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«The opening bars were arresting — quick, barely audible drumming that gradually swelled to fill Orchestra Hall like a massive swarm of bees before being cut off by a sharp, orchestral thunderclap. Unified by pungent, sharply etched rhythms, Rough Magic veered between quiet sections full of transparent strings and gently tinkling xylophone and noisy sections full of brassy swagger. The magic was roughly good humored at times, with the the orchestra resolutely banging out syncopated accents like a proud but peg-legged marching band.» — Wynne Delacoma | Chicago Sun-Times,  31 January 1997

«As counterbalance to this double dose of familiar Romanticism [Schumann, Tchaikovsky] we heard the world premiere of a new piece, Rough Magic by Jay Alan Yim. Here mechanical proved an apt description of the rhythmic processes at work in Yim’s exhilarating, exhausting score, written last year on commission from the CSO. Yim has taken the vocabulary of post-Minimalism, splashed it around a huge orchestra — complete with noisy percussion battery — and let his obstreperous fancy run wild. From the big crescendo for two snare drums that begins the piece to the madly shifting meters exploding into the audience’s laps at the end, Rough Magic takes no prisoners. It is John Adams on a fast ride through a steel mill, as colorfully scored as anything by Michael Torke, but without the latter’s overt pop sensibility.» — John von Rhein | Chicago Tribune,  1 February 1997

«Three pieces at least had potential repertory status, which sub specie aeternatis is a healthy percentage. Jay Alan Yim had a score called Geometry and Delirium which was especially rich in colour and eventfulness, amplifying the instruments of a large-ish ensemble to recreate the high-gloss sound of rock music recording methods….Any one of these scores ought to put our minds at rest about the future of the new music. The tide is turning.» — Michael John White | The Independent, 21 March 1989

«One of the most rewarding [works] was [by] Jay Alan Yim who, in Geometry and Delirium managed to define the scoring in terms of different layers and provide memorable ideas.» — Meirion Bowen | The Guardian, 21 March 1989

«Like a breath of fresh air came Jay Alan Yim’s Geometry and Delirium, probably because he was not trying to write a masterpiece. Like some painters, Yim is a born primitive. For all its technical polish and expertise, a head full of quasi-artistic flummery is not his idea of happiness. Notwithstanding the guff of the programme note (which he probably came up with afterwards anyway) its vital qualities are exclusively musical…» — Giles Easterbrook | The Musical Times, June 1989

«The concert also included a US premiere of [the extended version of] Geometry and Delirium for small chamber orchestra and electronics by Jay Alan Yim. The composer writes that in using electronic interactions with the live instruments he wanted to add ‘the kind of high-gloss sheen and presence’ taken for granted in pop and rock, and he achieves this uncannily. Yim’s music has always been distinguished by his alert ear for color and thick, sustained harmonies. This work has more:  an inner energy propelled by wild spirals of ostinato figures and a compelling dramatic shape.» — Anthony Tommasini | The Boston Globe, 2 August 1989

«…I was taken by a second hearing [at the Tanglewood festival] of the young Jay Alan Yim’s Geometry and Delirium, which we’d had at a [Los Angeles Philharmonic] Green Umbrella concert earlier this year – beautiful, spacious and mettlesome writing for small ensemble.» — Alan Rich | Los Angeles Herald Examiner,  6 August 1989

«Marin Alsop, another Tanglewood Music Center star and newly appointed conductor of the Long Island Philharmonic, proved herself a first-class tamer of a dangerously multiforce little monster Jay Alan Yim composed as Geometry and Delirium. It was tamed, not diminished, and she rode it for all it was worth.» — Leighton Kerner | Village Voice,  26 September 1989

«Most ambitious of all is Jay Alan Yim’s Jackson Pollock-inspired quartet [Autumn Rhythm], written in the mid-1980s when Yim was in his mid-twenties. Its 17 minutes have room for oppositions so extreme that they evoke disconcertingly different musical worlds, but what emerges in the end is a lyric voice that could be singing nostalgically of a romanticism that is lost and gone forever. The technical standard of the recording is high. The performances have the usual Arditti hallmarks: in music like this their dedication and mastery are second to none.» — Gramaphone,  December 1993

«Two world premieres, both by 1986 Tanglewood composition students, were on the program – Jay Alan Yim’s Karénas, for double string orchestra, harp and antique cymbals, and Michael Gandolfi’s ‘Transfigurations’, a festival commission. Both were tightly written, evocative and worth hearing again.» — Andrew L. Pincus | The Berkshire Eagle, 7 August 1987

«If a new composition is pleasing it’s a potential addition to the heritage of music and therefore ‘news’. The Sunday night concert by Extension Works had two such, both of interest….Jay Alan Yim’s septet Moments of Rising Mist, with its stilled sound collages and ruminative long lines, is not unlike other pieces you’ve heard, yet it comes out sounding fresh. Some instruments (usually the harp, piano and vibraphone) always seem to be sustaining a bedrock of opaque harmonies through which the sinewy soloistic instruments (flute, clarinet, violin, cello) manage to pierce. The sound fabric sits on one harmonic plateau for a while, then as the title suggests, shifts up to another. The rhythmically charged sections are arresting; the timeless ones, more predictable. But afterwards you want to hear it again – the best testimony to any new work’s success. Ronald Feldman conducted what seemed a compelling performance.» — Anthony Tommasini | The Boston Globe, 29 April 1987

[about Moments of Rising Mist]:  «…the harmonies seemed to change with a wonderfully slow speed, as if the change were not a manipulation by the composer, but a metamorphosis by the music itself.» — Thomas Putnam | The Buffalo News, 20 June 1987

«…the American Jay Alan Yim, who had two pieces selected for performance, looks for inspiration outside of music, without lapsing into literal interpretations. A Chinese landscape triggered the writing of Moments of Rising Mist for seven players. Yim, who writes in an extremely transparent idiom with impressionistic traits, shows himself a subtle and original orchestrator. For his piccolo piece Furiosamente – a whirling abstraction of the image of a bird of prey – a poem by Octavio Paz furnished the idea. Harrie Starreveld’s reading of the piece was the glittering climax of the three superbly-played concerts.» — Frits van der Waa | Volkskrant, 14 September 1987

«Yim demonstrated a great deal of inventiveness in a piece for solo piccolo [Furiosamente], fabulously played by Harrie Starreveld.» — Aad van der Ven | Goudse Courant, 14 September 1987

«The single exception in this programme was the American Jay Alan Yim:  the jury had even selected two of his compositions. And rightly so. His piccolo solo Furiosamente, wonderfully played by Harrie Starreveld, is a gripping piece of horrormusik that consciously refers to Hitchcock’s ‘Birds’, but that has at the same time the fear-inciting beauty of the power of the natural world. Yim’s second piece, Moments of Rising Mist is a lyrical impression of nature. Its refined instrumentation was shown by the Gaudeamus Solisten Ensemble to its full advantage….Moreover these compositions far outstripped in quality the others in the course of the competition.» — Ralph Degens | Trouw, 14 September 1987

«A high level was [also] certainly acheived in Askesis by the 30-year-old American composer Jay Alan Yim, who [also] has participated in a previous Gaudeamus series. Yim captivated through using a jumping-off place whereby the symphony orchestra was divided into three chamber orchestras:  the first was primarily composed of metallic percussion instruments and double reeds, the second of many brass instruments, and the third of wooden percussion instruments and gongs. Each orchestra worked with the same basic material, such as strong block chords which for example sounded in the flutes, piano and percussion above a continuum of strings. The mysterious beginning shimmered brilliantly, realized through variously tuned wine glasses doubled with a Yamaha DX7 synthesizer. In short, Yim fascinated both through his point of departure and through his atmospheric Takemitsu-esque instrumentation.» — Ernst Vermeulen | NRC Handelsblad,  16 September 1988

«The question remains:  has the American Jay Alan Yim, whose orchestra work Askesis was a great discovery yesterday, not at least as much right to the festival’s prize? Perhaps Askesis loses something gradually in the way of tension. But how brilliantly the score sounded! And above all in the first section of the work Yim is so successful, in a fascinating manner, in writing for his thrice-divided orchestra (each in fact a chamber orchestra of its own), that the whole complicated process was a captivating, expressive, and meaningful journey.» — Aad van der Ven | Rotterdam Nieuwsblad,  14 September 1988

«Colorful and rich-textured, Yim’s Radiant Shadows shows how real music could be made with so formidable an arsenal [as the Consort’s percussion ensemble].  …the evening’s percussionists were generally excellent. Claire Heldrich conducted the ensemble works efficiently.» — James R. Oestreich | New York Times,  29 June 1991

«Jay Alan Yim’s hypnotically mystical Radiant Shadows for metallic percussion explored clanging resonance and decay. Given the almost sacred sound of chimes and vibraphones, the entrance of many gongs after a conspicuous absence sounded almost profane.» — Margaret M. Barela | Albuquerque Journal,  4 April 1993

«Jay Alan Yim likens the layout of his Timescreen No.1 for solo piano to two mirror-panels connected by a hinge. One strong point about the piece is that its unifying devices, its reflecting points of resemblance are satisfyingly, even inexorably ‘there’ for the ear to take in, and without ever being too obvious; it radiates a sense of formal elegance. Another strong point is that this could be so despite a splashy, ‘pianistic’ style of instrumental writing – featly executed by the ever-admirable Randall Hodgkinson – that occasionally evoked the sound of Scriabin or Messiaen. One wonders what further music Jay Alan Yim has in him to express.» — Richard Buell | The Boston Globe, 12 February 1985

«Timescreen No.1 for solo piano was a sinewy, prickly piece that tumbled and surged all over the keyboard, youthfully bent on scaling every height – the quiet ending may well have signified Nirvana. The admirable Kathleen Supové gave it a capital rendition, and it made a stirring effect.» — Richard Buell | The Boston Globe, 18 March 1986

«Jay Alan Yim’s computer-generated Shiosai was a ‘sound’ piece that started off big and maestoso with broad, overlapping stretti and chords that meant more for pulsating ever so slightly – showy events these were, but within a frame of order, and it was very evident that this composer has a mind.» — Richard Buell | The Boston Globe, 2 February 1988