a very satisfying recording of this work, and indeed one of the best available. Kei Koito is a brilliant performer who knows how to let the music take center stage, rather than the organ, and the addition of the sung chorales is an added plus.

Kirk McElhearn, Classical Newsletter

C.P.E. Bach : Sonatas for organ
Ce répertoire est très exigeant car si l’on n’y sent pas la conduite de la ligne, il se parcellise en une succession d’événements sans solution de continuité. Kei Koito s’est merveilleusement imprégnée de cette musique et sait rendre claires les passions intenses de ce répertoire marquées par des contrastes d’exclamations violents (Wq. 69) et de silences soudains (Wq. 70/6). La vitalité et la tonicité de Kei Koito et surtout sa joie et son humour rendent cette musique passionnante alors qu’on l’entend bien trop souvent reléguée à une décoration de couvent baroque.

Michel Laizé, Répertoire des disques compacts

 

Le présent enregistrement répond au plus haut niveau à tous les principes de la musique de C.P.E. Bach. Kei Koito a choisi l’orgue. Son instrument exceptionnel du génial facteur Holzhey offre une idéale diversité de timbres, et l’harmonieux dosage des tempi comme des registrations permet de donner vie à chaque épisode de ces sonates. L’interprète impose ici une unité de vision, toute de contrastes et d’émotions, restituant l’amplitude des tempos entre mouvements médians et extrêmes, et conservant sans cesse au discours sa pulsation et sa respiration.

Gérard Honoré, Guide gourmand des musiques à l’ancienne/Répertoire

 

 

J.S. Bach : Die Kunst der Fuge

 

Hallucinante et sobre perfection. En réponse, à travers une tout autre approche, à la seconde gravure de M.-Cl. Alain, d’une chaleureuse humanité et d’une pureté inégalées, on tient ici la version la plus musicalement aboutie, grandiose de rigueur et d’apparat, d’une œuvre dont on ne dira jamais assez l’envoûtante splendeur.

Michel Roubinet, Diapason

Le résultat est miraculeux, à la fois resplendissant et poétique, majestueux et lyrique. De par la beauté des registrations, la fluidité des phrasés, la finesse des nuances, la partition s’illumine de l’intérieur et nous entraîne dans un univers aux diaprures infinies. Par sa sensibilité et son intelligence, Kei Koito prouve qu’il n’est pas besoin de connaître toutes les subtilités du contrepoint pour goûter cette musique extraordinaire, qui aura rarement paru aussi peu abstraite.

Philippe Venturini, Le Monde de la musique/Classica

 

Kei Koito is arguably more « interventionist » in the contemporary style, with ornamentation applied, dotted rhythms snappily tightened, and above all strongly-marked, bold registrations applied which on this organ take on an almost heroic nature. Where she suddenly takes a back seat is in the final contrapunctus in which Bach’s voice moves us, as ever, as it falters away into silence. This is a musical expérience of the most remarkable ; not one to be missed.

Paul Hale, Organists’ Review

 

Kei Koito est un monument.

Frédéric Ledroit, Charente Libre

 

Du coup, le chef-d’œuvre ultime de Bach, qu’on a tendance à traiter comme un monument hiératique et inapprochable, se met à respirer à l’échelle humaine, dramatisé par les mille feux qu’y met Kei Koito. L’organiste déploie un véritable kaléidoscope de sonorités, illuminant par son jeu coloré jusqu’à l’ivresse la texture complexe de l’œuvre et ses infinies ramifications émotionnelles.

Luca Sabbatini, Le Temps

 

Demeure une sensation de clarté incroyable, avec l’impression que l’interprète dissèque l’ossature de la fugue et la radieuse complexité de son architecture. Une leçon d’analyse, qui n’oublie jamais de rester profondément musicale.

Xavier Lacavalerie, Télérama

Dans ce chef-d’œuvre, Kei Koito nous prouve que la clarté – la conscience des formes contrapuntiques – n’est pas la condition d’une ascèse mais l’enjeu du discours. L’auditeur est mis dans la situation d’un voyageur ébloui par la découverte d’une cathédrale, qui va prendre la mesure de l’imposant édifice, discerner peu à peu les lignes de forces, apprécier l’ensoleillement puis les détails de la pierre. S’il faut du temps pour pénétrer cet édifice, on en ressort transformé.

Gaëtan Naulleau, Les plus beaux CD de l’année, Répertoire, hors-série

 

Choice for CDs of Die Kunst der Fuge
Cembablo : Gustav Leonhardt
Organ : Kei Koito
Ensemble : Musica Antiqua Köln

Philippe Venturini, Diapason, Bach, Dieu en musique, hors-série

 

Choice for CDs of Die Kunst der Fuge
Ensemble : Hespérion XX, Jordi Savall
Organ : Kei Koito

Olivier Rouvière, Le Monde de la musique/Classica, Bach, le démiurge

Concert Career

Kei Koito made her professional debut in a series of recitals at Victoria Hall in Geneva and Auditorium Maurice Ravel in Lyon.

As a highly acclaimed concert organist, Kei Koito is regularly invited to perform as a soloist at the most distinguished festivals and concert venues throughout Europe, Asia, and North and South America.

Her vast performance experience includes playing with the Baroque Orchestra Musica Antiqua Köln (dir. Reinhard Goebel) for J.S. Bach’s Cantatas, Organ Sinfonias and Händel’s Organ Concertos, and the Vocal Ensemble Gilles Binchois (dir. Dominique Vellard) for the Italian Renaissance / Baroque and the French classical / pre-classical repertoires. She has also performed Concertos by Haydn and Rheinberger with Orchestre de Chambre de Lausanne, and the Concerto for Organ by Francis Poulenc with Orchestre de la Suisse Romande.

Major Festivals

Performances at Major Festivals : Grand Auditorium de Radio France/Paris; Festival Estival de Paris (St-Germain); Festival d’Automne à Paris (St-Eustache); Festival d’Art Sacré de la Ville de Paris (St-Séverin, St-Thomas d’Aquin); Auditorium Maurice Ravel de Lyon; Festival Musica de Strasbourg; Festival d’Avignon; Malaucène; St-Guilhem-le-Désert; Festival Ribéracois; La Roque d’Anthéron; Saint-Michel-en-Thiérache; Chartres; Bourges; Les Académies musicales de Saintes; Festival de Sablé; Académie Bach d’Arques-la-Bataille; Renaissance de l’orgue à Bordeaux; Louvie-Juzon; Angoulême; Châlon-sur-Saône Bourg-en-Bresse; Le Havre; Lille; Wasquehal; Rouen; Mont-Saint-Aignan; Aubenas; Besançon; Monaco; Orléans; Reims; Fère-en-Tardenois; Toulon; Marseille; Carpentras; Bolène; Montpellier; Auxerre; Colmar; Meaux; Beauvais; St-Antoine-l’Abbaye; Béziers; Mougins; St-Martin-de-Boscherville; Studio für Neue Musik Berlin; WDR Köln; Bremen, Lübeck; Göttingen; Stuttgart; Kempen; Bonn; Altenburg; Aachen; Aurich; Leer; Duisburg; Tangermünde; Wiener Musiksommer/Klangbogen; Grosser Sendesaal/ORF/Wien; Dom, Wien; Hochkirche, Wien; Innsbruck; St Florian; St Wolfgang; Zwettl; Gmunden; Millstatt Am See; Igls; Ossiach/Carinthischer Sommer; Festival Haarlem; Amsterdam; Maastricht; Festival Oude Muziek/Utrecht, Zwolle; Festival Ars Musica, Bruxelles; Festival de claviers de Bruxelles; Conservatoire Royal de Bruxelles; Festival de Wallonie, Festival de Liège; Luxembourg; Danish Radio/Copenhagen; Soro Festival; Roskilde; Kristiansand; Oslo; Internationale Musikfestwochen Luzern (KKL Konzertsaal and Hofkirche); Jesuitenkirche Luzern; Basel; Bern; Schaffhausen; Solothurn; Ernen; Tage für Neue Musik Zürich; Grossmünster and Fraumünster/Zürich; Festival Bach de Lausanne; Festival d’Art Sacré/Fribourg; Festival Extasis/Genève; Victoria Hall/Genève; Festival du Jura; Bienne; Neuchâtel; Payerne; La Chaux-de-Fonds; Sion/Valère; Magadino; Carasso; Festival Antegnati, Bellinzona; Tchaikovski Conservatory/Moscow; Kaliningrad; Chelyabinsk; Dniepropetrovsk; Warsaw Philharmony; Cracow Philharmony; Kamien Pomorski; Castle of Szczecin; Belgrad; Sofia Philharmony; Summer Festival/ Prague; Castle of Cheb; Olomouc; London Bach Festival; Festival St Albans; Dublin Festival; Festival Antidogma/Torino; Busto Arsizio, Musica e poesia/Milano; Trento; Siracusa; Ravenna; Festival Musica negli Horti Toscana; Tarento; Como; Concerts of Calouste Gulbenkian Foundation/Lisbon; Festival Estoril; Festival Algarve; Auditorio Nacional de Musica/Madrid; Real Academia de Bellas Artes/Madrid; Oviedo; Malaga, Zaragoza; Palma de Mallorca, de Menorca; Ibiza; Léon; Salamanca; Las Palmas; Tel Aviv, Jaffa; Jerusalem; NHK-Radio Japan; Suntory Hall, Tokyo; Ishibashi memorial hall/Tokyo; Cathedral/Tokyo; Musashino Civic Cultural Center; Kyoto; Yokohama; Kobe; Gifu; Izumi hall Osaka Bach Orgelzyklys; CBC Canada; Vancouver; Edmonton; Calgary; Regina; Winipeg; Ottawa; Buenos Aires; Bogota; Montevideo; New York Organ Festival; New York Bach Festival; Gartner Auditorium at the Cleveland Museum of Art; Salt Lake City Mormon Tabernacle Concert Series; Kansas City; Atlanta; Los Angeles; Birmingham; Austin; Hartford; Omaha; Memphis; Naples/Florida; Worcester/Boston; Michigan… and numerous concert series in various concert halls and churches/cathedrals the world over.

Teaching

Teaching

A highly sought-after pedagogue, Kei Koito has been teaching organ at the Haute Ecole de Musique / Conservatoire de Lausanne (Lausanne University of Music / Musikhochschule Lausanne) since 1992. From the start, her classes included students from all over the world. Some of her students have won prizes at international organ competitions, become organists at famous churches or cathedrals, and others have become concert organists and recording artists. Several other students have pursued careers as professors at conservatories / academies, or even found other artistic professions such as composer, conductor, etc. The goal of Koito’s teaching is to discover or rediscover the originality of each student, which she wishes will prosper later in their individual lives.

Notable former students include (in alphabetical order): Mina Balissat, Pierre-François Baron, Maja Bösch-Schildknecht, Denis Fedorov, Charles Françoise, Ivan Maria Friedman, Igor Goldenberg, Mag. Peter Hödlmoser, Catherina Lemoni-O’Doherty, Prof. Pavao Masic, Slava Murtazin, Ezko Kikoutchi, Masayuki Kôno, Prof. Jadwiga Kowalska, Carl Laliberté, Marta Rogusz, Prof. Roman Szlauzys, Nicolas Viatte, Sébastien Vonlanthen, Edmond Voëffray, Yong-Hee Jang.

Juries, lectures, seminars, masterclasses

Kei Koito has frequently served as a member of juries at numerous international organ competitions including Grand Prix Bach of Lausanne, Wasquehal, St-Omer, Maastricht, Aachen, Liège, Genève, Alkmaar, St Albans. She has also been invited to give lectures, master-classes and seminars at prestigious institutions such as the Royal Academy of Music in London, Austria Baroque Academy in Gmunden/Salzburg, Conservatory of Rouen, Conservatory of Québec, Conservatory of Buenos Aires, University of Belgrad, and many others.

Artistic Direction

Kei Koito is a founder and artistic director of the Festival Bach de Lausanne (Lausanne Bach Festival / Bachfest Lausanne) created in 1997. The Festival Bach consists of concerts by orchestras, ensembles, choirs, and soloists, as well as conferences, seminars, and master-classes. The musical aesthetics of the festival are always connected to the music of J.S. Bach. The program mainly comprises the repertoires of early music (from the sixteenth to the first half of the eighteenth centuries). www.festivalbach.ch

Kei Koito currently serves as a co-producer of Lausanne Opera for the repertory of early eras, which performs works by composers such as Lully and Monteverdi that are then presented as part of the Festival Bach.

She also founded the “Grand Prix Bach de Lausanne / International Organ Competition” to discover young talents from all over the world.

“The Festival Bach de Lausanne has chosen the – in my view – only possible way to pay respect to music that one admires and loves: to take it as it is (in music that can, of course, only mean : try to stay within the possibilities of the period) and not want to adapt it to our own wishes or ideas. We can know a work of art only by its physical exterior; if we change the exterior we obscure or alter the interior. This honest approach of the Festival is admirably reflected in the choice of artists and programmes.”

Gustav Leonhardt

Compositions

Compositions of Kei Koito (1980-1992)

Between 1980 and 1992, Kei Koito composed quite a few works for various instruments and ensembles. The major musical influences on her as a composer included Varèse, Maderna, Ligeti, Lutosławski.

  • Sensation (on a poem by A. Rimbaud) for voice & piano (1980)
  • Passacaglia for organ (1981)
  • Esquisse Alpha for 2 pianos (1982)
  • Orestes Stasimon for choir (1983)
  • Permutation (adapted from the studies of P. Klee) for organ and 2 assistants (1984)
  • Tours du silence for chamber ensemble (voice, woodwinds, brass, percussion & double bass) (1985)
  • Labyrinthe dynamique for brass ensemble (1985)
  • Fragment on « Wenn aus der Ferne … » (on a poem by F. Hölderlin) for organ (1986)
  • Splendid Rotation for 2 amplified harpsichords (1986)
  • In step, shoulder to shoulder for string quartet (1986)
  • Passenger (on a poem by J. Nishiwaki) for trumpet & organ (1987)
  • Cristal Axe for organ & 2 assistants / organists (1988)
  • Return (Homage to J.S. Bach) for cello & prepared piano (1989)
  • Poème pulvérisé (on a poem by R. Char) for voice & percussion (1990)
  • Transmutations (unfinished) :
    I, for solo voice
    II, for oboe
    III, for trombone
    IV, for percussion
    V, for ensemble.

In 1992, Kei Koito stopped composing and started concentrating solely on baroque organ performance.

Publications

Articles

  • “The Aesthetic of Carl Philipp Emanuel Bach, about his organ works”.
    This article was originally published in 1992 in the magazine Organ Kenkyu (Vol. 20, pp. 47-64)-Annual Report of Japan Organ Society on its 20th anniversary. Prior to publication, Kei Koito’s research work was also supported in 1992 by the Department of Early Music at Conservatoire National Supérieur de Lyon (dir. Gérard Geay). The article was also published in Switzerland in the magazine L’Orgue in March, 1996 (pp. 2-14) and in June, 1996 (pp. 13-25). Fr Jap
  • “On the Sketchbooks of Leonardo da Vinci” in “The Book of My Life by Thirty Persons of Swiss Romand.”, Payot Editions, 2011. Fr
  • “Nivers and His Admirers”, “The Organ and The Registration for Nivers”, “About The Organ Work of Nivers” in “About the composer G.-G. Nivers, Contemporary of Lully”. Liner notes/text of musicological & artistic presentation for her double CD, 2006/2007. Eng Fr
  • “About the Clavier Übung III/Organ Mass of J.S. Bach”
    Liner notes/text of musicological and artistic presentation for her double CD, 1993. Eng Fr
  • “About 6 Trio Sonatas, 5 Concertos, Canonic Variations for organ of J.S. Bach”
    Liner notes/text of musicological and artistic presentation for her double CD, 1990. De Eng Fr

Prefaces

  • Preface to The Book of Roger Vuataz, “J.S. Bach or The Apotheosis of Polyphony” in the series “Living Music, Music in Liberty”, Slatkine Editions, 2000. Fr

Interviews

  • Interview with Kei Koito, Article on The Art of Fugue, liner notes/text of musicological & artistic presentation in the collection “Temperaments” of Radio France for her double CD, 1999. Eng

Research

  • Kei Koito currently works on a new research on the relations between the organ works and the other instrumental/vocal works of J.S. Bach.

Contact

Contact for concerts

All countries except Spain : Stephan J. Higgins: stephanj.higgins@gmail.com
Spain : Carmen Soler: carmensoler@pereportaconcerts.com

Personal coordination

Jean-Marc Longchamp : jeanmarc.longchamp@gmail.com

 

Credits

This website was realized with the precious collaborations of the following persons :

Coordination : Stephan J. Higgins
Texts
 : Wolfgang Stenzl
Design 
:  Sarah Klay / About Blank Design Office
Management/Web Development
: Audrey Devantay / About Blank Design Office

Photos
portraits 
: Suzi Pilet, Véronique Botteron, Itchi-gen-Assari, Catherine Leutenegger, Massayuki Kôno,
Charles Robinson, Daniel Muster
organs
 : Thomas Helms, Dick Sanderman, Flemming R. Ramussen, Daniel Muster, Christine Lehmann,
Dit Maliepaard