Drawing their strength from a taste for experimentation and sharing, Omar Nicho and Iñaki Bermudez are two young musicians who are complicit and eager to discover all the riches of the combination of the guitar and the saxophone.
Their creativity will be expressed through an escape to Asia and the interpretation of works by Japanese composers of our time: Fuminori Tanada, Tōru Takemitsu and Keita Matsumiya.
This evening putting transcultural dialogue at the center of the program, they also asked Imsu Choi, young composer of South Korean origin in residence, to compose a new musical work for their duo.
Fuminori Tanada : Mysterious morning for saxophone soprano
Imsu Choi : Allure for saxophone and guitare
Tōru Takemitsu : In the woods for guitare
Keita Matsumiya : Déviation for saxophone and guitare
Tuesday, November 28, 2023 19:00 start (doors open at 18:30)
Suginami Public Hall Small Hall (get off at Ogikubo Station on JR Chuo Line )
Masayuki Nagatomi: Three essences
Emi Maeda: L’endroit et L’envers (world premiere)
Alain Gausaint: Eau-forte
Wataru Miyagawa: En Spirale (World Premiere)
Akira Tamba: Sonata for flute and piano
Yumiko Yokoi: You were not there, not there, you (Japan premiere)
Benjamin Ataire: De l’obscurité II
Keita Matsumiya: Sagittaria trifolia (world premiere)
Florent Caron-Dallas: Rives (Japan premiere)
Masakazu Natsuda: Beau soir (world premiere)
Ryo Dainobu: The Hearing Hand (World Premiere)
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)
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
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 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
MIXTUR Festival – Barcelona
Address of the place of the event:
I FABRA COATS
Creació Fabrica DE BARCELONA
Carrer Sant Adrià, 20
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
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)
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)
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
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.
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)
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)