Category Archives: Chamber Music


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


for soprano saxophone (2016)

Premier : Festival Ars Musica 2016


Price: 10€ / 8€. Pass conference + concert: 12 €
Co-production: The Senghor & Ars Musica

Musicians : Musica Universalis
Carl-Emmanuel Fisbach, saxophone
Matthew Lejeune, cello
Mihi Kim, flute
Kanako Abe, piano

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

Event location:
Festival Ars Musica – Brussel

Information : Ars Musica 2016

Déviation II

for tenor saxophone, quarter-tones accordion, cello (2016)

Premier : Festival MIXTUR 2016, Barcelona.

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

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 :
Festival MIXTUR: href=”” / programacion-2016 /


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.


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)


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

Photon Emission

for tenor saxophone and electronics (2013)

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


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.

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”.


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)

la glace s’étoile, s’enchaine

for flute and harp (2010)
Premier:13:00- September 12, 2010
Musicians: Ayako Okubo (Flute), Eri Muramatsu (Harp)
Place: Takefu International Festival of Music, Echizen-Bunka Center, Takefu

*Prized the Takefu Composition Award by juries: Toshio Hosokawa, Marc Andre, Misato Mochizuki, Hiroyuki Ito


for baritone saxophone (2010)

Premier: April 23th, 2010 “voyages à travers le son et l’image” @ phonotheca Lisboa, Lisbon

Saxophone: Hélder Alves


for oboe, viola, and Irish harpe (2005)

Premier:Septembre 16th, 2005
@ Bunka Shutter BX hall, tokyo.

Musicians: Shinjiro Kawamoto (oboe), Hironori Nakamura (viola), Keisuke Teramoto (Irish harp)