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In its original orchestral dress, this music has a nostalgic air; reincarnated for violin and piano, it takes on an ironic, modernist edge. Repin and Lugansky reveled in its spiky dissonances, its rhythmic asymmetries, its virtuosic suavity.
Almost a concerto, Beethoven said of his 1803 Kreutzer Sonata, the mother of all violin sonatas. Repin and Lugansky fully realized the drive and dynamism of the opening Presto but were less successful in the Andante, where they might have traded velocity for greater finesse. Their Tchaikovsky encore (the Waltz-Scherzo, Op. 34), though dazzling, could have been a bit longer on charm.
Larry Fuchsberg writes frequently about music

Sometimes stopping, not thinking, is also important.'
Though you could say that Yasui has - perhaps unwittingly - summoned up the male fantasy of the silent women, his notion of capturing a sense of stillness and silence is a traditional one in Japanese art, and one that is carefully worked out in the details.
'Capsule' and two other female figures - 'Echoic' (2008) and 'Void' (2008) - that will be exhibited at the group show 'Humans Made by Humans' at the Kasugai City Library Culture and Art Center in Aichi Prefecture later this month, all have deadpan expressions that seem dormant under the gleam of lacquer. They also have long sleeves that conceal that other expressive part of anatomy - the hands. The loudness of the clothes, with their garish 1960s retro-charm, also emphasizes the silence of their faces.
The symmetry and stylization of these sculptures is a rejection of the Classical Greek-based Western sculptural tradition and its obsession with statues that 'move.' Yasui, who was born in Belgium and has lived in Israel, says that he feels a much greater connection with Buddhist statuary and ancient Egyptian sculpture than with these Western forms. Rather than Pygmalion praying for a flicker of movement from his beloved creation, Yasui wants his Galatea to stay firmly as she is - a totem of tranquillity and stillness

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