Born in 1930, the same year as Toru Takemitsu, Shimoyama's art offers a
very different kettle of fish. Both employ sounds derived from traditional
Japanese music. You can pick out hints of the shamisen (the harsh Japanese
lute) and koto (supine Japanese harp) very strongly in the various cello
cadenzas - brilliantly played by Kitamoto, by the way. But whereas Takemitsu
was primarily concerned with genteel sensuality, Shimoyama's score are
dominated by violent dramatics. If one must make a comparison, Shimoyama's
music leans toward the works of Lutoslawski in technique, and in his percussion
writing, a bit toward Penderecki... especially in Zone. But the larger truth
is the strength, invention and individuality of Shimoyama's music. (Heuwell
Tircuit, Through a Glass Darkly, in: In Tune, June 1996)
Everything changed with Japanese Shimoyama's beautiful composition (Ichigo
no tsukikage) - a subtle east/west dialogue in sound between the cello
(Frances-Marie Uitti), the Japanese string instrument koto (Teiko Kikuchi)
and a tape (...). Towards the end of the piece the koto player recites
a piece from a Japanese middle ages epos, a text that has a theme that
might be basic in Japanese art - the transience of things (mono no aware).
Everything in this piece, with its' point-wise structure, its' refined
use of not only sounds but the stillness between and <around> them,
expired beautiful poetry and quiet artistic depth. The composer was present:
A small man with steel gray hair and a face which reminds one of portraits
of Buddhist monks in Japan's middle ages. (Harald Kolstad, Sterke opplevelser
[Strong experiences], in: Arbeiderbladet 28 September 1990)
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