Takeshi Oi’s Singapore debut recital on 9th March 2025 at Victoria Concert Hall brought together both new listeners and devoted fans of his work. Performing on a C. Bechstein D282 grand piano, he played with warmth and sincerity, guiding the audience through an evening of carefully curated music spanning Baroque, Romantic, Impressionist, and contemporary works.
A pianist and composer known for his expressive interpretations and evocative arrangements, Takeshi Oi first gained international recognition through his arrangement of Voices for a Sony Xperia commercial. With a style that blends classical tradition with a contemporary sensibility, he has built a dedicated following, drawing listeners in with his sincerity and deeply personal approach to music.
He opened the program with his own Fragments of Lyrics, providing a brief but expressive introduction before stepping into his Bach selection. The Prelude from The Well-Tempered Clavier was smooth and well-balanced, followed by the Aria from the Goldberg Variations, where the Bechstein’s crystalline upper register shone. Jesu, Joy of Man’s Desiring carried a steady pulse, closing with clarity and grace.
In Chopin’s Nocturne in B-flat minor, Takeshi shaped a lilting, dreamlike atmosphere, allowing the intensity in the development to unfold naturally. The Nocturne in E-flat major, a familiar favorite, felt fresh with his subtle shifts in tempo and phrasing, gently pulling the ear back into the moment. His Nocturne in C minor, Op. 48 No. 1 opened with a commanding presence, the block chords firm but never heavy-handed. In the quiet passages, he drew in the room with understated elegance. Liszt’s Consolation No. 3 was another highlight, a piece that played to his strengths in intimate, reflective music.
After intermission, he turned to Debussy. Rêverie had a briskness to its pace (which this listener’s ear is unaccustomed to for this particular piece), yet the clarity of his voicing made it compelling. La fille aux cheveux de lin flowed effortlessly, free from unnecessary hesitations. His Clair de Lune, a timeless favorite, was unforced and natural, avoiding overt sentimentality while still evoking wonder.
Poulenc’s Improvisation in C minor brought warmth, though some of the cascading passages felt slightly hurried, there was a richness in the texture of the soundscape. In Ravel’s Pavane pour une infante défunte, his phrasing highlighted the harmonic depth of the piece, though a touch more spaciousness could have deepened its meditative quality.
Takeshi’s Japanese composers’ segment felt deeply personal. Sakamoto’s Merry Christmas Mr. Lawrence, played in tribute to the late composer, unfolded with careful sensitivity, his dynamic shaping brought out its quiet beauty which left some audience members misty-eyed. VOICES, the piece that first brought him international recognition, shimmered in the Bechstein’s upper register. His arrangement of Jupiter (Holst) transcribed in 4/4 rather than its original 3/4, gave the melody a more expansive, cinematic feel while maintaining an intimate, sentimental quality. Takeshi’s own Piano Love closed the program with radiant energy and heartfelt joy.
Met with the warmest applause from his fans, Takeshi Oi treated the audience to 3 exquisite Encores:
- Kunihiro Nakamura 中村匡宏: Yama-Yuri
- Rachmaninoff: Variation 18 from Rhapsody on a Theme of Paganini
- Chopin: Aeolian Harp Etude (Op. 25 No. 1)
The evening felt less like a recital and more like a shared experience between performer and audience. Many had come specially to witness his Singapore debut, and Takeshi met them with warmth and sincerity, both in his playing and in person, making it a night of music, connection, and heartfelt appreciation.
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