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
Entrance ticket: 2,000yen / 2,500yen
Camerata stravaganza / DUO
@Meguro Persimmon Hall, Tokyo
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
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
Organisation : CAMERATA STRAVAGANZA
Support : Franco-Japanese Association of Contemporary Music
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.
I responded to an interview of “Japanese Society for Electronic Music” about my recent activities. Maxime Desert will play my piece Caprice for viola and electronics with his instrument TANAviola (hybrid viola) at the Ars Musica 2015 in Brussels on November 10th.
I had a chance to compose a series of electroacoustic music for stage at the spectacle of “ASURA” directed by Naomi Muku in Butoh dance company, Dairakudakan at Kochu-ten. The dancers continued to develop and refine the organization of all scenes under the direction of Muku and supervising of Akaji Maro until the first performance day, and I tried to rearrange the music following the stage production, and the result has become a very satisfactory execution. Every ten days of shows are complete crowd of spectators, and I am pleased to have developed my musical ideas for stage working with such a wonderful group of dancers. Thank you!
From 2015 September 10th to 19th
Dairakudakan Kochuten “Asura” @ Kichijoji, Tokyo
Artistic Direction : Akaji Maro
Choreography, Direction and Stage Art：Naomi Muku
Cast : Naomi Muku, Azusa Fujimoto, Yang Jongye, Oran Ito, Yuna Saimon, Aya Okamoto, Yuka Mita, Sakura Kashiwamura, Mai Taniguchi
Music : Keita Matsumiya, Costume：Mika Tominaga, Stage manager：Naoya Oda, Sound：Atsushi Matsuda, Lighting：Kohei Wakaba, Photo：Kahori Kurihara, Graphic design：Takahiro Ueda
Organisation et Production：Camel Arts (Ltd), Cooperation：481engine
Extract of music.
Photo Copyright ©Kahori Kurihara
I got a mention, the third rank without the first, at the Destellos Composition Competition 2015 in the category “electroacoustic mixed” with my piece, Soliton for chamber orchestra and electronics.
This is the work which I feel inadequate at present, but I am happy to have an appreciation for this compilation of the end of study at the composition class of Paris Conservatoire and thanks a lot for the organizer Elsa Justel and for the jury Pete Stollery, Panayiotis Kokoras, Ingrid Drese, Jens Hedman and Mario Mary.
(2015 version) 10’00″
premier: 20:00- February 7th, 2015
Place: Le Studio Regards de Cygne, 210 Rue de Belleville, 75020 Paris, France.
Conductor : Julien Bénéteau
Flute : Amélie Feihl
Clarinet : Juliette Adam
Piano : Maria-Paz Santibanez
Violin : Aya Kono
Viola : Elodie GAUDET
Cello : Myrtille Hetzel
Infomation of concert : http://ensembleregards.com
Concert with the support of Aoyama Foundation
Recital of Hidetaka Nakagawa
January 17th 2015, saturday 15:00-
Place : Barocksaal, Kyoto
Bassoon : Hidetaka Nakagawa
Guitar : Gaku Yamada
Piano : Ayako Houki
Charles Koechlin : Sonate for bassoon Op.71
Tristan Murail : Transsahara Express for bassoon and piano
Naoki Sakata : ANNTENA for fagotto solo
Keita Matsumiya : Déviation for fagotto and guitar
Gérard Grisey : Anubis, Nout – contrebassoon version
Infomation of concert : http://www.barocksaal.com/concert_schedule/concert20150117.html
At the church “Eglise de la Billette” in Paris, the concert “La porte ouverte” organized by Ensemble Regards and musique et poésie, an attempt of collaborations between composers and poets had finished on September 2Oth. I had premiere of my pieces for sound installation made from voice’s materials of reading poems, and from the same source, for electroacoustic version in the concert of soirée.