| The New York Times |
Concert:Schuller conducts New |
Japanese Music-Allen Hughes |
2/24/83 |
Positive |
"Lyra" is a slow-motion, minimalist work in which sounds fade in and out in the strings, and pitches sometimes move microtonally." |
Review |
| San Francisco Chronicle |
Meditations from Japan |
Joshua Kosman |
3/20/88 |
Positive |
The music evokes a host of musical echoes and associations while maintaining a distinctive character of its own. |
Article |
| The New York Times |
Concert of New Mus. of Jap.&US |
Tim Page |
12/11/84 |
Positive |
..a gorgeous, Wagnerian exaltation of a seventh chord, score for soprano, percussion, piano and echo chamber..... |
Review |
| The New York Times |
Music: Somei Satoh Works |
Bernard Holland |
3/2/87 |
Positive |
Lise Messier, the soprano in The Heavenly Spheres are Illuminated by Lights handled hers beautifully. |
Review |
| The New York Times |
Crossing Cultures and Blending Textures |
Bernard Holland |
2/27/95 |
Negative |
"'Toward the Night' shared Mr. Ichiyanagi's love of muted, disembodied held notes, but the harmonic style was almost always dictated by the instruments employed." |
Review |
| Register-Pajaronian |
Music that depends on a computer |
Barry Schwartz |
8/4/86 |
Positive |
It contains a series of contemplative sustained harmonies drifting out from different parts of the orchestra, not so much melodies as sound suspended in holding patterns... |
Review |
| The New York Times |
Concert: At St. Ann's Music of Satoh |
Bernard Holland |
4/1/85 |
Positive |
The production is blessedly more restrained and less pretentious than previous ventures at St. Ann's, also better made, but in the end, Mr. Lutgenhorst's visual effects usually do not add,... |
Review |
| The New York Times |
Music: Somei Satoh Works |
Bernard Holland |
3/2/87 |
Negative |
Sumeru II for eight strings, tubular bells and piano, on the other hand, required a steadiness of bow not always realized in this performance. |
Review |
| The New York Times |
Premieres from the Pacific Rim |
John Rockwell |
11/19/89 |
Positive |
This is another of Satoh's dreamily austere rituals, the percussionist tinkling gently on suspended gongs, the pianist delicately punctuating the percussion and the violinist floating.. |
Review |
| The New York Times |
Music: Somei Satoh Works |
Bernard Holland |
3/2/87 |
Positive |
Stephen Burns, the trumpet soloist in Hikari suffered a glitch or two but more or less matched her in eloquence. |
Review |
| The New York Times |
Oratorio Merges Christ and Buddha |
New York Times |
4/3/87 |
Positive |
|
Article |
| The New York Times |
Oratorio: In B'klyn, Satoh's Stabat Mate |
John Rockwell |
4/5/87 |
Positive |
..he has made creative use of the repetition of simple elements. |
Review |
| Express News-San Antonio, TX |
Japanese composer shatters stereotypes |
Ben King |
1/1/87 |
Positive |
Litania starts with the piano gently repeating phrases that are altered by an echo chamber until the piece sounds like waves lapping against a shore line. At least that's the way it goes.. |
Review |
| The Christian Science Monitor |
Comp. Satoh stretches meaning of new mus |
Amy Duncan |
4/20/87 |
Positive |
The music Satoh presented here however, was far removed from such spectacles, though no less interesting. |
Review |
| The New York Times |
Music: Somei Satoh Works |
Bernard Holland |
3/2/87 |
Positive |
Cosmic Womb played by Margaret Leng Tan and Satoh moved mostly by simple chord progressions and along arcs of growing and receding sound clusters. |
Article |
| The New York Times |
Music: Somei Satoh Works |
Bernard Holland |
3/2/87 |
Positive |
Incarnation II, with the composer as pianist, moved mostly by simple chord progressions and along arcs of growing and receding sound clusters. |
Review |
| Express News-San Antonio, TX |
Japanese composer shatters stereotypes |
Ben King |
1/1/87 |
Positive |
The peice teeters on sounding totally Japanese melodically, but then goes off on its own. |
Review |
| The New York Times |
Music From Japan Festival, Asia Society |
Alex Ross |
3/27/93 |
Positive |
".. a melancholy, serene unfolding of minimalist melody." |
Review |