Japanese modernism at Konsethuset [Oslo Concert Hall]
Osloposten, October 8, 1997 / Kjell Bækkelund

Ultima, the festival of contemporary art, is in full swing, offering a variety of concerts, films, theatre, and much more. On Sunday, the smaller stage at Oslo Konserthus opened its doors to a sizeable audience which had come to hear the renowned Japanese pianisit Aki Takahashi, a pianist famed not least for her interpretations of modern works.

Throughout her recital, devoted entirely to contemporary music, she proved herself to be a full-blooded artist in command of a fantastic technique, with the imaginiatioin and ability to enhance the more demanding works on the programme. It was not so much music with a 'national' flavour that we heard, but rather compositions which had adopted familiar tendencies in the music of post-war Europe. A lot of crashing and thundering, but also intimate passages which bore witness to the range of expressiion of these composers, most of whom were iunkown to us, with the exception of Toru Takemitsu. Akemi Naito's piece, 'Rain, Calling Autumn' (1994), with its highly imaginative sound-colouring, was of particular interest.

It was interesting to note that well-known Beatles songs had inspired composers to write fantasies over part of the famous pop group's vast production. Nobody looks down on the Beatles anymore, not even those involved in so-called 'serious' music. It was noteworthy to hear how these melodies lent themelves to Aki Takahashi's superb pianistic abilities.

There was perhaps something a little stereotype here and there, slight lack of originality, a use of the instrument which did not always disclose the secrets of the modern piano.

Conclusion: An exciting encounter with a wonderful pianist and several interesting modern piano pieces.

The audience's reaction was spontaneous and enthusiastic; the Ultima festival is a necessary part of the expanding our horizon.


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