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Kay Ueyama: Harpsichord, Fortepiano

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Harpsichordist Kay Ueyama was born in London, and grew up in Tokyo. She earned prizes at the Paola Bernardi Harpsichord competition in Italy in 2003 and in the Yamanashi Early Music competition in Japan in 2005. She studied piano at the Toho Gakuen School of Music in Tokyo (Japan), Performance Diploma in piano at the Longy School of Music in Cambridge (USA); harpsichord at the Amsterdam Conservatory (Holland), and earned Masters Degrees from both The Longy School of Music (USA) in harpsichord and The Royal Conservatory of Brussels (Belgium) in fortepiano. She has studied piano under Victor Rosenbaum and harpsichord under Peter Sykes, Menno van Delft (Amsterdam), Christophe Rousset and Huguette Dreyfus(France).

Kay Ueyama is active as both a soloist and a chamber musician in Europe, the USA, and Japan. She has been invited to a number of major music venues, including Mozart festival at the UNESCO World Heritage Centre Würzburg residence (Germany), Salle Pleyel (France), The Royal Chapel at the Château de Versailles (France), and at the Cambridge Early Music Society (UK). In 2002, she first performed J.S. Bach’s Goldberg Variations (BWV 988) in Boston. Her performances have been broadcast on Dutch AVRO classic radio channel, Mezzo TV, France musique and Tokyo FM.

In 2011, She recorded her first solo album Bach: Goldberg Variations on an original harpsichord by J.Ruckers 1632/1745 and the recording was selected as “Le Diapason Découverte” in France,”The best disque” by Record Geijyutsu (Art of Disque) and the ASAHI Newspaper in Japan. She has also recorded sonatas for cello of J.P. Duport with Raphael Pidoux on Integral Classic. In 2018, her 2nd CD, J.S.Bach: Six Partitas was recorded on an original harpsichord by C.Kroll in 1776 which has selected to receive the “silver prize” by Record Geijyutsu (Art of Disque). Kay teaches harpsichord at the Kyoto City of Art University and Doshisha Women’s College of Liberal Arts in Japan. www.kayueyama.com

“Ueyama has a profound and mature vision, it is emotional and perfectly organized. The opening Aria is a disarming splendour which dodges the usual trap of pomposity. (…) We bet this version of very high quality will be considered as a reference for a long time, among an already prestigious discography. And look out for her concerts…!” – Philippe Ramin, Diapason (June 2012)

“The Japanese harpischordist projects Bach’s score in a symphonic whirlwind which is invading and rejoicing. It is full of feelings, from witty humour to the absolute diziness that is engaged here. A wonderful disc!” – ConcertoNet.com (July 2012)

 

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