... extremely musical, yet balanced with a mature understanding of musical structures.
Immediately, I realized this was going to be something special. Stillness of posture. A concentrated attitude to the work, itself, and an inward respect for Bach’s fluency of counterpoint writing.
Maiko Mori performed Schnittke’s Improvisation and Fugue with brilliant facility and a strong sense of the music’s purpose. The otherworldliness of Takemitsu’s Rain Tree Sketch similarly seemed to suit Mori’s musical temperament.
... Maiko Mori is clearly an exceptional artist, providing herself to be both a thrilling virtuoso and a fine poet of the keyboard, as well as - in the opening Mozart Sonata in D K311 - and accomplished classicist. Throughout, hers was playing of a very high order of musicianship, compelling in itself and shot through with delightful touches of interpretative nuance. Although many of the items, apart from three pieces by Bax and Bartok’s Romanian Dances of 1915, were very familier, Mori’s playing was never hackneyed or predictable, the audience recalling her for two encores at the close, which in the event were taken from Grainger’s Gershwin transcriptions(‘The Man I love’ and ‘I Got Rhythm’), firing another brilliant metaphorically interpretative arrow from Mori’s full quiver. A truly fine artist.