| The New York Times |
Japanese Imports |
Richard R. Shepard |
2/14/85 |
Neutral |
|
Article |
| The New York Times |
Music Notes from Japan |
Arts and Leisure Section |
2/3/85 |
Positive |
|
Article |
| The New York Times |
U.S. Premieres of 4 Jap. Works |
Donal Henahan |
2/16/85 |
Positive |
The most recognizable composer on the program, Toru Takemitsu, contributed a 3 movement piece for cello and orchestra. ..the work seemed intent on probingthe outer reaches of monotony. |
Review |
| The New York Times |
Koichiro Harada |
Will Crutchfield |
12/22/86 |
Neutral |
"...the kind of overspecific notation that has done much to sour mains mainstream performers on contemporary music...But...one is caught up in the meticulous exploration..." |
Review |
| The New York Times |
Tribute to Takemitsu Evokes a Private... |
Allan Kozinn |
2/11/97 |
Positive |
"Wind and water imagery, presented in a stylized pointillism, pours forth from...the evocative 'From far beyond Chrysanthemums and November fog' (1983) for violin and piano" |
Review |
| The New York Times |
Tribute to Takemitsu Evokes a Private... |
Allan Kozinn |
2/11/97 |
Positive |
"But he had a dramatic side as well, evident in...'Rocking Mirror Daybreak' (1993) for two violins." |
Review |
| The New York Times |
Pianist: Aki Takahashi |
John Rockwell |
4/28/80 |
Neutral |
Toru Takemitsu's rather dour "Les Yeux Clos" would have been another, had Peter Serkin not presented it in New York on April 20. |
Review |
| The New York Times |
Tribute to Takemitsu Evokes a Private... |
Allan Kozinn |
2/11/97 |
Positive |
|
Review |
| The New York Times |
Tribute to Takemitsu Evokes a Private... |
Allan Kozinn |
2/11/97 |
Positive |
"Gentleness pervades works like...'Toward the Sea' (1981)" |
Review |
| The New York Times |
Tribute to Takemitsu Evokes a Private... |
Allan Kozinn |
2/11/97 |
Positive |
"But he had a dramatic side as well, evident in...the stark 'Sacrifice' (1962)..." |
Review |
| The New York Times |
Tribute to Takemitsu Evokes a Private... |
Allan Kozinn |
2/11/97 |
Positive |
"Wind and water imagery, presented in a stylized pointillism, pours forth from 'Water Music' (1960), an electronic work." |
Review |
| The New York Times |
Tribute to Takemitsu Evokes a Private... |
Allan Kozinn |
2/11/97 |
Positive |
"Wind and water imagery, presented in a stylized pointillism, pours forth from...'Bryce' (1976), for flute, harps and percussion." |
Review |
| The New York Times |
Japanese Music of Today And a Posthum... |
Allan Kozinn |
4/22/96 |
Positive |
"Possessed of a keen ear, he produced a lovely blues movement for the film 'Jose Torres' and a persuasive Viennese waltz for 'Face of Another.' Between them was...trenchant funeral music from 'Black Rain' |
Review |
| The New York Times |
Tribute to Takemitsu Evokes a Private... |
Allan Kozinn |
2/11/97 |
Positive |
"Wind and water imagery, presented in a stylized pointillism, pours forth from...'And then I knew 'twas Wind' (1992), for flute, viola and harp." |
Review |
| The New York Times |
Japanese Music of Today And a Posthum... |
Allan Kozinn |
4/22/96 |
Positive |
"...an emotionally charged work with a Ravelian shimmer." |
Review |
| The New York Times |
Tribute to Takemitsu Evokes a Private... |
Allan Kozinn |
2/11/97 |
Positive |
"Gentleness pervades works like 'Distance de Fee'..." |
Review |
| The New York Times |
Tribute to Takemitsu Evokes a Private... |
Allan Kozinn |
2/11/97 |
Positive |
"But he had a dramatic side as well, evident in his guitar works, 'Folios' (1974) and 'In the Woods' (1995)" |
Review |
| The New York Times |
Tribute to Takemitsu Evokes a Private... |
Allan Kozinn |
2/11/97 |
Positive |
"Gentleness pervades works like...the final 'Air.'" |
Review |
| The New York Times |
Tribute to Takemitsu Evokes a Private... |
Allan Kozinn |
2/11/97 |
Positive |
"But he had a dramatic side as well, evident in his guitar works 'Folios' (1974) and 'In the Woods' (1995)" |
Review |