Happy new year 2017

Happy New Year ! Best wishes for 2017 !

Concert info for January 6 in Tokyo.

HIFUMI for mezzo soprano and piano (2016)

Premier : Recital of Marie Kobayashi

Dates and time: Friday January 6, 2017 at 7 pm
Address of the venue: Ongaku No Tomo Hall (2 minutes walk from the Kagurazaka station of Tokyo Metro)

Program :
1st stage : Path to contemporary music
Gustav Mahler : Des Knaben Wunderhorn (excerpt)
Alban Berg : 4 Lieder, Op. 2

Scene 2 : Song of Minao Shibata
Minao Shibata : La bonne chanson

3rd stage : from the contemporary to the future
John Cage : The Wonderful Widow Of 18 Springs
Charles Ives : Song
Olivier Messiaen : Harawi (excerpt)
Philippe Leroux : Ma belle si tu voulais
Isabelle Aboulker : Les mots et les notes
Keita Matsumiya : HIFUMI

Musicians :
Marie Kobayashi (Mezzo Soprano), Fuminori Tanada (Piano)

Organization : Executive Committee of the Recital for the 100th Anniversary of Minao Shibata
Sponsorship : Shinjuku Town, AFJMC, The Federation of Woman Composers in Japan
Support: Nomura Foundation


Outre regards

November 18, 8 pm at the Lutheran Church of the Ascension

47 rue Dulong, 75017 Paris
Price: 8/10 euros – Booking by mail: ensemble.regards@gmail.com

Faced with the impression of fragmentation of our world, the production of artists today testifies to a word of which we feel an inner strife: the interrogation of one’s own identity, the search for new means of expression, the importance of Art as a social bond. Would it then be a turning point that would allow the conditions for the emergence of new forms of syncretism and hybridization? In the concert we called Outre-Regards, we tried to give some insight into some of the possible forms of hybridization. Looks, those of composers, are posed on the “hybrid”, both technologically and aesthetically.

Reservation of place ››

Programme :
Juan ARROYO, Saynatasqa, for hybrid cello  (10 minutes)
– Juan ARROYO, SOQOS (premier), for hybrid guitar (22 minutes)
Luis VELASCO ­PUFLEAU, Utopia (premier), for hybrid guitar  (10 minutes)
Carlos de CASTELLARNAU, Polyptyque (premier), for hybrid duo -hybrid guitar and hybrid cello. (7 minutes)
Keita MATSUMIYA, Déviation I (premier), for cello and guitar (20 minutes)

Duration : 1 hour 10 without intermission

Jeanne Maisonhaute, cello, hybrid-cello

Jeanne Maisonhaute

Jeanne Maisonhaute received her first cello lessons at the age of six at the Rueil-Malmaison National Conservatory in Elisabeth Ley-Chenivesse class, and continued her studies with Philippe Bary at the “Paul Dukas” Conservatory in Paris. In 2000, she received the Gold Medal of the City of Paris. After a decisive encounter with Marie Hallynck, she went to study in her class at the Royal Conservatory of Brussels and in June 2005 obtained her diploma with the Greater Distinction. Admitted to the class of Raphaël Wallfisch at the Hoschchule Musik und Theater in Zürich, she graduated there in June 2007.

In 1999, she was awarded the 1st Prize of the “Kingdom of Music of Radio France” competition, in 2000 the 1st Prize of the International Competition of Woluwe St-Pierre, in 2005 the Fely Wasel Prize at the Royal Conservatory of Brussels, and in 2006 the Prize “Most Promizing Participant” at the International Cello Competition Aram Katchaturian (Armenia). She is the winner of the Belgian Foundation For Young Soloists in Belgium. In 2008, she joined the Ensemble Musiques Nouvelles and in 2010, she joined the Tana quartet to devote herself fully to it.

During many master classes she received the advice of Edmond Baert, Boris Baraz, Wolfgang Boettcher, Lluis Claret, Frans Helmerson, Oleg Kogan, Philippe Muller, Martti Roussi, Jiang Wang and Tsuyoshi Tsutsumi. In chamber music, she has worked with André Siwy, Thomas Kakuska, Xavier Gagnepain, Olga Sitkovetsky, the Artemis Quartet … In recent years, she has been invited to perform live in Italy, Switzerland, France and Belgium.

Luis Velasco Pufleau, guitar, hybrid-guitar

Luis_Velasco-PufleauGuitarist, composer and musicologist, Luis Velasco Pufleau studied guitar, improvisation, contemporary chamber music and electroacoustic composition at the conservatories of Bordeaux, Agen and Paris XVI. Doctor of music and musicology at the University Paris-Sorbonne, he pursued the doctoral program in Music Interpretation (guitar) at the National Autonomous University of Mexico (UNAM).
His works and his research explore the relationship between music and politics, how sounds exist in the world and transform it, notably through mixed works. A former post-doctoral researcher at the Ecole des Hautes Etudes en Sciences Sociales (EHESS, Paris), he is currently a researcher at the University of Salzburg.
As a guitarist, he has worked with such composers as Leo Brouwer, Félix Ibarrondo, Jean-Yves Bosseur, Benoît Albert, Eduardo Garrido and Juan Arroyo. Passionate about improvisation and contemporary music, he developed his own language as a composer, improviser and performer.

Website of Ensemble Regard : ensembleregards.com

Financial Support for the project : SACEM


Festival Ars Musica 2016

Concert information. World premier of my piece « Impromptu » for soprano saxophone by Carl-Emmanuel Fisbach at the Festival Ars Musica 2016 in Brussels November 12.


Toshiro Mayuzumi : Bunraku for cello
Kenji Sakai : Initial S for alto saxophone
Akira Nishimura : GakaIV Heterophony for violin and cello
Keita Matsumiya : Impromptu for soprano saxophone (world premier)
Ryohei Hirose : Hymn for flute

Ensemble Musica Universalis
Carl-Emmanuel Fisbach, saxophone
Matthew Lejeune, cello
Mihi Kim, flute

Kanako Abe

Dates and time
Saturday, November 12 at 16:00 – 18:00

10€ / 8€. Pass conference + concert: 12 €

Event location
LE SENGHOR, 366, chaussée de Wavre 1040 Etterbeek

Le Senghor & Ars Musica

Information : Ars Musica 2016

Analysis and conference Vol.3 – Keita Matsumiya @ AFJMC, Tokyo

Ad for a conference organized by the Franco-Japanese Association of contemporary music !

Opening ceremony of Charity concert for Japan in Unesco, April 2011

Date and time
September 4 Sunday 17:00-20:00

STUDIO1619 Green Studio (a minute walk from Shinsakuradai on Seibu Yurakucho-Line)
1-27-1 Sakuradai, Nerima 176-0002, Tokyo

Keita Matsumiya


  • Bells sound representation in writing for keyboards of French music
  • Analysis of Tristan Murail’s work , Pour adoucir le cours du temps
  • Presentation of recent works by Keita Matsumiya

¥ 2000 Booking (without reservation ¥ 2.500) (Place 30 people)

Office AFJMC
+81 80 22 57 75 95
mail: nichifutsugenon@yahoo.co.jp

Casa de Velázquez

Composer in residence at the Casa de Velázquez !!! I’m selected to the member of France Academy in Madrid for 2016-2017 !

And also, I got the prix of analysis at the class of Claude Ledoux !!! Finally, I got out of the Conservatoire de Paris. The life of eight years … Thanks Conservatoire !!!


“Regard-Mixed” is the discovery of the world of a generation of composers that the concern of cross-cultural integration of contemporary musical legacy approaches. Between parts of Juan Arroyo, Frédéric Durieux, Keita Matsumiya and Vincent Trollet, interleave is short sketches, written by composers who have been selected by the reading committee MIXTUR Festival (Oren Boneh, Manolis Ekmektsoglou Sergio Núñez Meneses, Fernando Rosales Sandoval).

Dates and time:
Friday, April 22 at 22:00

Event location:
MIXTUR Festival – Barcelona

Address of the place of the event:
Creació Fabrica DE BARCELONA
Carrer Sant Adrià, 20
Barcelona 08030

Program :
works for tenor saxophone, accordion and quarter-tones accordion, Cello and Tana Cello:

Vincent TROLLET Noite oscura – Part I for tenor saxophone, quarter-tones accordion, cello
Fernando SANDOVAL ROSALES, B.C. for tenor saxophone, accordion, cello
Frédéric DURIEUX Ubersicht saxophone
Sergio Núñez MENESES …si j’ai des ailes pour voler for tenor saxophone quarter-tones accordion, cello
Oren BONEH, L’attente du visage for tenor saxophone, accordion, cello
Juan ARROYO Saynatasqa Tana Cello
Manolis EKMEKTSOGLOU, Little Mass No. 2 for tenor saxophone, accordion, cello
Keita MATSUMIYA Deviation II for tenor saxophone, quarter-tones accordion, cello

Ensemble Regards with:
Accordion and quarter-tone accordion | Fanny VICENS
Tenor Saxophone | Mai TOYAMA
Cello and Tana Cello | Jeanne MAISONHAUTE

Audio-Visual Board : Keita MATSUMIYA, Hiromi WATANABE

Ensemble Regards : http://ensembleregards.com
Festival MIXTUR: href=”http://mixturbcn.com/en/festival-mixtur-2016/programacion-2016/” http://mixturbcn.com/en/festival-mixtur-2016 / programacion-2016 /

International Colloquium France-Japon @CNSMDP

Concert information. French premier of my pieces « Silence, instant, récurrence » for piano and « La glace s’étoile, s’enchaine » for flute and electronics at the Paris Conservatoire Salon Vinteuil February 5, 2016. The Colloquium will be held in the morning at 10 am in the same room. Please Come to see !!!

hall : CNSMDP – Salon Vinteuil
time : February 5, 2016 at 19h

✪ Concert Friday February 5, CNSMDP, Salon Vinteuil, 19:00 ✪

Toru Takemitsu : Les yeux clos
Antoine Ouvrard, piano

Keita Matsumiya : La glace s’étoile, s’enchaine
Takahiro Uchiyama, flute

Susumu Yoshida : Kodama I
You Kyung Kim, violin

Susumu Yoshida : Kodama II
Justine Leroux, piano

Susumu Yoshida : Kodama III
Ludivine Moreau, flute

Justine Leroux, piano
Susumu Yoshida : Kodama IV
Evgeni Novikov, saxophone alto

Florent C. Darras : Chute des êtres du ciel (Première Mondiale)
Annabelle Jarre, harp

Keita Matsumiya : Silence, instant, récurrence
Josquin Otal, piano

Keita Matsumiya : « Silence, instant, récurrence » pour piano
Musician : Josquin Otal

    International Colloquium France-Japan

At the opening of the Meiji era in the late nineteenth century, the training of Japanese musicians was subjected to cultural and political constraints in Western countries. Given a choice between European education, dominated by French and German schools, or teaching influenced by the US, the Japanese musician has sometimes been formed at the peril of their own cultural identity. However, Japanese artists seem to have preserved the ontology of their music while having assimilated some features of Western cultures. Conversely, early in the twentieth century European musicians found in Japanese culture sources of inspiration that could regenerate a musical discourse that seemed to wither between dogmatic struggles and exhaustion of their society. The relationships between Japanese musicians and France in this context are the focus of these first days of studies.
A second conference will be held at the Kunitachi College of Music, on May 2017.

hall : CNSMDP – Salon Vinteuil
time : February 5, 2016 at 10h

Information: http://www.conservatoiredeparis.fr/voir-et-entendre/lagenda/tout-lagenda/article/colloque-france-japon


Concert information of Japanese premier of my piece, Deviation for baritone saxophone and guitar in Megro Persimmon Hall in Tokyo 2015 December 21th. Haruka Inoue who created this piece in France at the Concert Hyper Regards in 2015 June in Paris and the young guitarist Tsunehito Tsuchihashi will play this piece at the first concert of Camerata Stravaganza, the chamber music group of young generation. Please Come to see the program of duo pieces !

This concert is supported by the Franco-Japanese Association of Contemporary Music.
There is an interview to Takahiro Uchiyama, founder-flautist Camerata Stravaganza on the association’s website.

« KYO-EN, DUO », the first concert de CAMERATA STRAVAGANZA

Date and time: December 21, 2015 Monday 18h45-
Location: Meguro Persimmon Hall small hall
Address: 1-1-1, Yagumo, Meguro-ku, Tokyo 152-0023
Tel: 03-5701-2924
Entrance ticket: 2,000yen / 2,500yen

Camerata stravaganza / DUO
@Meguro Persimmon Hall, Tokyo

camerata stravaganza2015-1                   camerata stravaganza2015-2

Program :
André Jolivet : Extract of Sonatine
Ko Sahara : Ranma for trumpet and violin
Keita Matsumiya : Extract of Déviation for baryton saxophone and guitar
Norio Fukushi : Silica for piano and vibraphone
Luis Naón : Duel1 for clarinet and soprano saxophone
Arnold Schönberg : Phantasy op.47 for violin and piano
Einojuhani Rautavaara : Sonata for flute and guitar
André Jolivet : Heptade for trumpet and percussion
Darius Mihaud : Duo for two violins op.258

Musicians :
Flute : Takahiro Uchiyama
Clarinet : Soshi Nakadate
Saxophone : Haruka Inoue
Trumpet : Maki Tsuruta
Guitar : Tsunehito Tsuchihashi
Piano : Shun Oi
Percussion : Tomoyuki Akiu
Violin : Yuki Ishihara
Violin : Ryota Kuratomi

Support : Franco-Japanese Association of Contemporary Music

Silence, instant, recurrence

I updated my piece commissioned by Yuiko Yasuda, the pianist created this piece in Kyoto. Listen to “Silence, instant recurrence” with commentary !

“Silence, instant, recurrence” for piano is a ricercar composed under consideration of the eternal return. So, “The die is cast” or “God does not play dice”?

In Buddhist thought, it is said that the dead child before his parents will be brought to the riverbank “Sai”. “Sai” means the dice in Japanese. This child could enter the Buddha paradise after he fulfilled raising a round cairn. But the devil comes to destroy the tower each time the child will complete his work, and his efforts will not be rewarded forever. Also in Greek mythology, one is near episode. As Zeus’s eternal punishment, Sisyphus was forced to keep pushing a rock in the mountain Tartarus. When arriving to the summit, the rock falls to roll and this penance is repeated in eons.

On the other hand, in the thermodynamic point of view, a similar situation is not the same as another, even if it appears, because the universe continue to broadcast and diversify its state by the law of entropy. Furthermore, in chaos theory, a simple regularity seems sometimes very difficult to predict a result, and in quantum theory, the uncertainty principle states that the position and moment of the particles in the microscopic area cannot both be measured, exactly.