Masaru Okada News
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ArtsJournal: music
2019-06-09 15:00:58
A Classic Book Of Japanese American History Gets Reissued By A Major Press – But Who Owns The Copyright?
A University of Washington professor worked hard to get the overlooked and forgotten 1957 book No-No Boy republished through the university press, and it’s become an Asian American literary success story. Then Penguin Classics stepped in. “Dorothea Okada, John Okada’s daughter, said her family was unaware of any issues with their claim to the copyright, […]
2019-04-29 04:50:00
Masterpiece II (XRCD24 review)
Touching folklore music. Mario Suzuki, guitar; Masao Okada, guitar; Miyuki Fujimoto, guitar; Susumu Nishizaki, piano. Master Music XRCD24-NT021.First of all, I'm not sure why this 2017 album bears the title "Masterpiece II," unless it's because it follows an album guitarist Mario Suzuki made ten years earlier called "Masterpiece I." Certainly, there are no actual "masterpieces" or classics on the program unless the producers are engaging in a bit of hyperbole. Second, I'm not sure why the album bears the subtitle "Touching folklore music," since it appears Mr. Suzuki wrote all of the selections himself, thus negating the notion of folklore referring to traditional songs or stories handed down by people from generation to generation. I'm going to assume here that Mr. Suzuki is a folklorist the way Bob Dylan is a folk singer. None of which makes any difference in the least because this is a terrifically well recorded album of […]
Norman Lebrecht - Slipped disc
2018-08-02 08:45:44
Death of a versatile UK agent, 90
We have just been notified of the death from liver cancer of Audrey Ellison, a busy agent who looked after the Master of the Queen’s Musick Malcolm Wlliamson and, more profitably, the Martinů and Rasumovsky Quartets, the pianists Risto Lauriala, Sequeira Costa, Hiromi Okada, Vesselin Stanev, Christopher Czaja Sager, Angela Lear, Barbara Nissman, and many others. Before […]
The Boston Musical Intelligencer
2015-04-17 21:42:55
New Insights Into Familiar Works
[…] warm in every dimension, especially in the strings, which maintained a strong unity of sound throughout, even in the last section where there is always a danger of raggedness at high speed. I especially admired the careful shaping that Zander gave to the melodic line. This reading was as bright and elegant as any I have heard in many years. And there were lovely solos, too, by Joanna Kurkowicz, concertmistress, and her stand partner, Yumi Okada. Camille Saint-Saëns’s Cello Concerto No. 1 in A Minor, Op. 33 (1872) is composed on the Mendelssohnian model of three connected movements in one, with some cyclic backward glances in the thematic structure—not such a stretch, since Saint-Saëns, as a child, actually heard Mendelssohn conduct. The triplet eighths in the first movement are reborn as semiquavers in the third, with a “slow movement” in between in which a minuet seems to transform effortlessly into […]
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