The commissioned work by Japanese composers, which is one of the most important elements for judgment, is performed in various interpretations.
Now the 2nd stage is over, so here I introduce the comments and explanations of those two composers about their works.

It requires a sight to look at the score.
NISHIMURA Akira
-What’s your impression after the performance?
When performing this work, it is important to have a sense to read and understand the score and how you compile its diverse elements and bring into life. I saw some contestants were sensitively aware of it, while some saw only the form or some even played differently from the score (laugh). It’s transferred so differently according to the performance.
-Is there anything you specially care about when writing this work because it is for competition?
I tried to write a work which could lead various results from different approaches. And to avoid using my own habit that my fingers choose the tones naturally, I first made the tone row, and then intentionally used tones that were not usually included in my musical sense. Through a piano, the instruments which has full potentials, I recognized the wake of my new taste underlining in me.

-The interpretation of ‘Daydream for piano’ varies from each contestant. In your previous comment, you mentioned, ‘memory of previous life and prevision of after life’, does this have anything to do with oriental concept of reincarnation?
Daydream means dreaming while walking under the sun shining brilliantly during a daytime. It exists so freshly even more real than the real world. So it has to be rendered vividly, and should not be in sleep. An existence of human being is a part of gene spectrum and going beyond time and space. The causes of daydream might be memories of previous life and prevision of after life. In this sense, it is not Christian kind of idea about life or dead, but more close to the oriental concept. 
-It must be difficult to attain such an interpretation.  
I call it as a sight to look at the score. Pianists who have this ability can see invisible things and make great performance. While the pianists who don’t have this ability can only read symbols as what it is. Especially contemporary music is filled with complicated information, we need to have better sight all the more.

Cast the bell around the world
GONDAI Atsuhiko
-Mr. Alessandro Taverna performed ‘Transient bell for piano’ in the 2nd stage. What do you think about his rendition?
I didn’t expect to be performed from memory. Because this is a new work so I assumed to be played from the score. There are renditions played from scores and from memory, and both of which are meaningful. When playing from memory, you have to fully absorb the physical expression and the scores into you and put it out. In this case, the score is like a script for a play. To the contrary, playing from the score is to re-read when performing. Mr. Taverna was fantastic. More than I expected. His glissando was skillful, too. If allowing me to ask more, it was too beautiful.
-Mr. Sean Kennard has also chosen your work, and said it was difficult to express a form.
I think he realizes the essence of the work. The form is the most important part. If you can’t create a form, there’s no music.  
-In the beginning of the score, the meters keep decreasing every bar line. What’s the meaning of this?
It describes the change of the volume of the cast bell sound consisted by atari (the impact sounds), oshi (stable tone height), and okuri (the ringing ends) that gradually decrease, and also the fading-away of time which is imagined from the change. This is basis of the fundamentals where I put the most important point when I write the work.
-Do you have any message to the contestants who chose the ‘Transient bell for piano’?
I want them to include it as their repertoire, and take it with them to their country and cast the bell to the world.