Repertory

Since 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, & their precursors such as Sweelinck, Praetorius family of Hamburg, Scheidemann, Tunder, Weckmann, English Virginalists, Titelouze, Nivers, A. & G. Gabrieli, etc. & the contemporaries of J.S. Bach 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. And prior to 1985, Kei Koito was a keen performer of romantic and symphonic music (Schumann, Brahms, Liszt, Reubke, Widor, Duruflé, etc.). 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

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.