Tanosaki-Richards Duo Reviews

- guest soloist with SONOR - May 1990 (Faculty New Music Ensemble, University of California , San Diego )

“Mabry's *11.10.83* proved to be a tour de force that elicited knowing smiles - it satirized all those vapid flashy clarinet showpieces - as well as admiration for the soloist's virtuosity. Clarinetist Michael Richards, for whom the piece was written, had the supple technique and sang-froid to sail through its athletic jumps and staccato iterations. In the middle section, he delicately conjured its eerie multiphonics.” (Kenneth Herman, Los Angeles Times [May 25, 1990])

- premiere performance of commissioned work by Akira Nishimura – Madoromi III at concert by RUCKUS, UMBC, Baltimore, April 2, 2003

“Almost jazzy, kinetic riffs that have both players in tight sync contrast with long, sighing clarinet lines floating above dense, soft piano chords that are sustained to create a harmonic haze. Clarinetist E. Michael Richards and pianist Kazuko Tanosaki, who received the tricky score by fax only two weeks ago, already sounded at home in this dream world.” (Tim Smith, Baltimore Sun)

Cort Lippe 's Music for Clarinet and ISPW, for example, has its moments, with alternately breathy and wailing clarinet lines (that Richards delivered with ample bravura). (Tim Smith, Baltimore Sun)

- performances with Syracuse Society for New Music at SCI National Conference, Syracuse , NY , March 30, 31, 2001

“A similar introspective and wide-intervaled quality appears in Charles Bestor's ‘Partita' (1998), for unaccompanied clarinet. The contemplative ‘Stil Sarabande,' which focuses the deep, chalumeau (low) register of the clarinet, is especially lovely, aided by Michael Richards' smooth legato.” (David Abrams, Syracuse Post-Standard)

“Consider what modern Japanese composers could do with the technologically evolved Western clarinet. The possibilities were well demonstrated Friday night by the accomplished duo of E. Michael Richards, clarinet, and Kazuko Tanosaki, piano, as part of the Bowdoin College series of woodwind music for the 21st century: Reed All About It . Richards, the author of ‘The Clarinet of the Twenty-First Century,” is a well-recorded artist who has made a specialty of contemporary Japanese music......[he] said before one performance that he had been ‘working on' multiphonic playing, in which the instrument sounds two notes at once, but he seems to have about perfected it. The effect, which most of the Japanese works required, can also be produced on the shakuhachi, but sounds incredible on the clarinet.” ( Chris top her Hyde, Monday Magazine, Portland Press Herald, Maine )

"Richards' performance of Yuasa's 'Clarinet Solitude' was the shining star of the festival” - Ongaku Gendai journal of June 1995

"The performance [of "Attracteurs Etranges"] was absolutely remarkable. It was very faithful to my score and to my musical intentions, and it displayed a lot of musicality and invention. Every ingredient of an excellent performance was there: sensitivity, virtuosity, beauty of sound, and a very lively and intelligent relation with the music on the tape." (Jean-Claude Risset - awarded Grand Prix National de la Musique by French Government in 1990)

- Concerto Soloist with Syracuse Symphony (Kazuyoshi Akiyama, conductor) John Corigliano's *Clarinet Concerto* - February 1992

“I'd like to thank you for your performance of the Corigliano Concerto with the Syracuse Symphony. Your performance was appreciated by the musicians and audience alike for its skillfulness and sensitivity” (Kazuyoshi Akiyama)

“I'd like to congratulate you on your recent performance of the Corigliano Concerto. With limited rehearsal time on this difficult composition, you and Maestro Akiyama were able to prepare the orchestra for an excellent performance
. It is rare that one encounters such a versatile and capable musician who feels as comfortable with Corigliano as they do with Mozart. We feel fortunate to have been able to use you for this performance, and hope to be able to find other opportunities to use you in the future.” (Richard Decker, Orchestra Manager)

“I hope that you shared on the stage the sense that I had in the hall of how well the piece, and your playing of it, was received. It's not easy to rouse a group of composers to enthusiasm for a piece by one of their colleagues; they can generally be counted on to be respectful but rarely more than that. The Partita, however, was clearly received with a degree of excitement that was simply not present for most of the rest of the program, and I have you very much to thank for that.” (Charles Bestor, Professor of Music, U. of Massachusetts)

"Your concert was a great success. One could always wish for a larger audience but the word in the halls was that those who weren't there missed something special. That word had obviously gotten around by the next morning [your masterclass] since the whole clarinet class, plus several composers and other wind players, were there." (Charles Bestor, Professor of Music, UMASS)

“It was a real pleasure meeting you both, and hearing you play. There was a lot of enthusiastic feedback from the students. Anytime you are in this area, I hope you will get in touch.” (Richard Festinger, Associate Professor, San Francisco State University )

- Performance at SCI Region I Conference - ( Wellesley College, MA ) October 18, 1996 [new work of Mark Kilstofte]

“You were really sensational on Saturday, and I hope that you came away with lots of praise ringing in your ears! I thought the performance of *Postcards* was exquisite.” (Elizabeth Vercoe, SCI Region I Co-Chair)

- Recital as part of six day festival of contemporary music - FUNMusic 1996 (July) - University of Illinois , Champaign-Urbana. Performers from throughout the US [program of works of Yuasa, Schwartz, Risset, and premiere of Krause]

“Just got the tapes (of the performance) - they are fabulous!” (Drew Krause, composer and director of FUNMusic)

- Performance of solo bass clarinet work written for me by Elliott Schwartz - premiere performance of chamber works by Brickman and Mamlock with Syracuse Society for New Music -( Merkin Hall, New York ) - January 14, 1996

“I received a tape of the Elliott Schwartz birthday bash and enjoyed your playing, especially your performance of Elliott's *Halo.* Bravo!” (M. William Karlins, Professor of Music, Northwestern University)

“It was great to see you in New York , and to hear your wonderful performance of my new piece. I'm still getting compliments for that one piece - they should all be directed at you, of course!” (Elliott Schwartz, Professor of Music, Bowdoin College )

- Recital/lecture of new Japanese music - Simon's Rock of Bard College, Stockbridge, MA - March 26, 1995

“Thanks again for the wonderful concert - everyone was talking about it for quite some time afterward. My students and colleagues were very impressed with your artistry and skill, as well as the repertoire” (John Myers, Associate Professor, Simon's Rock)

- CD recording ( CRI ) of P. Q. Phan My Language and Beyond the Mountains (recorded on June 17 and 21, 1999 at University of Illinois

“Richards and Tanosaki show dazzling technique in this kaleidoscopic piece ( My Language )” (Kilpatrick, American Record Review, Jan/Feb 2001)

“Among the standout performances are the clarinet playing of E. Michael Richards and the sweet performance of ‘Unexpected Desire' by Molly Fung, Brian Dumm, and Sylvia Wang of the Samaris Trio.” (Kirzinger, Fanfare, November-December 2001)

- CD recording ( Mode Records ) -"Music of Xenakis" - Xenakis “Palimpsest” with Syracuse Society for New Music and pianist Aki Takahashi (recorded on April 5, 1998 in Christ Cathedral, Syracuse )

“Impressive and committed performances. The performance of Palimpsest is gripping in its emotional and sonic intensity.” (Philip Clark, Classic CD, July 2000)

“The performance (Palimpsest) is superb, and ideally caught in this recording. A triumphant addition to Mode's Xenakis series.” (Ivan Moody, International Record Review, June 2000)

“Our live performance was very exciting and engaging and the record will be very good. Michael - it wasn't lost on any of us that your performances required virtually no extra rehearsal time or energy to improve. That consistency saved your colleagues from just that much more stress and we all appreciate it. I hope to work with you again soon!” (Charles Peltz, conductor)

- CD recording ( CRI ) -“Music of Barton McLean” - McLean “Ritual of the Dawn” with Syracuse Society for New Music (recorded on May 19, 1998 at Syracuse University )

“I am really excited that you will be a part of this, Michael. I have long admired your exquisite performance abilities and will be eager to put them to the test.” (Barton McLean)

- CD ("New Music for Clarinet and Piano by Japanese Composers") on Ninewinds Records ( Los Angeles ) - January 1997. First recording of 3 works written for Tanosaki/Richards by Masao Honma, Masataka Matsuo, Mamoru Fujieda

“The Duo's tone is rich and resonant and serves the music perfectly...They make a solid team and their sounds blend very well together...This excellent recording of Japanese contemporary music is an important addition to the clarinetist in search of new music..I give an A for interpretation and recording theme, as well as the discovery of composer Mamoru Fujieda.” (Michelle Gringas, Journal of the International Clarinet Association , Nov-Dec 1997)

"The disc certainly deserves a full review - I listened to it and liked it very much. You are a fine player, and the recording is effective." (William Nichols, Recordings editor of the Journal of the International Clarinet Association )

- CD on Opus One Records - Feb. 1996. Recording of Masataka Matsuo Hirai V with Hamilton College Orchestra

"Hamilton College is a small liberal arts school of only 1650 students; for them to field a seventy-piece symphony orchestra that can handle such a complex modern work is a staggering achievement." (Fanfare Journal - Feb-March 1996)

“There are not many (any?) double concertos for piano and clarinet besides Masataka Matsuo's Hirai V. There should be: Matsuo's piece is a genre maker…..This is an important piece, given a blazing performance by the Tanosaki-Richards Duo. (American Record Guide, March-April 1997)

“I have seen The Clarinet of the Twenty-First Century, and have found it to be well organized and very useful. It is the most comprehensive study on contemporary clarinet techniques, including microtones, multiphonics, alternate fingerings, and other new resources. I recommend and hope that if can be widely distributed.” (Charles Neidich, Juilliard School of Music)

“The clarinetists have been very satisfied by these books!” (Jean-Marie Paul, Vandoren, Paris)

“Thank you very much for your clarinet book. I received it about a week ago. It was something that I was looking for for a long time. By the way, I have found that your book is extremely useful on the microtonal possibilities on clarinet. Thank you again for sending me a copy.” (Hiroyuki Itoh, winner of Akutogawa Award, Japan)

“Your clarinet books are quite thorough and well organized. Bravo!” (Dennis Smylie, bass-clarinet virtuoso, New York )

“I had our library order you two books, and liked them so well, I want to have my own copies for my studio! They are very well done, and great resources for myself and my students” (Richard Faria, School of Music , Ithaca College )

“I have ‘The Clarinet of the Twenty-First Century' and can highly recommend it” (David Niethamer - Principal Clarinet, Richmond Symphony, VA)

“Elsa Verdehr (Professor at Michigan State U. ) showed me your book, and I was wondering if I could get a copy. My students and I would be thrilled to have a copy on hand!” (Elisabeth Kelvin, Victorian College of the Arts, Victoria , Australia )

“I highly recommend the book ‘The Clarinet of the Twenty-first Century' by Dr. E. Michael Richards. Terrific and very helpful.” (Michael Norsworthy, freelance clarinetist, Boston)

“It's (Bass Clarinet of the Twenty-First Century) an excellent resource of ‘extended' techniques for bass clarinet, and I'd love to own it.” (Phil Brownlee, School of Music , Victoria University of Wellington , New Zealand )

“It is so nice to hear from you and to receive your publication The Clarinet of the 21st Century which I find most interesting and useful.”(Richard Tsang, Vice-President of ISCM)

“I will be in Germany for rehearsals of a new ensemble piece, entitled :dreaming/Field. It's a 27 minute piece that was commissioned by the ministry of culture in Baden-Wurttemburg for James Avery and Ensemble SurPlus, and I've used your (Michael's) clarinet book as a reference for the multiphonics in the clarinet part. (I also mention your book in my advanced orchestration courses; is it in print somewhere so students could obtain a copy?)” (Jay Alan Yim, Professor of Music, Northwestern University)

“There's also E. Michael Richards' "Bass Clarinet of the 21st Century" from E and K Publishers (check the archives for e-mail address). Great books!” (Peter Stoll - Instructor, Univ. of Toronto )