Peter Serkin had a long-standing association with Takemitsu (who died in 1996), and the composer was present during the recording of most of the works included here, one of which – Les yeux clos II (1988) – is dedicated to Serkin. Noriko Ogawa, who has recorded the identical programme for BIS (see above), cannot claim such a close connection, and it might therefore be assumed that her performances will be less authentic than Serkin’s, less fit to stand as a long-lasting memorial to Takemitsu.
Serkin certainly brings a special air of authority to the music, and his playing has a spaciousness and sense of breadth – the second section of Litany lasts for 7'50'', compared to Ogawa’s 4'55'' – which conveys all the music’s sense of mystery and reflectiveness. Nevertheless, as Uninterrupted rest shows with particular clarity, Serkin also risks making too much of its subtle contrasts. Ogawa is less assertive, more generally understated, but there is nothing casual about her beautifully spontaneous interpretations, and the BIS sound is uniformly excellent, while several of Serkin’s tracks, notably those recorded in 1978, lack something in purely sonic refinement.
Serkin makes the strongest possible case for this music, and the sheer control and variety of his playing, particularly in one of the finest early pieces, Piano distance, is irresistible. His responses are sufficiently complementary to Ogawa’s to prompt the conclusion that both are equally valid, equally well worth having. No wonder Takemitsu admired both artists. '