Category Archives: Mixed Music

Choral Suite for Mixed Voices, 2 Pianos, Percussion and electronics “Soil and Fire”

https://www.tajimichoirjapan.com/en/infomation

TAJIMI CHOIR JAPAN 49th “Earth and Fire” Subscription Concert
event date
January 29, 2023 (Sunday) 6:00 p.m. start (5:30 p.m. open)

location
Great Hall, Valor Culture Hall

Choral Suite for Mixed Choir, 2 Pianos and Percussion 《Earth and Fire》
Lyric: Yoshihiro Ito
Composition: Keita Matsumiya

Appearance
Conductor / Yoko Tsuge
Chorus / TAJIMI CHOIR JAPAN Tajimi Boys and Girls Choir and Senior Core
Piano / Atsushi Kitazumi, Tomoya Furuta
Percussion / Yumi Mizuma
Electronic Sound / Keita Matsumiya

https://www.tajimi-bunka.or.jp/bunka/event20230129.html

Samidare

Composers exhibition 2021

Date: November 6th (Sat) 16:30 start (15:30 open)
Place: Oita Prefectural College of Arts and Culture Music Hall
Reservation / Inquiries: Music Department Assistant Room 097-545-8758

program
«Leucojum» For flute, cello, piano and percussion (2021)
Composer: Ichika Haseba
Flute: Yoto Sakuma Cello: Miyu Okada Percussion: Yamato Tajima Piano: Hiromi Kise

«Goose» For Piano (2021)
Composer: Miyu Okada
Piano: Mori Urara

«Nyon-nyo» for flute, oboe, bassoon, trombone, contrabass (2020)
Composer: Miyu Okada
Flute: Ayuna Nishioka Oboe: Erika Tanaka Bassoon: Nozomi Kawabata Trombone: Remi Takahashi Contrabass: Sayo Yoshihara

«Presto» for Piano (2013)
Composer: Takashi Haga
Piano: Yui Fushiki

«TOYO» For flute, bassoon, piano (2010)
Composer: Hirohiko Tamura
Flute: Asuka Matsui Bassoon: Kana Fujita Piano: Kiyoka Kazama

«Samidare» for snare drums and electronic sound (2021)
Composition / Electronic Sound: Keita Matsumiya
Snare drum: Ryuji Kaku

la glace s’étoile, s’enchaîne

pour flûte et électronique (2016)

Premier: 19:00 2016 February 5th
Musician: Takahiro Uchiyama (Flute)

Place: France-Japan International Colloquium, Salon Vinteuil @CNSMDP, Paris

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)

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

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

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”.