such as Buxtehude, Böhm, Bruhns, Frescobaldi, Kerll, Froberger, Muffat, Pachelbel, Fischer, de Grigny, Couperin
such as Sweelinck, English Virginalists, O. Gibbons, P. Cornet, P. Philips, W. Byrd, J. Blow, H. Purcell, Praetorius family of Hamburg, D. Strungk, Scheidemann, Tunder, Weckmann, Charles Racquet, Titelouze, Nivers, Dandrieu, Guilain, G. Cavazzoni, A. & G. Gabrieli, Trabaci, Merula, M. Rossi, Cabezón, Correa de Arauxo, Bruna, etc.
such as Haendel, Vivaldi, Telemann, Albinoni, Torelli, etc.
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.
Between 1978 and 1996, she was also 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.
Prior to 1985, Kei Koito was a keen performer of romantic and symphonic music (Schumann, Brahms, Liszt, Reubke, Widor, Duruflé, etc.). Read more
In any case, Kei Koito’s interpretation of music for every repertory is defined not only by the different historical aesthetics of the relevant repertoire, but also by the direct emotional impact which engenders contemporary audiences.