2011年03月01日

Poem of RIN

rin-no-uta.jpg

The piece consists of an explanatory note and a diagram in which notations are spread over three circles spanning out from the same central point.
Musicians take these notes and play them by lifting them up in the air. The notes on the score “respond” to the “calls” coming from left and right channels which are pre-recorded by the performers in advance. The circular diagram is supposed to be read clockwise but is also read counter-clockwise occasionally.
Suppose you place the notes do, mi, and sol on the circles from inside to outside, the three circles will float in the air forming a fishbowl-like shape. If you move do that is close to the center an octave higher, or sol on the outer circle an octave lower, the shape will change and the locations of the sounds will also differ.
It is up to the performers whether to touch the notes inside the fishbowl or to reach in from outside.
The notes can be freely assembled to form different shapes, much like how constellations look differently depending on whether you see them from the Earth or from inside the galaxy.

I was interested in creating the concept of a “dialogue” of sounds, and a device which will allow us to become part of the nature.

Poem of RIN was composed in 1972 and premiered in October of the same year by Ayako Shinozaki at her recital “The Harp of Ayako Shinozaki”.
posted by Katsuhiro Tsubonou at 00:00| Compose

2011年02月28日

Sky Prism

sky.jpg

You are looking at a triangular prism from its side. The time flows from the left end to right end.
Each prism is designated with a note – let’s say do, mi, sol – all floating inside the prism. If you place mi at an octave higher, for example, the triangular prism will be a different shape and allocation of the notes will vary as well. Also, the location of the notes will differ depending on whether you reach inside the prism from between do and mi, or between do and sol. The notes are also different if you look at them from inside the prism. Not only that, the triangular prism turns by itself.
Performers build up their musical images freely while interacting with the floating notes. The notes inside the prism may be points or lines, or sometimes both overlapped. Performers assemble, as much as they can, the overlapped figures and construct a whole new figure.

Sky Prism was composed in 1972 and premiered in December of the same year by Isako Shinozaki.
This recording is performed by Yasutaka Henmi who played this piece for the second time after 39 years.
posted by Katsuhiro Tsubonou at 00:00| Compose

2011年02月27日

Clear Light of Tibet

This is the first piece of Clear Light of Tibet, a three-part composition written for female chorus. The second piece of the work is called Poem of Mist, and third Dreamy Function.
The text is taken from Bardo Thodol (Tibetan book of the dead) and features names of goddesses around the theme mantra “Om mani Pedme Hum”.
The first piece is written with mensural notation with as many as 16 voice parts. The second and third pieces of the work are written in graphic notation and as a theatrical piece.
The text is taken from the esoteric Buddhism. It is not my intention, however, to praise one form of religion, but to pay homage to the great nature we are all part of.

Clear Light of Tibet was composed in 1993 and premiered in October of the same year by Tokyo Ladies Singers conducted by Nisei Maeda.
The work was commissioned by Nisei Maeda and Tokyo Ladies Singers.
posted by Katsuhiro Tsubonou at 00:00| Compose

2011年02月26日

Duo for guitars

Second piece in this recording is a work for guitar duet, which was inspired by meeting two young guitarists. I wrote two trial pieces before this, which makes it my third attempt in the process that took me more than a year as a whole.
The piece is constructed upon “call & response” structure throughout. Sometimes passionate and sometimes gentle, the music is supposed to responds to whatever subject is at hand. When the guitars clash, they squeak and give birth to a different tune. All notes are finger picked except the beginning and end where bottlenecks are used. Here, both the performers and guitars coped well to this harsh style of playing.

Dou for guitars was composed from 2009 to February 2011
posted by Katsuhiro Tsubonou at 00:00| Compose

2011年02月25日

Celestial - Vib

The conceptual image for this piece is “wavering of sounds resonating in the skies.” The piece elaborately brings out various timbres of the vibraphone which are produced with mallets wrapped in floss silk or leather, chopsticks, suction mallets, and cluster mallets (which look like brooms) besides the conventional ones.
It was not my intention to be eccentric, but rather to bring out sounds that could only be produced by, for example, mallets with floss silk, a sound which comes out from the depth of the metal keyboard, or by suction mallets, a particular resonance arising from the attack on and departure of mallets from the keyboard. It is all of these hidden sounds and tunes which have inspired me to create this work.

The piece starts out in fluffy overtones. The notes are struck by mallets not only from above, but sometimes sideways or from the other side, so the entirety of the physical keyboard is exploited. It also ends as if notes are absorbed into the natural overtones.

Written for vibraphonist Takafumi Fujimoto, this would be the first recording for this piece.
Celestial was composed in May 2007.
posted by Katsuhiro Tsubonou at 00:00| Compose