Mie Miki is regarded as the foremost Japanese accordion player of today. At her instigation more than sixty solo and chamber works for accordion have come into being, by such composers as Yuji Takahashi, Toshio Hosokawa, Adriana Hölszky, Hans-Joachim Hespos, Nicolaus A. Huber, Hikaru Hayashi, Toshi Ichiyanagi, Maki Ishii, Takashi Yoshimatsu, Sven-Ingo Koch, Atsuhiko Gondai, Misato Mochizuki, Frank Zabel, Makoto Nomura and Diego Ramos.
After studying the accordion and piano in Germany, Mie Miki has appeared internationally with numerous prestigious orchestras including the Orchestre de la Suisse Romande, New Japan Philharmonic, Gothenburg Symphony, NHK Symphony Orchestra and National Orchestra of Belgium under conductors such as Seiji Ozawa, Hiroyuki Iwaki, Yutaka Sado, Hiroshi Wakasugi, Mario Venzago and Charles Dutoit.
Mie Miki appears on more than 25 discs from a number of different labels. For BIS she has recorded an acclaimed selection of Grieg’s Lyric Pieces, as well as S’il vous plaît, with favourite encores, named CD of the Week on BBC Radio 3’s Essen- tial Classics.
Her own concert series ‘Mie Miki Accordion Works’, including numerous world première performances, has taken place regularly in Tokyo since 1988. In April 2014 this series was awarded the Music Pen Club Award.
Mie Miki is professor of accordion and vice-rector for artistic excellence at the Folkwang Universität der Künste Essen, and honorary professor at the Xinjian Arts College in China. As an educator she has taught not only a number of musicians who have won international competitions but also professors and lecturers at col- leges of music all over the world.
François Couperin was a French composer. He is the most imporant and best known member of the Couperin family, which consisted of a whole dynasty of composers. Couperin was nicknamed 'Le Grand' (the Great), and is considered to be one of the most seminal composers of the Baroque period, especially in regard to his music for harpsichord. His keyboard music is characterised by a strong idiomatic nature, both in its personal style and in its close relation to the instrument's features.
Next to his harpsichord music, Couperin composed music for organ, vocal music, both sacred and secular, and chamber music. Moreover, he published several theoretical treatises on the playing techniques on the harpsichord and its role in the accompaniment of music.
The Frenchman Jean-Philippe Rameau was one of the most important music theorists in the history of Western music. He introduced the term of the"subdominant" and divided chord structures into triads (chords with three notes) and tetrads (chords with four notes), and laid the foundation for the modern study of harmonics. Yet, he was also a seminal composer, and his contribution to the development of opera should not be underestimated. In the first 40 years of his life, Rameau remained in obscurity as an organ player in the country side of France. In 1722, he moved to Paris, where he published his Traite de l'Harmonie (treatise on Harmony). Here, Rameau was recognised as a major music theorist and teacher, and soon he would achieve fame as a harpsichordist and composer. Yet, Rameau had even greater ambitions. He desired to become an opera composer. His first operas Hippolyte et Aricie, Castor et Pollux en zijn opera-ballet Les Indes Galantes became huge hits. The music was harmonically a lot complexer than the audience of the time was used to, yet it was also more dramatic. Rameau received financial support from the fabulously rich La Pouplinière and his ties with the royal court. Around 1750, Rameau was at the peak of his fame and his works were being performed throughout France. However, he slowly lost the support of the philosophers and artists of the Enlightenment and after his death in 1764 his operas went into oblivion. Only in the last couple of decades, his music was rediscovered and Rameau gained the attention he deserves.