“translucent and dedicated playing”
Auli Särkiö-Pitkänen / November 2025, Finnish music magazine “Kompositio” by Composer’s Society
“The pianist enjoys the glassy, dripping tones and never beats, allowing the textures like constellations to shine through”
(CD “Noricd Visios)
“Takahashi’s delicate touch beautifully conveys the unique sound world of each piece.”
Shigeru Fukuda / June 2025, Japanese music magazine “Ongaku Gendai”
(CD “Nordic Visions”)
I was struck by Eriko Takahashi’s piano tone. One cannot help but feel that this sound is practically unique in the history of the instrument.
Toshio Saito / April 2025, Japanese online music magazine “Mercure des Arts”
(CD “Nordic Visions”)
“Gentle, profound, and refreshing – a sound of captivating resonance”
Arisa Iida / April 2025, Japanese music magazine “Bravo”
“Takahashi’s tone, blending crystalline clarity with warmth, is the height of sophistication, meticulously conveying the essence of each work.
(CD “Nordic Visions”)
We were quite amazed when hearing the last movement of Madetoja’s The Garden of Death as live performance that how many different levels of dynamics it’s possible for a human to control just between piano and pianissimo.
Ari Romppanen, Composer / from the foreword of CD “Nordic Visions” (2025)
“What is especially prominent in Eriko’s playing is her sovereignty by controlling the sound of the instrument. Everything can be heard, even in most complex textures. The intention of the composer is always carried out, and all emotions will be crystallized.”
Ari Romppanen, Composer / 4th September 2022, Recital “Nature in Sound – Light and Shadow –”
“She introduced a large variety of timbrel possibilities of piano”
“Pianist with deep sensibility”
Till A. Körber, Composer / January 2016, Special contribution
“With her great ability of empathizing she can fit herself intellectual and emotional into the new world of music”
The pianist from Yokohama interpreted this great work written in the Beethoven’s middle period with full romantic storm and passion, as a meaningful magical pieces and also as a incarnation of the daemonic power of the music. The second movement sounded meditative, and the last Allegro-movement reminded me the rustle in the wind. She used the pedal moderately, which makes the structure and the continuing accompaniment in the bass. Her whole performance was filled with preciseness, faithfulness to the work, wonderful touch and depth of soul.
Fred Androsch / 2nd March 2015, Tips Zeitung, Austria
Eriko Takahashi brought a pieces “Le Loriot“ from “Catalogue d’Oiseaux” by Olivier Messiaen, which we seldom find in piano concerts. She didn’t exaggerate any things and showed the structure very clear, also by fast passages. I enjoyed all contents and emotions in this unusual piece vicariously.
Martin G. Günkel / 15th August 2014, Lauterbacher Anzeiger, Germany
Eriko Takahashi drew the strict but well singing lines by the Adagio in b minor KV 540. The well balanced accents contrasts with the sounds like a consolation.
Nikolaus Frey / 19th August 2014, Fuldaer Zeitung, Germany
Eriko Takahashi interpreted the suite „Holiday Diary“op.5 (B. Britten) with elegant and gentle sounds.
Chr. Grubauer / 24th October 2013, Neues Volksblatt, Austria