Osaragi Jiro Award
1 appearances
-
Edition 2 (1975) award
よしだ ひでかず
Yoshida Hidekazu
| Institution | Faculty | Department | Degree | Period | Country |
|---|---|---|---|---|---|
| Tokyo Imperial University (now University of Tokyo) | Faculty of Letters | Department of French Literature | 学士 | — | Japan |
| Year | Award | Work | Category | Organization | Result |
|---|---|---|---|---|---|
| 1975 | Osaragi Jirō Prize | Yoshida Hidekazu Complete Works (1st series) | — | — | 受賞 |
| 1982 | Medal with Purple Ribbon | — | — | Government of Japan | 受章 |
| 1988 | Order of the Sacred Treasure, Third Class | — | — | Government of Japan | 叙勲 |
| 1988 | NHK Broadcasting Culture Award | — | — | NHK (Japan Broadcasting Corporation) | 受賞 |
| 1990 | Asahi Prize | — | — | The Asahi Shimbun Company | 受賞 |
| 1990 | Kanagawa Culture Award | — | — | Kanagawa Prefecture | 受賞 |
| 1993 | Yomiuri Literature Prize | Manet's Portrait | 評論 | Yomiuri Shimbun | 受賞 |
| 1996 | Person of Cultural Merit | — | — | Agency for Cultural Affairs | 認定 |
| 2004 | Mito City Cultural Honor Award | — | — | Mito City | 受賞 |
| 2006 | Order of Culture | — | — | Government of Japan | 受章 |
| 2007 | Honorary Citizen of Kamakura | — | — | Kamakura City | 授与 |
| 2007 | Honorary Citizen of Mito | — | — | Mito City | 授与 |
| 2012 | Junior Third Rank (Posthumous) | — | — | Government of Japan | 追贈 |
A collected edition begun in 1975 and published in phases. It gathers music criticism, essays, translations and reviews; an important corpus in the history of Japanese music criticism.
A collection of essays and criticism concerning Édouard Manet and Impressionism. Discusses modern art from perspectives that intersect music and literature.
A leading figure in Japanese classical music criticism who, through long-running columns and broadcasts, broadened public appreciation and understanding of music. He left numerous publications and a collected works edition, and contributed to music education and public cultural institutions.
Indeed, this art may once have been an unsurpassed masterpiece, but now—even to put it most mildly—cracks have appeared.
This person remains an unparalleled magician at the keyboard and is a precious presence that conveys how deeply nineteenth-century the very concept of such artistry is.