Category Archives: Formation

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)

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

para-doxa

for string ensemble (2009)
(0-0-0-0 / 0-0-0-0 / / 2-2-3-2-1)

March 27th 2009 Atelier of Composition
”para-doxa” for string ensemble

Created by Student Ensemble of Paris Conservatoire

direction: Kanako Abe

Violins : Sunmin An, Iréne Duval, Alberto Menchén-Cuenca, Cécile Tête
Violas : Natacha Dupuy-Scordamaglia, Mayeul Girard, Yuan-Jung Ngo
Cellos : Michaël Bialobroda, Noé Natorp
Contrabass : Tsui-Ju Li
Salle Fleuret au CNSMDP, paris.

dialogos

for baritone saxophone (2010)

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

Saxophone: Hélder Alves

esquisse

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)

le grain du temps


for 13 musicians (2011)
(1-1-1-1 / 1-1-1-0 / 1 perc. / 1-1-1-1-1)

Premier: July 13h 2011 at Centre Acantes, Metz Lorraine National Orchestra, dir. Jean Deroyer, Duration : 8 min.

“When I started this piece, I have researched on the combination of meters, particularly on the multi or poly meters. Influenced by Paul Creston, the American composer who wrote a book for rhythm trait, I have considered the musical gesture in this domain, mainly for the search of appropriate figures for the grand ensemble. And the other side, the notion of grain which I leaned at the electroacoustic music where we use this term to indicate the particle of sounds moving, it has affect me and I started from this sense to realize my interest for the gestural music in this partition.” *

quotes from the program note (original : french)

plat du jour

for clarinet ensemble, ensemble de clarinettes (2007)

Created by Yasuaki Itakura, l’ensemble ECLAT
Commande: Ensemble Eclat

July 21th 2007, 15:00-
@Actas Nonaka Anna Hall, Shibuya-Tokyo.

Menuet on the name of Haydn


orchestration of Ravel’s Piano work (2011)
(2-2-2-2 / 2-2-0-0 / harp / 4-3-4-2-1)

Premier: November 2011
Recording: Plateau 1, Paris Conservatoire
Musicians: Orchestra of graduate students of Paris Conservatoire