Caprice

for viola and electronics (2012)

World Premier at the Atelier concert of Cursus 1 IRCAM : Noémie Bialobroda (viola) Keita Matsumiya (electronic) Mikhail Malt (technic assistant)

When I write a piece for solo instrument or small size of chamber music, I always start by looking for the “nature” of each instrument. Reading of the treaties of instrumentation, reading scores, and exchanges with musicians involved in the construction of my work. What inspired me this time is the 24 Caprices of Paganini. As Brahms and Schumann, I am interested in his musical figures, body gestures of the musician and his instrument research. In relation to music perception, the proportions of envelopes or non-linear linear existed in various musical events have been particularly involved in the development of this study. As compositional technics, OpenMusic allowed me to generate certain proportions of envelope curve of three dimensions. This visualization has allowed me to create musical figures in the score and the electronics in real time and offline.


logo-ars-musica-2015

adaptation for hybride viola (2015)

Adaptation premier for hybride viola and Belgian premier at the Ars Musica 2015 : Maxime Dessert (viola) Keita Matsumiya (electronic) Hiromi Watanabe (technic assistant)

Program :
Penderecki : Cadenza
Elliott Carter : Fragment 4
C.Thoulen : ἐπαıνέω (épaïnéô), (world premier)
Philippe Hersant : La Pavane
G.Ligeti : Hora Lungà, premier mouvement la sonate
Keita Matsumiya : Caprice (adapation for hybrid viola and premier in Belgian)

ASURA – Dairakudakan

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

Destellos Competition 2015

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.

Soliton1

Soliton2

musicology-interview-02-02

Chaconne

Orchestration of Vitali’s piece

Premier : January 28th, 2015 15:00 at the Auditorium Descartes – Festival “la Folle Journée” in Nantes
Violin : Virgil Boutellis
Orchestra : le Sinfonia Varsovia
Conductor : Maxim Emelyanychev

folle-journee-de-nantes-2015-3h07

La ros(é)e des vents for flute, clarinet, percussion, piano and string trio

affiche regards CONCERT n°1(2015 version) 10’00″

premier: 20:00- February 7th, 2015
Place: Le Studio Regards de Cygne, 210 Rue de Belleville, 75020 Paris, France.

Ensemble Regards
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

Déviation for bassoon and guitar

flyer_150117Concert with the support of Aoyama Foundation
Recital of Hidetaka Nakagawa

January 17th 2015, saturday 15:00-
Place : Barocksaal, Kyoto

Musicians :

Bassoon : Hidetaka Nakagawa
Guitar : Gaku Yamada
Piano : Ayako Houki

Program :

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

Déviation

5 pieces for bassoon and guitar (2014) 17’30”

1. Prélude – Modéré 3’40”
2. Gavotte – Assez vif 1’50”
3. Menuet – Assez animé 3’20”
4. Interlude – Assez expressif 3’30”
5. Techno – Vif 5’10”

Premier : Recital of Hidetaka Nakagawa, January 17th, 2015 15:00 @Barocksaal, Aoyama Memorial Hall, Kyoto

Bassoon : Hidetaka Nakagawa
Guitar : Gaku Yamada

Les flots s’élèvent


La porte ouverte

création musicale et poétique

Samedi 20 septembre, Eglise des Billettes

Concert à 18h30, dans l’église

Installation sonore de Keita Matsumiya, Les flots s’élèvent en collaboration avec Hiromi Watanabe dans le cloître à partir de 11h

Entrée libre (participation aux frais)

dans le cadre des Journées européennes du patrimoine

Eglise des Billettes, 24 rue des Archives 75004 Paris

Accès : M1, M11 Hôtel de Ville / Bus 75

Quatre créations musique et poésie, fruit de collaborations entre compositeurs et poètes.

Vincent Trollet / Gabrielle Althen : Revival (soprano, clarinette et violoncelle)

Carlos de Castellarnau / Etel Adnan : Tamalpais (soprano, clarinette et violoncelle et électronique)

Grégoire Lorieux /Lionel Jung-Allégret : L’autre côté du ciel (quatuor vocal et électronique)

Keita Matsumiya : Les flots s’élèvent (électroacoustique)

improvisations avec Irène Lecoq, violon et le poète Zéno Bianu.

avec les instrumentistes et chanteurs de l’Ensemble Regards

direction : Julien Bénéteau

Un projet de l’association Musique et Poésie

une coproduction Musique et Poésie et Ensemble Regards

Ce projet reçoit le soutien de l’Eglise des Billettes

Carlos de Castellarnau reçoit le soutien du Gouvernement de Catalogne

13566bf1-de1e-473d-b37b-e2bcb4c961f0

La porte ouverte

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.

TM-20092014-DSC_3333-0096

InstallationKeita20140915

TM-20092014-DSC_0933-0200

Montage-Eglise

10351330_543470932464081_6002993352440520480_n

1395377_543471422464032_9103971206574498299_n

Photon Emission

for tenor saxophone and electronics (2013)

Program
Masakazu Natsuda :Danse sacrée et danse profane au pays d’Extrême-Orient(Japanese premier, adaptation for electronics)
Keita Matsumiya:Photon Emission for alto saxophone and electronics (World premier)
Hiromi Watanabe + Hiroe Yashui:Improvisation with live electronics
Juan Arroyo : Sikuri I for tenor saxophone and electronics (Japanese premier)
Pierre Jodlowski:Mixion for tenor saxophone and electronics

Presentation and interpretation
Hiroe Yasui : Saxophone
Hiromi Watanabe : Réalisatrice en informatique musicale
Keita Matsumiya : Composer

Organization:Tokyo Metropolitan Foundation for History and Culture
Support:Goethe-Institut Tokyo, Instytut Polski w Tokio, Association franco-japonaise de la Musique Contemporaine
Sponsership:Mécénat Musical Société Générale

Info:http://www.tokyo-ws.org/english/archive/2013/10/hiroe-yasui-keita-matsumiya-hiromi-watanabe-spatiotemporal-expression-by-saxophone-and-electronics.shtml

Silence, instant, recurrence

for piano (2013)

Premier : 2013 September 23th, Yuiko Yasuda’s Piano Recital
@Aoyama Music Memorial Hall, Kyoto

“Silence, instant, recurrence” for piano is a piece of 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.

Soliton

for chamber orchestra and electronics (2013)
(1(picc)-1(ca)-1(bcl)-1(cb) / 1-1-1-0 / 2 percussions-piano-harp-MIDI keyboad / 2-2-2-2-1)

Premier : October 18th, 2013, 19:00-, Concert of Composition Classe for Prix
@Paris National Conservatory Salle D’art lyrique, 19, Paris

Conductor : Jean-Philippe Wurtz
Orchestra of Paris Conservatory

* Mentioned at Destellos Composition Competition 2015

La rosée des vents

for flute, clarinet, piano, percussion, piano and string trio (2015 version) 10’00”
(1-0-1-0 / 0-0-0-0 / 1 piano, 1 perc. / 1-1-1-0-0)

premier: 20:00- February 7th, 2015
Place: Le Studio Regards de Cygne, 210 Rue de Belleville, 75020 Paris, France.

Ensemble Regards
Conductor : Julien Béneteau
Flute : Amélie Feihl
Clarinet : Juliette Adam
Piano : Maria-Paz Santibanez
Violin : Aya Kono
Viola : Elodie GAUDET
Cello : Myrtille Hetzel


for flute, oboe, percussion and string trio (2012 version) 9’00
(1-1-0-0 / 0-0-0-0 / 1 perc. / 1-1-1-0-0)

premier: 20:00- february 7, 2015

Place: Le Studio Regards de Cygne, 210 Rue de Belleville, 75020 Paris, France.

premier: 20:00- september 27, 2012

Place: KULTUR- UND VERANSTALTUNGSZENTRUM KIWI, Dörferstr. 57, 6067 Absam, in Schwaz Austria.

musicians: Ensemble TIMF

Commission: Klangspuren Festival, Unsuk Chin, Ensemble TIMF

.. ” When I see phenomena of nature as like the crack of a glass or as like a flying ball, it begins my reflection on artistic dynamics. “. A composer, the fascination for the moment of nature, and energies of temporal processes. Keita Matsumiya – born in 1980 in Kyoto – lives and works in Paris, where he currently studies composition and conducting at the Conservatore de Paris. ” My inspiration often arises from communications with musicians with whom I work, and I would always do discussions as long as possible in order to enrich my understanding about each instrument’s nature and to observe the various gestures of musicians. This interest and the way of working would be also related with my concerns to the dynamism of the moment in nature. ”
Before Keita Matsumiya decided to become a composer, he had studied musicology and also dealt sound installations and projects with dancers and actors in Japan. In 2008 he went to Paris to study composition and electronic music mainly with Gerard Pesson and Frederic Durieux. He has obtained several scholarships and awards in France and Japan. His pieces are played at international festivals – both in Asia and in Europe. On the piece “La rose(é) des vents” for flute, oboe, percussion and string trio, Keita Matsumiya says:
.. We can only perceive limited amount of time. Our perceptions towards the moment in blinking eyes are so limited as to the lifetime of a planet. The drop running on the surface of a leaf, for example, our eyes cannot properly catch up with its transition, in such an instant. In other words, we can’t do well as a high speed camera. So I imagine, a drop starts to line on the veins from the point of falling: how it reflects its surroundings in flying splashes, how it traces the shape of veins in the wind, how it varies its transition by the volume of dew, by the power of falling on the leaf, and etc. After its falling out of routes, everything will go back in order, just remaining slight tremors of the leaf. In this piece, I’ve tried to picture such lives in an instant of single blink as a space of perceivable time, and I hope it would be created by musicians.”

*quotes from the program note originally written in German

Hommage à D’Anglebert

for harpsichord and electronics (2011)

Created by Bruno Martin at the Salle Fleuret Hall, in Conservatoire de Paris, Paris March 2011
Duration: 7 min.

” When I started this piece, I reflected on the different points of view from which may have addressed the composition for the harpsichord today.
First of all, I found it impossible to make sustained sound because of the nature of the instrument. This restriction sparked my interest in research around the ornamentation in the classics.
I am particularly interested in the work of Jean-Henry D’Anglebert, harpsichordist and composer of the early Baroque period, which has categorized many figurations and ornaments that he later included in his scores.
In a second time my interest has focused on temperament. The superposition of two temperaments, the Meantone and Kirnberger III, led me to develop a new scale microintervalles. Electroacoustic part consists mainly in the transcript of the characteristics of this instrument.
Patches and salaries in the software Max/MSP allows me to achieve agreements re-synthesized, that is to say, to set up an extended sound, imitating the rhythmic figure of the instrumental part. The accumulation intervals of the harpsichord is reinforced by the dynamics of electronics. In this piece the interaction is based on a combination of actions of the player with those of electronics. ”

* quotes from the program note (original : french)

* This piece is brordcasted on “france musique”.

IROHA

for soprano and 13 strings koto (2011)

Created by Mao Morita (Soprano) Fumie Hihara (Koto) Salle d’Art Lyrique, CNSMDP, Paris 2011.

In this piece, written around April 2011 for the final concert of the vocal class of Conservatoire de Paris, I’ve used one traditional poem “Iroha-uta”. This poem contains each character of the Japanese syllabary exactly once, but there are at least two way of pronunciation, mainly because of the sound change in the distance of history.

I used this sort of today’s and the past’s difference as the effects of sound modulation or iteration of phrases, and for developing this musicale intention, I’ve also reached to other ways of pronunciation, like as french way of “r” or the voiceless sound.

For the part of japanese traditional instrument Koto, which is the similar instrument of Gayageum, I’ve discussed with the instrumentalist and developed the way of playing as tapping the table of resonance or changing the position of strings, alongside the researchs and inspirations on the traditional gesture of playing.

quotes from the program note

(repeat performance  Soprano : Jeehyun Kim, Gayageum : Seyeon Park, Tongyeong Arts Center, Korea, March 2012)