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Arnold Whittall
Gramophone, May 2017

The three pieces here—Circulating Ocean, Woven Dreams and Blossoming II—reinforce Hosokawa’s commitment to poetic representations of human presences in the natural world. © 2017 Gramophone



Phillip Scott
Fanfare, March 2015

Performances and sound quality are all top-class. © 2015 Fanfare Read complete review



Stephen Estep
American Record Guide, January 2015

Fine performances and decent sound… © 2015 American Record Guide Read complete review on American Record Guide



David Denton
David's Review Corner, September 2014

In March of this year Naxos issued the first in a series of releases that will introduce the orchestral music of the Japanese composer, Toshio Hosokawa. Born in 1955, Toshio Hosokawa is taking his nation’s musical world into the twenty-first century with a the new breed of tonality that is used to create sound pictures, the first work on the disc, Woven Dreams, recreating a bizarre dream of life in his mother’s womb. Starting out, as he did, with just one strand, everything grows from there, the music creating the effect of floating in air. Completed in 2009, it reminds us of his famous predecessor, Toru Takemitsu, where you have the distinct feeling of music that does not have a tangible substance. It is an atmosphere that carries over into Blossoming II, a work dedicated to the young British conductor, Robin Ticciati and his Scottish Chamber Orchestra. It is one of a series of scores that reflect Hosokawa’s fascination with the blossoming of a flower. Finally the disc’s most extended work, Circulating Ocean, a score that isvery different to the conventional depiction of the sea.There it is mostly a human response to its many changing moods, whereas Hosokawa seeks to recreate the actual sounds of the ocean by his use of musical instruments. The outcome is a highly successful experience, though I suppose it is not music in the previously accepted sense of the word. To achieve the results that Hosokawa envisages must be very difficult for the conductor who needs to meticulously balance his instruments. In that respect the Lyon orchestra is highly responsive to Jun Markl, while the Royal Scottish National have the easier task in two works that are generally slow moving and transparent. Stunning sound that captures the merest whispers Hosokawa often calls for. © 2014 David’s Review Corner





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