Takemitsu, Toru

Average customer rating:

Brilliant Artist!
Incredible technique and emotional range
Incredible Musicality and Technique!!!
any kid can do it

Romance de Amor

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Si ji (Four Seasons)
Romance
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Jubilation

ASIN: B000HIVGT4
Release Date: 2007-02-06

Tracks:

Asturias
Romance De Amor
Recuerdos De La Alhambra
Zapateado
Michelle
Cavatina
El Colibri
El Condor Pasa
Seis Por Derecho
Un Sueno En La Floresta
Etude No. 7
La Cumparsita
I Believe
Sakura
Spring Breeze
Anak

Customer Reviews:

Brilliant Artist!.......2007-06-01

I just received Xuefei Yang's "Si Ji" and "Romance De Amor" from Amazon. Xuefei's playing is both powerful and exquisite. Specifically, I want to mention about the piece "Romance De Amor". This is my all time favourite solo guitar piece. Xuefei's interpretation of this piece is personal and intimate, and I enjoyed it very much. She plays it as if gently caressing her lover in her arms, almost to the point of being too careful; by her playing, one can really hear that she loves the piece "Romance De Amor".

With due respect to Xue Fei's insightful performance, I have my very own reference performance of "Romance D'Amour" that is truly haunting, romantic, passionate, and nostalgic. Listening to it really gives a sense of the 1970's -- the self discovery and the lost of innocence of the period. It is the best I have heard (maybe you may feel the same if you heard it). Many other performances simply fall flat compared to the one I have.

About it's history: My father bought a classical guitar music tape in 1979 when I was living in Macao. This tape has travelled far with us, and been played many, many times. The tape is by some foreign label that probably does not exist anymore; internet searches does not bring anything up. Consequently, I cannot find a copy of this anywhere in CD format or tape. What a shame.

Last year, I bought myself an elite Nakamichi (one of the best) 3-head tape deck and a Pioneer CD recorder (not the computer kind), and transferred this music from tape to CD. Now, it is preserved and I no longer need to worry about further deteriorating the tape everytime I play it. The transfer is as ideal as I can get it, with a bit of tape hiss, but with the Nakamichi deck's purity and great sonics shining through.

Drop me an email at "kyleyyi@gmail.com" for further discussion on this rendition if you're interested. And yes, it is also called "Romance D'Amour".

Incredible technique and emotional range.......2007-05-12

Following "Si Ji" is no small task. That CD was a masterpiece of modern guitar; so different from anything else out there that it shines in a totally different light.
That being said, "Romance de Amor" showcases some of the great gems of this instrument's repertoire by one of the world's premier guitarists. Yang Xue Fei is a masterful technician, but make no mistake, emotionally she gives her all in every note. After listening to 3 of her CD's (the two already mentioned, and "Classical Guitar") I've been impressed with her passion for music. I've heard her say that she looks at the guitar as a lover. Her playing shows this by being at turns powerful, seductive, intimate, tender and even humorous. She can play incredibly fast and still retain her phrasing and subtlety.
"Asturias" has rarely been so explosive
"Requerdos de la Alhambra" breaths with a life of its own thanks to her pacing
"El Colibri" is a great example of her speed and accuracy
If you are at all a fan of classical guitar, you've heard these pieces from other artists. Part of the fun of this genre is hearing how individual artists interpret the same piece. I love the sensitivity of Ana Vidovic, the smokiness of Lily Afshar, the intelligence of the Assad brothers and the sheer artistry of John Williams, and this is just to name a few. One might think that Segovia laid down the law for pieces like Asturias (judging from Christopher Parkening's description of his studies with this great master, Segovia certainly thought so), but Yang Xue Fei is such a wonderful talent, she is a law unto herself. She displays a vitality that makes each piece uniquely hers. To take ownership of these songs with such authority across the board makes this CD a worthy addition to any collection.

Incredible Musicality and Technique!!!.......2007-03-24

Wow! I just bought this cd and have listened to it over and over again. Fantastic interpretations of the classics. I fell in love with these standards all over again. Incredible tone and technique. Buy it now!!!!

any kid can do it.......2007-03-20

just terrible makes one want to leave the room

Toru Takemitsu: Quotation of Dream (20/21 series) - London Sinfonietta / Oliver Knussen

Average customer rating:

More of the bland stagnance of Takemitsu's later symphonic work
Really enjoying this one
A fine collection of late works and an ideal introduction
Another world
Takemitsu draws you into his dream world

Toru Takemitsu: Quotation of Dream (20/21 series) - London Sinfonietta / Oliver Knussen
Oliver Knussen , Paul Crossley , Peter Serkin , London Sinfonietta , Sebastian Bell , Michael Collins , Andrew Crowley , Gareth Hulse , Joan Atherton , Rebecca Hirsch , and Timothy Lines
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Takemitsu: A Flock Descends into the Pentagonal Garden
Takemitsu: Requiem; Twill by Twilight
Takemitsu: A Flock Descends into the Pentagonal Garden
Takemitsu: Chamber Music
Takemitsu: To the Edge of Dream / Folios for Guitar / Toward the Sea / Transcriptions for Guitar

ASIN: B00000I0L6
Release Date: 1999-02-09

Tracks:

Quotation Of Dream: Day Signal
Quotation Of Dream
Quotation Of Dream: How Slow The Wind
Quotation Of Dream: Twill By Twilight
Quotation Of Dream: Archipelago S.
Quotation Of Dream: Dream-Window
Quotation Of Dream: Night Signal

Amazon.com

Sometimes, even while you are listening, it can be very difficult to understand how Takemitsu created such exquisitely beautiful music using so much dissonance. As the brief Day Signal opens the disc, for example, you're more likely to think of the glory of sunrise than of the discords. And Quotation of Dream, which quotes freely from Debussy's La Mer, is nearly as beautiful as its source. Rather than waste time figuring out how Takemitsu's spacing of notes and imaginative scoring influences our perceptions, it's much more rewarding just to relax and let the music wash over you. Knussen, who leads amazing performances here, has programmed the disc for a continuous listening experience, although the novice should probably listen only to a couple of pieces at one sitting. --Leslie Gerber

Customer Reviews:

More of the bland stagnance of Takemitsu's later symphonic work.......2007-06-03

It's inexplicable that so little of Takemitsu's extraordinary film music has been released in affordable editions outside Japan, while compilations of his boring, overtly derivative late orchestral output have enjoyed inclusion on releases by the likes of DG. Then again, DG hasn't had a good string of releases since the late '70s, so I don't expect too much from that fallen giant.

"Quotation of Dream" is easily one of Takemitsu's worst compositions and an absolute waste of time: a meandering exercise that tediously quotes Debussy's "La Mer" and recycles portions of Takemitsu's own "Dream/Window." Technically, this piece is as expertly constructed as all of Takemitsu's work, but that doesn't make it any less counterfeit of its' source material, or any less embarrassing for it. Why should I listen to this tiresome pablum when the compositions it borrows from are readily available?

"How Slow the Wind," "Twill by Twilight" and "Archipelago S." are typical examples of Takemitsu's late orchestral works: they assume a lovely sound and were composed with ingenious design, but that doesn't make them even remotely interesting or memorable.

There are a few works on this disc that are worth hearing. The aforementioned "Dream/Window" is a brilliant, beautiful twelve-tone composition that's infused with the drifting, dreamlike sonority common of his works - an aesthetic which is almost anathema to the rigorous character of most serialist compositions.
Also notable are "Day Signal" and "Night Signal," a pair of dissonant, evocative fanfares that bookend the album's content. These brass-voiced compositions seem almost facile to the ear at first listen, but repeated plays distinguish the cleverness of these little pieces as antiphonal movements.

None of the negative comments of this review should obscure the fact that Takemitsu was a truly gifted and intuitive composer. But it's inexplicable that so much of his best (and in many cases, most accessible) works of film, piano, chamber and electronic/tape music remain either out of print (often since being released on LP) or entirely unavailable for domestic consumption of his North American and European listeners when the least of his orchestral oeuvre is readily on hand.

There's nothing that I can say against these performances by Knussen conducting the LS. They're excellent, informed executions of mostly mediocre compositions. However, I'd much rather hear Knussen performing the best of his own small (but distinguished) oeuvre!

The production is decent: as transparent and pristine as most of the best digital recordings. These compositions don't demand any venture into extreme registers, but the soft passages are capably, audibly reproduced without any loss of their inherent subtlety.

Really enjoying this one.......2006-04-29

I have only recently begun listening to Takemitsu. Was introduced at a guitar recital. I have been slowly accumulating more of his compositions. For me, this is possibly the best.

Composition intrigues me perhaps more than any other aspect of music, and this fellow was clearly inspired. I would liken his music to that of Alan Hovhaness, but without some of the more brash moments of that composer. I can also hear the influence of Debussy, but Takemitsu takes the listener in many enjoyable directions throughout this CD.

The playing and recording are also top-notch.

A fine collection of late works and an ideal introduction.......2004-12-11

QUOTATION OF DREAM is the first of Deutsche Grammophon's several collections of pieces by late Japanese composer Toru Takemitsu, who thankfully has been getting ever-more attention since his untimely death in 1996. Takemitsu was a mainly self-taught composer, and because of this there seems to be little that connects him to his serialism- or minimalism-inspired colleagues. Nevertheless, Takemitsu's own path is fascinating, exploring Japanese and Western compositional principles in isolation and in combination and striving to transcend them both. These pieces, several of them related by shared thematic materials. are lovingly performed by the London Sinfonietta conducted by Oliver Knussen, who was a friend and admirer of Takemitsu.

The disc is framed by two antiphonal fanfares written in 1987, "Day Signal" and "Night Signal", together called "Signals from Heaven". They are closely related, both using dissonance to suggest the changing of the skies, but with one inverted from the other to suggest an opposite tone.

A quip of Takemitsu was "I am self-taught, but I consider Debussy my teacher." The first major work here, "Quotation of Dream - Say sea, take me!" (1991), is a tribute to Debussy using quotations from his "La Mer" as if the composer was trying to recreate the piece he had just woken up from dreaming. The title also refers to its use of some material from "Dream/Window", an earlier composition present on this disc. "Quotation of Dream" is a lovely tribute to the composer's greatest inspiration, but the majority of the work comes only from Takemitsu. His use of a zig-zag of harmony, of orchestral colour that comes forth and recedes like waves is nothing you have ever heard before in orchestral music.

"How Slow the Wind" (1991), inspired by a poem by Emily Dickinson, is rather more brooding. It's most interesting moments occur toward the end, when cascading woodwind sounds and the faintly mechanical notes of two Swiss cowbells transform the work into something different. This is one of Takemitsu's most impressive works,

"Twill by Twillight (in memory of Morton Feldman)" (1988) is an experiment with a musical "tapestry", where a theme "weaves" through the piece. The piece is pretty music, but does little to make itself memorable and for me remains the low point of this collection.

The title of "Archipelago S." for twenty-one players (1993) refers to the landscapes of Seattle, Stockholm, and the islands of the Sato Inland Sea . The piece has an innovative stage layout, with the players grouped into five "islands": a five-person brass group, two mixed seven-piece groups, a clarinet sitting to the right, and a clarinet sitting to the left. The effect is indeed somewhat nautical and this recording exploits the space well.

"Dream/Window" (1985) is probably the most important composition on this disc. Every note of this piece is of the greatest delicacy, and the work as a whole is so crystalline and fragile that one feels one will break it just by listening to it. Though Takemitsu's later works are impressive, they have never seemed to me to acheive the perfection of "Dream/Window". What is surprising is that this work is true twelve-tone music, yet with Takemitsu's skill it does not sound dull or scientific.

If you ever think that modern-classical music is written only by dispassionate ivory-tower robots like Pierre Boulez, the works of Takemitsu will show you that contemporary techniques can, under the right hands, touch the emotions as much as the intellect. While it takes some time to get used to (nearly six months for me), this is probably the single best introduction to the music of Toru Takemitsu. And one should certainly listen to this before getting the other DG "20/21" discs, which are rather more specialised (with, for example, one having traditional Japanese pieces and the other flute and guitar works).

Another world.......2003-10-18

Toru Takemitsu was one of the late 20th century's most individual composers whose scores use primarily the traditional instruments of western classical music. Perhaps in part because he wrote film scores in addition to concert pieces, his art is highly communicative and un-academic. It has the double merit of being about as far as you can get both from gnarly, dissonant modernism and from pretty-pretty New Age ear candy.

Quotation of Dream includes seven pieces from the last decade of Takemitsu's life (he died in 1996), including the premiere recording of the title piece. The disc begins and ends with fanfares that, while perhaps effective as aural bookends, are to my ears undistinguished. The music that lies in between, however, is extraordinarily compelling.

Takemitsu's style in these works is generally meditative, with frequent slow, quiet passages, strings predominating. But there are dramatic incidents and color as well: flaring brass, rising like a mountainous island from a tropical sea; raindrops of chimes; drawn-out woodwind lines weaving sinuously through swirls of massed violins. The music sometimes pivots around silent pauses, like the empty spaces in Zen painting. In Quotation of Dream, twin pianos (played by Paul Crossley and Peter Serkin, respectively) dominate the foreground with gentle cascades of notes while orchestral clouds form in the background.

The musical language is often reminiscent of Debussy and Ravel; in mood (though not in technique) it can resemble the slowest and most mysterious moments in music of the second Viennese school (Schoenberg, Berg, Webern et al.). The subtlety and elusiveness probably owe something to the composer's Japanese heritage. But this is no cut-and-paste job; the overall impression is startlingly original.

I have not read the liner notes, and have no idea of what Takemitsu is trying to "say," or what these scores "mean." I would also suggest that those considerations are pretty irrelevant: the important thing is the sound world that he has created, which is both other-worldly and bracing.

Oliver Knussen, a contemporary British composer and a friend of Takemitsu, conducted the London Sinfonietta in these recordings. It is apparent that that he helped the players, who sound expert, get "inside" the music.

Anyone who already knows and appreciates Takemitsu's sensibility need not hesitate to acquire this disc. It can also be recommended for all but the most determinedly "mostly Mozart" classical devotees.

The presentation is not ideal. Deutsche Grammophon has never excelled at digital recordings, and the sound of this disc, while detailed and transparent, is a bit bright and clinical. The disc is contained in one of those cardboard containers that some labels are now trying to get you to accept in lieu of the standard jewel case because it's cheaper to produce (but not cheaper for you to buy). The atmospheric sepia-toned photo on the cover has a fat round sticker on it that shouts "World Premiere Recording"; if you try to peel off the sticker, it leaves ineradicable shreds. The plastic tray with the central claw ring is glued to the cardboard. Take care not to break the plastic, because there is no way you can replace it.

Takemitsu draws you into his dream world.......2002-04-07

These pieces from Takemitsu's maturity represent the pinnacle of achievement for this gifted composer. Without regard to trends and fashion in contemporary music has has created his own sound universe. A peaceful, yet oddly non-somnolent, serenity informs virtually every bar of these wonderful pieces. The music is beautiful, lush and imaginative at every turn and despite strong ties to the French impressionists it is creative and unique and infused with Takemitsu's personal stamp and his nature-mystical aesthetic. The sound and the performances are first rate and Oliver Knussen must be congratulated on doing such a fine job in bringing these excellent pieces to life. If you love Takemitsu, you will love this CD. If you are new to Takemitsu, this is a wonderful introduction to one of the 20th century's finest composers.
Recommended without reservation.

Average customer rating:

"Dreams of a World": A Dialogue...
Dreams with raw emotions.
Still a dream ...
An Elegant Journey Around The World
Simply Superb

Dreams of a World

Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Journey to the Amazon
Rodrigo: Concierto de Aranjuez; Villa-Lobos: Concerto for guitar; Ponce: Concierto del sur
Sharon Isbin Plays Baroque Favorites for Guitar
Greatest Hits
Latin Romances for Guitar

ASIN: B00002DEUI
Release Date: 1999-11-02

Tracks:

Virgillo
Cancion
Danza No. 1
Fantasia
Black Is The Color Of My True Love's Hair
Darling Cora
Putney Hymn
Finale
Londonderry Air
Agua E Vinho
Romanza
Brisas Del Torbes
Canto Siboney
Preludio No. 6: Dolor
Recuerdos De La Alhambra
Four Songs: Of Sting And Honey - Tomorrow - Jerusalem Of Gold - Spy Girl
One Day In May
You Have Set My Star
Varre Vento
Dedicatoria

Amazon.com

This disc is obviously aimed at the world-music audience, if one judges from its title and the subtitle, "Folk-Inspired Music for Guitar." But that shouldn't dissuade listeners interested in more serious music. Isbin has collected original pieces and arrangements from Spain, Latin America, Appalachia, Ireland, Israel, and Greece--all of them quite lovely. It's really amazing to hear, for example, the "Londonderry Air," better known as "Danny Boy," in such a sympathetic arrangement by the late Japanese composer Toru Takemitsu. She plays with such technical mastery that you wind up taking it for granted, while appreciating her songful delivery of this highly varied program of music, which was mostly first intended for the human voice. The uncommonly attractive booklet, including photos of Isbin as a world traveler, is another asset to this fine program, as is Teldec's realistic recorded sound. --Leslie Gerber

Customer Reviews:

"Dreams of a World": A Dialogue..........2005-03-28

I was introduced to Ms. Isbin's music this winter during a trip when a friend had "Dreams of a World" on for 3 days straight, dawn to dusk. Typically, after listening to the same CD twice, one gets bored or annoyed. Yet, this was not the case; on the contrary "Dreams of a World" warmed us up --it was delicately beautiful. Ms. Isbin employs an astonishing pallet of colors, which she blends with unprecedented technical mastery and imaginative nuances throughout her oeuvre.

Cancion y danza for guitar, Agua E Vinho Mahar and Yerushala'im shel zahav are pieces which can easily be overly sentimental and languorous. Ms. Isbin keeps a pleasant balance between the melancholy in her phrasing, the underlying dynamism of her voice
and the warm character of the pieces. I can only recommend Dreams of a World to anyone in search of high quality music played by an artist, not merely a technician.

Dreams with raw emotions. .......2005-01-24

This is one of my all time favorite CD. When critics call Sharon Isbin the "Monet of the guitar" or the "preeminent guitarist of our time" they only begin do justice to her mastery of the instrument. On this CD my favorite pieces are Agua E Vinho, Cancíon y danza for guitar, Recuerdos de la Alhambra. They are superbly played; they are flawless, passionate ,very moving. I cannot help feeling transcend when listening to Dreams of a World. Ms. Isbin does more than play nice music from all over the world; in this CD she shares her heartfelt dreams of a world.

I highly recommend Dreams of a World.

Still a dream ..........2004-12-26

This has long been my favorite classical guitar recording, and I just put it on again after hearing another recent favorite recording ("Reflections of Spain") played by David Russell, who is perhaps the most gifted contemporary guitarist on record. I was inspired to do so by Russell's performance of the "Cancion y Danza No. 1" by Antonio Ruiz-Pipo, which though quite excellent, I knew right away was quite different from Isbin's take on the same piece.

First, let me say, I hope that they are good friends, because they are both landmark musicians and worthy "competitors." Both clearly play with absolute love for both the music and the instrument. In short, I prefer Isbin's recording of the Pipo "Danza," even though, overall, Russell's playing is technically cleaner and more facile (but not by much). (Across his entire CD, I recall barely any string noise from Russell, where as Isbin manages a mere dozen or so clear such imperfections across her entire and ample CD; big deal).

I think the thing that draws me to Isbin in this piece (and her CD, in general) is her incredible variety of rhythm, attack, and tone color, all of which combine to give an impression of near perfect balance between spontaneity and precision. She has a way of taking time without the slightest sense of delay or heaviness. This is probably because her tempo never changes, only the rhythm around it, which is a classic hallmark of rhythmic mastery. This means that she hears and feels, both deeply and objectively, every moment of "sound and space" (notes and rest) from beginning to end, like an unbroken line painted across a master's canvas. Combined with this, she uses the space between her bridge and finger board to elicit the most amazing contrasts in tone color (one of the great contributions of Segovia to the art).

Russell plays with equal mastery of rhythm and attack, perhaps aided by the remarkable sonic depth built into his guitar. While he makes maximum use of that wonderful guitar sound, he is somewhat less dramatic in his changes of volume and tone color between phrases, aiming for a more consistent and lyrical quality, certainly another aim of mastery in itself, but there in lies the difference. Still, his sharp shaping of phrases, especially in his choice of Spanish music on his entire CD, with that impeccable technique behind it, weaves a spell all its own.

So, even though Russell's is among the finest pure Spanish musical CDs available, and one of my favorite in that genre (musical realm), I still have to give my nod to Isbin's multi-national effort for its unmatched ability to conjure, especially today, the most sublime dreams of a better world.

An Elegant Journey Around The World.......2004-07-09

From the moment I put this CD on my player to the time the CD ended, I was transfixed. This CD is such a delight to the ears, that it is difficult to put into words the emotions experienced while listening. I attended a NY Philharmonic performance several weeks ago with guest soloist Sharon Isbin. Her live performance was mesmerizing. She did an encore performance of "Recuerdos de la Alhambra" which took my breath away. The NY Times reviewer called it a "...virtuoso encore...". How wonderful that this piece appears on Dreams of a World. A CD that will transport you around the world with the flavors of outstanding compositions interpreted by a musician who is one of the greatest living classical guitarists today. Do yourself a favor and experience the magic.

Simply Superb.......2004-07-07

You don't have to be a classical music expert to love this CD. It is accessible to both the novice as well as the sophisticated listener.

Dreams of a World is the type of CD you come back to over and over again. Each listening reveals a new layer of complexity and mastery. To master an instrument requires a unique blend of disciplined technique and creative emotion. One may aspire to being a perfect technician and yet lack in emotive nuance. One may aspire to evoke emotion and yet lack proper technique. In either case the listener is left wanting. Isbin however, inspires by combining flawless technique with passionate creativity. For example, the works by Neomi Shemer shimmer. Isbin's technique, her emotion, and her versatility shine forth on this CD. This is a beautiful work, and should be in every music lovers collection.

Takemitsu: Requiem; Twill by Twilight
Average customer rating:

Hauntingly beautiful music, but the programming isn't sufficiently diverse

Beyond the recording

Haunting and Exotic

Just about perfect

Beautiful music

Takemitsu: Requiem; Twill by Twilight

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Toru Takemitsu: Quotation of Dream (20/21 series) - London Sinfonietta / Oliver Knussen

Takemitsu: A Flock Descends into the Pentagonal Garden

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Takemitsu: I Hear the Water Dreaming

ASIN: B0000029WL
Release Date: 1998-02-24

Tracks:

From Me Flows What You Call Time
Twill By Twilight (In Memory Of Morton Feldman) For Orchestra
Requiem (For String Orchestra)

Amazon.com

Takemitsu (1930-96) is Japan's greatest composer. He had a diverse musical career, which included work for films. His music partakes of aspects of postmodernism--serial construction, atonal modalities, unusual instrumentation--and all of it hypnotic. The works on this disc are for a chamber-size orchestra and are illuminated by the smaller forces. From Me Flows What You Call Time (1990) brings to mind a set of delicate, atonal wind chimes. Twill by Twilight--In Memory of Morton Feldman (1988) reflects Feldman's juxtapositions and separations, but with a bit more color. Requiem (1957), Takemitsu's first orchestral work, is stunning and very beautiful. --Paul Cook

Customer Reviews:

Hauntingly beautiful music, but the programming isn't sufficiently diverse.......2006-06-18

This Sony disc contains three pieces by the late Japanese composer Toru Takemitsu, whose untimely death in 1996 robbed the contemporary music world of one of its most distinctive figures. The first two were written during his late period, while the last is his first great work. Carl St. Clair conducts the Pacific Symphony Orchestra, with the Nexus percussion group (the dedicatee) on the first piece.

"From me flows what you call Time" (1990) for orchestra and five percussionists stands as one of Takemitsu's sure masterpieces. It might be called a concerto for percussion and orchestra, though that suggests some kind of opposition when in reality all elements of instrumentation seamlessly cooperate. The soloists' parts are very fascinating, especially when they play drums, giving a rougher tinge to the work rarely heard in the music of a composer more interested in glittery sounds. Towards the end the piece follows other works of this period ("Archipelago S.", "Ceremonial") in containing a spatial element: the percussionists play bells distantly located in various parts of the auditorium by means of coloured tape. "Twill by Twilight" (1988) was written in memory of Morton Feldman, and the title is both an allusion to Feldman's love of carpets and to Takemitsu's technique of textures that "weave" in and out of the piece, as well as a building up of the large from repetitions of the small as Feldman (in)famously did in his late pieces.

What is particularly amazing about the late Takemitsu is that he uses certain contemporary techniques, yet achieves a highly original effect different from all other composers. The pitches are generated with quasi-serialist techniques, and yet his music does not sound dry or academic, but rather highly transcendental. Timbre is a highly important element, but the result is more natural, suggestive of the outdoors, than the work of the spectralist composers. However, putting any two pieces from Takemitsu's late period together on disc is not ideal, as they are often too close stylistically and tend to dull the listener's senses. While beautiful in themselves, they don't do enough to distinguish themselves from other pieces of the same era.

The last piece is from a very different era, however. "Requiem" for strings (1957) was Takemitsu's first orchestral work and brought him to fame outside Japan when Stravinsky championed him for it. It shows him still under the influence of Messiaen and is a very moving set of incisive string figures, which can often sound quite agressive but nonetheless never break major laws of tonality. Unlike in his late period, characterized by a general evenness of dynamic, Takemitsu was not afraid here of going from the softest touches to major crescendi, although he still had not discovered the importance of timbre.

For those who have never heard Takemitsu's music, as an introduction I'd recommend the QUOTATION OF DREAM disc in Deutsche Grammophon's "20/21" series, which still has the same problem of putting Takemitsu's late works together, but which contains a whole world of interesting discoveries if you can manage to listen to each piece in isolation. Still, if you've come to enjoy the music of this singular voice in 20th century music, this Sony disc is a good find, and it's a budget purchase.

Beyond the recording.......2006-03-23

Most of the earlier reviews of "From me flows what you call time" are accurate--beautiful orchestrations, unexpected moments that emerge from silences or clusters of sound, and sometimes ravishing harmonies that swirl about for 35 minutes of truly breathtaking music. I was fortunate enough to attend the premiere of this piece, so when I listen I still see in my mind the amazing visual quality of a live performance. About one hundred specially tuned wind chimes from small to very large were made by Gary Kvistad specifically for Nexus and this piece. These chimes are hung from the ceiling of the performing hall and connected to the stage by long, multi-colored ribbons. When the chimes are played at various times during the performance, the sensation of being surrounded by these exquisite bells is overwhelming. The recording is wonderful, but if you ever have an opportunity to hear a live performance, it's well worth a long trip.

Haunting and Exotic.......2003-03-21

I've had this record for quite a while now. It's taken some time but the music has really grown on me. The surface glitter of the pieces is immediately apparent. What is not so obvious on first hearing is the profundity of the musical and spiritual thought in these works.

Toru Takemitsu was Japan's foremost composer in the late 20th century, and yet his music rarely sounds blatantly Japanese. The only obvious traditional influences on this CD come at the very beginning of the first piece, Through Me Flows What You Call Time. This work opens with a flute solo that contains techniques from the shakuhatchi repertoire. But quickly, the material of this solo becomes more western, sharing with Messiaen a love of symmetrical scales and modal devices. The piece uses this first flute solo as the spring board to a thirty five minute concerto grosso for orchestra and percussion ensemble. The music is lush, very romantic and colorful. The tonal language reminds me of a mix of Debussy, Scriabin and Messiaen. The melodic material is based primarily on a five note motif from the beginning of the flute solo which morphs into myriad forms. The percussion writing is exquisite...dominated by flashes of bell and cymbal color as well as ostinati on the marimba and outbursts from steel drums. The orchestra lends support mostly, occasionally singing out in an almost chorale-like texture. This piece is absolutely lovely.

The second work on the CD is Twill by Twilight. The work seems almost a carbon copy of Time except that it doesn't include the percussion group. While I find nothing particularly objectionable about the work, it isn't distinct enough to compete with the impression made by the first work. In fact...another choice for the CD might have been in order. There gets to be a monotonous quality by the end of this work. The CD is rounded out by Takemitsu's first piece to make an international spalsh...Requiem for String Orchestra. This piece is more Bergian than the others, though it too is accessible and shaded with tonal moments. It is deeply felt and a quite moving work.

Takemitsu was an enormously popular person as a composer. Any musician who knew him has only great things to say about him. This greatness of spirit comes through in the best of his music. Time and Requiem are among the finest neo-romantic pieces around. If you like Debussy, or Rautavaara, you will certainly love these pieces. Highly recommended.

Just about perfect.......2001-08-24

"From Me Flows What You Call Time" is one of the greatest pieces written in the late 20th century. The funny thing is that its hard to put a finger on why. This is some of the most original music you've ever heard. This literally sounds like nothing else I've ever heard. It is essentially a concerto for percussion quintet and it is fabulous what Takemitsu has done with the idea. Normally, a concerto for five percussionists would be bombastic and thunderous, but this is subtle & understated, but that's where the strength lies. The Pacific Orchestra provides a solid backing for the percussion. The percussion pretty much never ceases, the orchestra provides splashes & washes of color with flutes, occassional horn bursts, and lush strings. Its is shocking just how pretty & beautiful Takemitsu was able to make music with dissonance. The whole piece isn't that way, but sometimes you will hear something that doesn't quite sound right, but its still beautiful. He's the perfector of soft dissonance. I know the comparison has been run into the ground, but there is a lot of Debussy in Takemitsu, although he's more modern and has an obvious slant from the East. His music doesn't sound like Debussy's, you can just see the influence. Believe me, Takemitsu's is truly a unique voice in music.

"Twill by Twilight" (for orchestra) is in memory of Morton Feldman, and I must say I think its better than anything I've heard by Morton Feldman.

"Requiem" (for string orchestra) is also a nice piece, but the real showstopper on this disc is "From Me Flows What You Call Time." Get the disc for that.

Beautiful music.......2001-06-06

I'm a big admirer of Takemitsu, but mostly on account of his film music. While I've enjoyed his classical pieces, I've always appreciated the rawness and experimentation of his film work more. "From Me Flows What You Call Time" is the big exception... it's a truly mesmerizing piece. Like the best Takemitsu music, it can take you into another world. Frankly I don't have words to describe how wonderful this piece is. You just need to listen to it.

More of the Most Relaxing Guitar Music in the Universe

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I rate this a perfect 10 **********

More of the Most Relaxing Guitar Music in the Universe

Manufacturer: Savoy Jazz
ProductGroup: Music
Binding: Audio CD

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ASIN: B000AQ69OU
Release Date: 2005-09-13

Tracks:

Introduction Et Variation Sur L'Air 'Que Ne Suis-Je FougereI' Op.26 - Sor
Cinq Preludes Pour Guitare No.4 - Villa-Lobos
Variations Sur Un Theme De Django Reinhardt - Brouwer
Die Post - Schubert
Cinq Preludes Pour Guitare No.2 - Villa-Lobos
Cancion Del Emperador - Narvaez
Pavanas - Sanz
Quartet No.7 III. Adagio Cantabile Sostenuto For Violin, Viola, Cello & Gutar - Paganini
Studio In A Major, Op.6 No.12 Andante - Sor
Lagrima - Tarrega
Granada, Op.47 No.1 - Albeniz
Danza - Moreno-Torroba
Baden Jazz Suite 'Hommage A Baden Powell' III. Berceuse - Jirmal
When The Fire Burns Low - Towner
A Song Of Early Spring - Arr. Takemitsu

Tracks:

Danza Espanola - Granados
Douze Etudes Pour Guitare No.8 Modere - Villa-Lobos
Reverie, Op.53 No.1 Andante Sostenuto - Coste
Lecon In E Major, Op.31 No.23 Mouvment De Priere Religieuse - Sor
Cinq PreludesPour Guitare No.1 - Villa-Lobos
Andante Extrait De La Fantasie Symphonique De L'Auteur, Op.38 - Coste
Nocturno - Moreno-Torroba
7 Diferenias Sobre 'Guardame Las Vacas' - Narvaez
Cinq Preludes Pour Guitare No.5 - Villa-Lobos
Quartet No.1 In A Minor II. Andantino For Violin, Cello & Guitar - Paganini
El Testmento D' Amelia - Folksong Of Catalan/Arr. Lobet
Terzetto In D Major 1. Allegro For Violin, Cell & Guitar - Paganini
Valse In E Major - Sor
Cinq Preludes Pour Guitare Ne.3 - Villa-Lobos
Londonderry Air - Arr. Takemitsu

Customer Reviews:

I rate this a perfect 10 **********.......2006-02-25

A Classical guitarist and collector of the genre, I can only rave about this cd. I purchased several of these cd's for my close friends and family. The two Paganini pieces are awsome.
Hopefully, Denon will produce more of the same. This time they supply the names of their artists. Well Done! Bravo!

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Corona-Tokyo Realization

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Binding: Audio CD

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ASIN: B000HXE1HI
Release Date: 2006-11-07

Album Description

Jim O'Rourke & Toru Takemitsu.

Takemitsu: A Flock Descends into the Pentagonal Garden

Average customer rating:

A Musical and Moving Dream
The blandness of the late orchestral Takemitsu is countered by a couple of intriguing works
Mysteries, dreams and challenges.

Takemitsu: A Flock Descends into the Pentagonal Garden

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B000FVQUSA
Release Date: 2006-07-25

Tracks:

Spirit Garden
Solitude Sonore
Music Of Training And Rest (From Jose Torres)
Funeral Music (From Black Rain)
Waltz (From Face Of Another)
Dreamtime
A Flock Descends Into The Pentagonal Garden

Amazon.com

Exotic without seeming alien, soothing without being dull, and harmonically rich, the music of Toru Takemitsu has the feel of Debussy, with some sonorities of Messiaen for good measure. The dreamy quality and artful colors Takemitsu gets from an orchestra are unique, using bells for both atmosphere and pure sound, with occasionally dissonant disruptions without ever being ugly. On this CD, made up of five works covering more than 35 years of composition, conductor Marin Alsop and the Bournemouth Symphony capture just the right mood for each piece. Even the brief Waltz from the film Face of Another keeps its creepy underpinnings despite the lilting rhythm. The big climaxes in A Flock Descends grow organically from the music's free-ish form and never seem like wake-up calls. The inherent sadness in Solitude Sonore is brought out by the graceful playing of the strings. Takemitsu's music glistens; it seems luxurious even when it's spare. If you aren't familiar with it, this CD will tickle your senses. --Robert Levine

Customer Reviews:

A Musical and Moving Dream.......2007-03-13

The music on this CD is even more breathtaking than I had anticipated.
I highly recommend it to anyone who likes classical music, and particularly appreciates music that is not easily classifiable. This is music that is often discordant, and the silences are as important as the musical refrains.

The blandness of the late orchestral Takemitsu is countered by a couple of intriguing works.......2007-01-20

This Naxos disc is the second to feature a programme consisting entirely of works by the Japanese composer (1930-1996). While the first release concentrated on late chamber works, this one presents mainly late orchestral works, performed by the Bournemouth Symphony Orchestra conducted by Marin Alsop. Unfortunately, as Takemitsu's late orchestral works are generally stale and repetitive, with the exception of a mere handful, I can't rate this so highly.

"Solitude Sonore" (1958) is the earliest piece here, from Takemitsu's first period. Its sweeping strings are reminiscent of the "Requiem" of the same era, the composer's first big hit. However, it adds several impressive innovations, such as the use of bells, and occasionally sinister dissonances on low brass.

"A Flock Descends into the Pentagonal Garden" (1977) is a single-movement work that may be seen as the first piece of the "late Takemitsu", where he entirely leaves behind the avant-garde style of the late '60s and early '70s, embarking on that "sea of tonality" that was to last for the rest of his life. Like "Quatrain", it too is based around a single number, in this case five. Takemitsu says that he dreamed of a flock of white birds entered a pentagonal garden lead by one black bird, and this inspired him to create one of the most strictly serialised pieces of his career. It begins with a pentatonic scale, as if only the black keys of the piano were used, and eventually the seven "white notes" join it.

As for whether the piece is enjoyable without doting on its formal scheme, I'm uncertain. The problem is not that it sounds rigorous and mathematical--Takemitsu was a master of writing twelve-tone works that sound gentle and calm--but rather that it doesn't differentiate itself much from other works. Takemitsu's late pieces tend to all sound the same, and even those who have championed his music, such as Oliver Knussen, admit that they all seem cut from the same general roll. While some late works such as "Dream/Window" and the percussion concerto "From me flows what you call Time" stand out as sure masterpieces, "A Flock Descends..." has little to recommend it outside of some occasional use of aggressive percussion, a violence generally absent from later work.

"Dreamtime" (1981) continues this trend, and is representative of the dull aesthetic Takemitsu settled into. There are subtle variations in rhythm here--the work was originally written for staged choreography, and while it may work with the visual element, it's entirely unexciting on its own.

"Spirit Garden" (1994), one of Takemitsu's last works, is one of many which allude to gardens in their titles. Here the title hints at the organic derivation of all music from a series of twelve-tone chords. There is again the late Takemitsu's interest in timbres, but look! there's even some drama, and the use of faster tempos. It's not enough to make this a must-hear piece, but it does pull the disc up to three stars.

The cycle "Three Film Scores for String Orchestra" (1994/95) consists of a scene each from Takemitsu's music for "Jose Torres" (1959), "Black Rain" (1989), and "Face of Another" (1966). The first two are fairly unexciting string landscapes, but the third is a waltz, and it is interesting to see how Takemitsu dealt with this classical-era form, for Maurice Jarre-like simplicity is subtely cut across with rogue strings.

The liner notes here are fairly substantial for a Naxos disc, but still all . Fans of the composer would do well to seek out Peter Burt's THE MUSIC OF TORU TAKEMITSU (Cambridge University Press, paperback 2006).

For neophytes: even though this is a budget recording, don't let this be your introduction to Takemitsu. The other Naxos disc, with chamber works, serves well, but for fans of substantial modern repertoire, the Deutsche Grammophon discs QUOTATION OF DREAM and GARDEN RAIN are better. Come to this only if you are a collector of his works.

Mysteries, dreams and challenges........2006-07-30

I must admit upfront, I do not usually care much for abstract, avant-garde, atonal music. Thus, the works of Japanese composer Toru Takemitsu have always posed something of a challenge for me. I am a big fan of Japanese composers, but Takemitsu's art has always eluded and frustrated me. So, I was a bit reluctant when I purchased this latest release in Naxos' JAPANESE CLASSICS series, but, strangely enough, I may be on the road to appreciating Takemitsu-sensei after all.

Written just before his death in 1996, Takemitsu's SPIRIT GARDEN opens the disc. This work is full of the mystery and suspense this composer is known for, and this piece is actually quite evocative. Using 12-note-row techniques, SPIRIT GARDEN comes to life with orchestral colors that seem to wax and wane, as if projected through a prism. While certainly not melodic in a traditional sense, the music here is quite engrossing and, while listening, I am somehow reminded of a traditional Japanese garden, but filled with ghosts and shrouded in fog.

The earliest work on this disc was written in 1958 and has the title SOLITUDE SONORE. Much like SPIRIT GARDEN, this is a colorful work, but lacks traditional melody. This is a slightly darker work in its texture, but actually sounds a lot like SPIRIT GARDEN.

Takemitsu composed several films scores during his career, and the next three tracks are excerpts from those. MUSIC OF TRAINING AND REST from JOSE TORRES has a jazzy, somewhat light-hearted feel. FUNERAL MUSIC from BLACK RAIN is darker in mood, and the WALTZ from FACE OF ANOTHER is sardonically sinister.

DREAMTIME is partially based on the "Dreamtime" creation myths of the Australian aboriginals. Again, this is atonal, abstract music that truly flows and "sounds" like a dream.

A FLOCK DESCENDS INTO THE PENTAGONAL GARDEN, Takemitsu's most performed work, rounds off this recording. In this composition, more of the composer's trademark "floating sounds" can be heard, interspersed with moments of pure silence as well as dramatic crescendos from the brass and strings. Once more, this is music of mood and color, not of melody.

There is no debating that Takemitsu was a very creative man, but his musical artistry in not easily accessible. One cannot enjoy this music in the same way one enjoys a Strauss waltz or a Rossini overture. Takemitsu requires a commitment from the listener; that is to say, one must really LISTEN to get anything out of the music.

While I personally do not enjoy Takemitsu's style as much as other composers, his music does have a fascinating uniqueness that is often profound, if a little demanding. This is not a recording I will listen to often, but when I do, I suspect I will be in the right mood and willing to surrender to the composer's challenging yet vivid sounds.

The conductor Marin Alsop and her Bournemouth Symphony Orchestra certainly understand this music well and perform it with the utmost reverence and determination. I cannot imagine that these easy pieces to perform convincingly, but Alsop and company do so quite successfully. The sound, as is usually the case with Naxos, is stellar.

Recommended for those with a little patience and who are willing to try something well out of the ordinary.

Average customer rating:

Beautifully performed and superbly recorded late chamber works

Takemitsu: Chamber Music

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B000090WAR
Release Date: 2003-09-23

Tracks:

And Then I Knew 'Twas Wind, For Flute, Viola And Harp
Rain Tree, For Three Percussion Players
I. The Night
II. Moby Dick
III. Cape Cod
Bryce, For Flute, Two Harps, Marimba And Percussion
Itinerant, For Solo Flute
Voice, For Solo Flute
Air, For Solo Flute
Rain Spell, For Flute, Clarinet, Harp, Piano And Vibraphone

Album Description

Robert Aitken invited Takemitsu to Canada for performances of his chamber music in the New Music Concerts series in 1975 and 1983. Their close friendship led to the composition of a number of works which were not only personally performed for Takemitsu by the musicians on this recording but benefited from his interpretative insights. The Night from Toward the Sea, one of several works on the subject of water, a continuing theme in the composer's works, received its first performance in Toronto in 1981 by Robert Aitken and the Cuban guitarist Leo Brouwer.

Customer Reviews:

Beautifully performed and superbly recorded late chamber works.......2006-07-23

This Naxos disc contains several chamber works by Toru Takemitsu, the self-taught Japanese composer who was one of the most singular composers of the 20th century. They are performed by flautist Robert Aiken and several other Toronto-based musicians with whom Takemitsu formed a close relationship. With the exception of a single piece, all are from the last two decades of his life, after his modernist apogee and when he had entered a "sea of tonality".

"Voice" for solo flute (1971) is the only piece here from Takemitsu's modernist middle-period. Its writing is rougher than other pieces, sometimes a lot and at other times not much so, and it makes use of quarter-tones. But what really sets it apart is Takemitsu's having the performer shout, sing, and hum into the instrument, amplifying and treating his voice. The opening, with some bold words by Japanese poet Shuzo Takiguchi, will snap you out of any trance entered from the other works. At times it sounds like flute-meets-Ligeti's "Aventures", and so comes across as rather dated, but still it comes across as a nice change of pace on a disc having otherwise only late works. This performance stands in interesting contrast with that of Aurele Nicolet on the DG "Echo 20/21" disc; Aiken's is polished and prim, while Nicolet, the work's dedicatee, gives a rougher and more primal go at it. By the time "Bryce" for flute, two harps, marimba, and percussion (1976) was written, Takemitsu had already left modernism behind and one immediately notices a consistent meditative feel, though it retains the usual touches of quarter-notes and improvisation. I find little that grabs me in this work, and think it the only ho-hum piece on the disc. Takemitsu was clearly still perfecting a new idiom.

"And then I knew 'twas wind" for flute, viola, and harp (1992) bears more than a passing resemblance with Debussy's "Sonata" for the same three instruments, and shares with the French composer's work the interest in timbre for its own sake that marked all of Takemitsu's late works. Takemitsu has been criticized, even by supporters such as Oliver Knussen, of cutting all his final works from the same general carpet, with all being quite mellow and some overly so. This piece, however, really stands out for its dynamic interactions of the three instruments, with the flute often leaping above the encumberance of the other two. This recording is dazzling, much brighter and crystal-clear than the recording in Deutsche Grammophon's "20/21" series.

"Rain Tree" for three percussion players (1981) is glorious. It is related to the later "Rain Tree Sketch" and "Rain Tree Sketch II" for piano, but the expanded timbres and greater use of hall space in this original version make it transcendently beautiful. Two of the percussionists here, Russell Hartenberger and Bob Becker, are members of the Nexus percussion ensemble for whom Takemitsu wrote his "From me flows what you call Time" piece, which is on a worthy Sony disc.

The theme of water is continued in two other works on this CD. "Toward the Sea" for alto flute and guitar (1981) was written for Greenpeace's "Save the Whales" campaign, and is in three movements titled "The Night", "Moby Dick" and "Cape Cod". The flute's melodic line often exhibits a raising three-note phrase S-E-A (German notation having "Es" for "E flat"), while arpeggios on the guitar give a gently undulating touch like the surface of the ocean. This performance is equal to that on DG, but preferable to the Sony recording with John Williams, the London Sinfonietta, and Salonen which lacks confidence. "Rain Spell" for flute, clarinet, harp, piano, and vibraphone (1983) has with arpeggios on the strings evoking the flow or currents. The clarinet, however, performed her by Joaquin Valdepenas, gives a very odd timbre compared by some to insects. The general form of the work is that the melodies get progressively longer.

"Itinerant" for solo flute (1989) was written in memory of the sculptor Isamu Noguchi. It is notable for its slow pace and extremely conservative nature. Silence is an important factor here, and much of the work purposefully consists of what the performer does *not* play. Takemitsu's final work, "Air" for solo flute (1995), continues in this style, but eschews unusual techniques, giving it an even greater simplicity. It was taken from material developed for a work for flute, harp, and orchestra that was not to be, for Takemitsu's untimely death came the next year. The piece is a set of variations in rondo form on a four-note motif, with an interest in ascending and descending scales.

This might be one of the best possible introductions to the late chamber music of this sorely missed composer. (If orchestral music is more your thing, check out the QUOTATION OF DREAM disc on Deutsche Grammophon in the 20/21 series.) Be aware, however, that this is music of great subtlety that demands concentration, but if you are willing to give it your attention, it will demonstrate great beauty.

Williams: The Five Sacred Trees (Bassoon Concerto) / Takemitsu: Tree Line / Hovhaness: Symphony No. s, Op. 132 "Mysterious Mountain" / Picker: Old and Lost Rivers

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"Old and Lost Rivers" by Picker will even make the strongest of men shed tears
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What a nice surprise!!!
Wonderful Celebration of Trees

Williams: The Five Sacred Trees (Bassoon Concerto) / Takemitsu: Tree Line / Hovhaness: Symphony No. s, Op. 132 "Mysterious Mountain" / Picker: Old and Lost Rivers
John Williams , Toru Takemitsu , Alan Hovhaness , Tobias Picker , Judith LeClair , and London Symphony Orchestra
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Release Date: 1997-03-18

Tracks:

I. Eo Mugna
II. Tortan
III. Eo Rossa
IV. Craeb Uisnig
V. Dathi
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I. Andante Con Moto
Double Fugue (Moderato Maestoso, Allegro Vivo)
Andante Espressivo
Old And Lost Rivers

Customer Reviews:

"Old and Lost Rivers" by Picker will even make the strongest of men shed tears .......2006-10-04

Caught "Old and Lost Rivers" the other day for the first time on the radio and I immediately fell in love with the piece. I went ahead and picked up this CD this weekend and, it was even more moving than the first time I heard "Old and Lost Rivers" the other day on the radio. I cannot get over how little we've heard of Tobias Picker! If he cranked out more like this, he could have easily been the next Copeland. At any rate, even the most stout hearted person will give way to tears at the touching, yet uplifting melody of "Rivers". I guess what made it even more touching was the fact that lately I have been trying to reach out to this girl in Montreal who has HIV and was emotionally negleted and possibly sexually abused when growing up. Thinking of this, along with listening to the tear-jerking melody of "Rivers", I'm not to proud to admit that I cried a whole lot of "old and lost rivers". It has to be the most saddening piece I have heard next to Samuel Barber's "Adagio". Anyway, I highly recommend this CD to anyone with an ear for touching, yet inspiring music. Well worth your time and money.

From Nature's Realm.......2006-10-02

For those moments of reverie, escape form the frenetic pace of the world in which we live and run, for those times when space form all that is needed this stunning album of music is a must. John Williams conducts the London Symphony Orchestra in his own work as well as works by Takemitsu, Hovhaness, and Picker that at first ground us to the memory of what truly counts in life and proceeds to lift the soul out of the state of pixelation and return it to the realm of nature, the place where all things relate.

John Williams' own Concerto for bassoon & orchestra "The five sacred trees" occupies the greater part of this CD and while it may not be great classical music, it is hauntingly moody, and quite simply beautiful music. Judith LeClair plays the solo parts with exceptional balance and technical aplomb. In keeping with the concept of musically painting trees, Williams programs 'Tree Line, for chamber orchestra' by Toru Takemitsu and once again we can readily relate to this gifted composer's union with nature.

Alan Hohvaness' Symphony No.2 (better known simply as 'Mysterious Mountain') enjoys more exposure than his other works and for good reason. His chordal structure pulses his work with grandeur as well as simplicity and of the current recordings available of this work, Williams enters the arena of the fine ones.

For this listener the joy of the CD is the Tobias Picker 'Old and Lost Rivers for orchestra', a wholly tonal composition of spare beauty and superb writing. Though short, this work transports with its ability to conjure images relevant to everyone's past. It is a wondrous work. Highly recommended. Grady Harp, October 06

MODERN MUSIC OF BEATHTAKING BEAUTY.......2004-04-23

This disc contains great performances of some of the finest examples of sheer beauty in 20th century music that I've heard in some time - in a recording of exceptional quality. It's a wonderful opportunity for those who equate `20th century music' with `cacophony' and `discord' to experience how incredibly beautiful it can be. I discovered it while browsing - the Ansel Adams cover photography caught my eye, which then widened when I saw the bassoon reference prominently displayed (one of my favorite instruments).

The title piece, a concerto for bassoon and orchestra by John Williams, takes up roughly half the disc. The five-movement composition is an homage to the majestic and sacred qualities of trees. Williams says he wrote the concerto with the bassoon in mind, believing it to be `haunted' by `the spirit of the tree from which it is made'. Utilizing Celtic imagery and titles, each of the five movements evokes one of the legendary trees featured in the mythology of that ancient culture. The mood and tone of each section reflects the characteristics attributed to those trees: the sturdiness of the oak; Tortan, the mythical tree associated with witchcraft; the yew, symbol of destruction and creation; the ash, symbolic of strife; and Dathi, the tree-muse of poets and the last tree to fall in the mythological Celtic forest, appropriately placed at the end of the program. Williams translates his reverence for the forest into his music skillfully and with great feeling, and the performance by Judith LeClair and the LSO complement his vision perfectly, bringing the `personality' of each of the movements to life with sensitivity and passion.

Toru Takemitsu has long been one of my favourite modern composers - I discovered his work back in the 1970s, and I soon learned that I could count on the intelligence and quality his music. It has never failed to both challenge and reward me. Listening to the work included here, `Tree line', I'm amazed at the complexity and delicacy represented in this short (under ten minutes) example of his work - I've often compared his compositions to the work of traditional Japanese brush artists, whose works achieve so much with apparently so few strokes. The beauty of the haiku form of poetry also comes to mind. Takemitsu was a master at combining the ancient spirituality and traditions of Japan with modern classical music.

I haven't heard much by Alan Hovhaness - an oversight I plan to correct. The piece which represents this composer here, his Symphony no. 2 (`Mysterious mountain') is, I'm told by a friend who is well-schooled in classical music, one of his most widely appreciated. An American composer who pioneered the `fusion' of western and eastern ideas and traditions, his writing as showcased here is breathtakingly beautiful - I was especially taken with the layers-upon-layers sound of the strings. The notes here indicate that this piece was intended to pay homage to the great American landscape painters of the 19th century Hudson River School - and it evokes the images they captured on canvas beautifully.

The last piece on the CD is `Old and lost rivers' by Tobias Picker - another composer with whose work I am sadly unfamiliar. The shortest work on the album (under five minutes), it's a masterful exercise in tranquility and beauty. It certainly makes me want to seek out more compositions by Picker.

The four pieces presented here go together perfectly in theme and mood - and the recording is of stellar quality, made crystal clear through the full digital recording process, which utilizes the 20-bit technology. The notes are informative and well-written, and the graphics are appropriate and lovely. It's a wonderful package for multiple senses.

What a nice surprise!!!.......2004-04-15

First of all, I must confess that I noticed this album just because I found it at an incredible low price! Then, I noticed that the cover artwork was quite interesting too (forgive me, but being a designer I am an extremely visual person)! Then, I found that it had something by Takemitsu (whose work I really like)!...So, I decided to give it a try! When I got home and listened to it, I realized what a great album this really is! What a nice surprise!!!

Williams' bassoon concerto ("The Five Sacred Trees") is a very nice work! It sounds absolutely different from his film music! Don't expect any "Star Wars" or "Jaws" theme to pop up! Oh, and the soloist (Judith LeClair) plays beautifully!!!

Takemitsu's "Tree Line" is quite nice too, just as I was expecting it to be! But, the real surprises here were the gorgeous Second Symphony by Hovhaness and "Old and Lost Rivers" by Tobias Picker!!! I was curious about these two composers, and now I'm quite delighted to have finally been able to listen to their work!

This album has a very atmospheric, ethereal and somehow mystical feel about it! It is relaxing without being boring, it is modern without being difficult to listen to, it is surprising without being weird! This is a great album indeed!!!

Wonderful Celebration of Trees.......2003-09-12

Williams is profound composer of our time. Here, outside of his normal mode of soundtrack, Williams excels. His composition to the Five Trees is diverse, high arching, swaying sounds concentrated in a double-reed instrument which holds its very essence from trees, cane and maple, et al.

These five contrasts surround profound,passionate bassoon playing of Judith LeClair. Especially fond of opening "Eo Mugna" and harp featured "Eo Rossa."

In Takemitsu's "Tree Line" we have colorstudded musical idiom intermingled with Oriental and Debussy like shinings. While some reviewers are not encanted with this style, its shimmerings and stylistics tone patches capture this reviewers ear. I enjoy this.

Hovhaness excels in sublime aura sound, much what feeling of mountains provide, stark, reaching, soaring, echoing. I liked this offering very much, well done under Williams by the London Symphony Orchestra. Especially grandeur is tymp playing, which is so controlled, and creates sublimity. His use of oboe is exquisite on opening Adante..grandeur and majesty that opens up and envelopes one upon first viewing mountain rising up before one's field of vision.

"Old and Lost Rivers" images flows and tributaries and ebb/flow, gushing to the drought. From urbania to bayous to the oceans, this hydrophonic composition exhibits tranquility and dynamicism of the very fabric of life.

Tracks:

Haru No Umi
Nocturne
Stanza 2
Insomnia
Les Fils De Etoiles: Prelude Du Premier Acte 'La Vocation'
Cinque Piccoli Duetti: Preludio
Cinque Piccoli Duetti: Pastorale
Cinque Piccoli Duetti: Canzonetta
Cinque Piccoli Duetti: Sogno
Cinque Piccoli Duetti: Rondo
'Daphne' Etude
Six Melodies: No. 1 (Rubato)
Six Melodies: No.2 (Legastissimo)
Six Melodies: No.3
Six Melodies: No.4
Six Melodies: No.5
Six Melodies: No.6
Spiegel Im Spiegel
Il Padrino
Suite In The Old Style: Pantomime

Amazon.com

This may be one of the least abrasive albums of contemporary music you'll ever hear. On this culture-melding disc, violinist Gidon Kremer and harpist Naoko Yoshino explore the dizzying roots and offshoots of modern compositions from the Far East and Europe. Every work on Insomnia--whether written by John Cage, Arvo Pärt, or Richard Strauss--seems to share influences and similarities with the next. While Japanese composer Michio Miyagi (1894-1956) was looking to France for influences on Haru no umi, Erik Satie (1866-1925) was looking to the East on the preludes to Le Fils des Étoiles. The comparisons are fascinating, and Kremer and Yoshino make this difficult music sound easy and hypnotic. Especially effective: Pärt's gorgeous Spiegel im Spiegel and Schnittke's almost New Age-sounding "Pantomime" (from Suite in the Old Style). Great stuff for modern lovers. --Jason Verlinde

Customer Reviews:

sublime and fascinating.......2006-02-25

I could not agree more with the next reviewer: this is one of the most cohesive collections I've heard; each track segues effortlessly into the next. While the dissonance and atonality of much modern music grates on me; this CD is devoid of such things. The compositions are wonderfully luminous and the performer(s) approach rivets the listener. Excellent night-time composition music, seduction music- what have you. I strongly encourage you to take a chance on this!

Insomnia- No Way! This one is hot!.......2000-06-16

The title is misleading if not down right dubious. This is one hot album. Gidon Kremer is a performer of rare ability and he is at his best with the broad range of composers featured here. He is accompanied by an excellent harpist Naoko Yoshino who adds her own special charm to these pieces. They work well together and their skills are clearly evident. This album is not for everyone; it challenges the listener and forces you to pay attention but it is worth it.

Insomnia? No Way-This is for the living!.......2000-06-15

Gidon Kremer is at his most provocative best! The wide range of composers played here require all of his skill and he comes through. This album is not for everybody but those who want something new won't be disappointed. Naoko Yoshino's contributions on the harp are a delight in themselves and shouldn't be missed. From a musical point of view this is not for quiet nights! It gets you up and keep you up This album may challenge some people but that's one of its charms. Need a challenge go for it; its truly an adventure.

Music Composers:

Music Composers

Music Composers