J.S.Bach : French Suites No. 5 in G major, BWV 816 (1723)
Robert Schumann : Novellettes opus 8 eighth piece (1838)
Claude Debussy : L’Isle joyeuse (1904)
Keita Matsumiya : Shitatari (2019)
Atsushi Kitazumi : Piano
Keita Matsumiya : Electronic
Place : TANEKURA HOUSE
Organization : Hida City
Support : School Board of Hida City
Planning : Kanda Laboratory, Department of Sculpture, Aichi University of Prefectural Arts
Tsubasa Tanaka : Alchimie Cellulaire for Piano (2017)
Philippe Hurel : LoopsIV for marimba (2005)
Toshi Ichiyanagi : Paganini Personal Marimba and Piano (1982)
Tsubasa Tanaka : Etude in Interval Scale {5,6,7} for Marimba (2013/2019)
Keita Matsumiya : Shitatari for hybrid piano (2019) world premier
Piano Yukiko Miyazaki
Marimba Akiko Shimada
Electronic Keita Matsumiya
Organization : KitaKyusyu Music Association’s 30th Anniversary Festival
Place : Kurosaki Hibishin Hall, Kitakyusyu City
Keita Matsumiya : Shitatari for hybrid piano
This piece, created during the Kitakyushu Music Association’s 30th anniversary concert in July 2019, was produced on April 2018 with a special research fund from the Oita Prefectural College of Arts and Culture. This work is a continuous study on hybrid instruments that I have practiced from a training in composition at IRCAM and activities at the Ensemble Regards. This mixed music was produced as an orchestration of the murmurs of water, Shitatari , obtained by recording on Oka-jo Castle in Taketa City, Oita Prefecture. It is a live-electronics work which is modulated by a microphone installed in a piano by vibrating a soundboard of this piano using exciters. And also it is a work of chamber music produced by playing the piano and electronics. Through the production of the work, I tried to explore the potential of hybrid instruments, through a desire for musical expression that integrates the advantages of two different forms of writing, instruments and electroacoustics.
Keita Matsumiya : Fanfare pour le pay de fertille (2019) world premier
Johannes Brahms : Academic Festival Overture (1880)
Rentarō Taki, Arisa Kaida (orchestration) : Hana (1900/2019) world premier
Rentarō Taki, Ayaka Yanase (orchestration) : Kōjō no Tsuki (1901/2019) world premier
Akira Nakada, Yukina Ebata (orchestration) : Sōshunhu (1913/2019) world premier
Edward William Elgar : Pomp and Circumstance (1904)
Oita College of the arts and culture Orchestra, Shinji Morita (conductor), Concert for the opening of a new auditorium at Oita College of Arts and Culture, Oita
Keita Matsumiya: “Quatuor du sabre” for the Fighting Party (2019) world premier
Yoshihiko Shimizu: “Ryozen Sanchu Takai Tan” (2019) world premier
Yujin Izaino: “Ozai Square” (2019) world premier
Mamoru Fujieda: “Patterns of Plants” for the collection of early instruments No.29 (2019) world premier
Ryohei Kumamoto: “Thinking of Akeno” (2019) world premier
Kawase Mayumi Quartet
Mayumi Kawase (violin), Ryuko Kaida (Violin), Rin Imai (Viola), Tomohiro Tamura (Cello)
“Quatuor du sabres” is a string quartet produced for the Tsurasaki Hachimangu Spring Festival. In Hachimangu Shrine, built after the discovery of the sword of Usa Shrine, a treasure that had been missing for a long time, the so-called “Kenka Festival” has been held for over 360 years since its establishment, and a bear float made of logs Is decorated with treasure swords, samurai leaves, and bells that look like sacred bodies, and you can worship every year in the spring when you slam into your opponent’s floats. The drummer on the float will heat up the performance with the anger without stopping the performance even if the foundation tilts vertically due to a crash. This work was inspired by a drama performed on such a float. I tried to draw this sacred Tsurusaki festival, with stringed bows of stringed instruments that are likened to swords, by players who are paired together in different rhythms, rubbing with bamboo leaves, the sound of bells, and various sounds and sounds inspired by shouts.
Pentacle for piano (2018)
ASURA Performance Preview in Paris (from 1’45”)
ASURA, Spectacle of DAIRAKUDAKAN
From 23rd to 25th November 2017
Artistic direction: Akaji MARO
Choreography, Direction and stage art : Muku Naomi
Music: Keita Matsumiya
Saturday, 2017 September 30th
Carte Blanche at the Casa de Velázquez
12h-12h30: Presentation of the Casa de Velázquez – Academy of France in Madrid and testimonies of former residents by its director Michel Bertrand
13h30 – 15h: Lunch / meeting with the composers of Casa de Velázquez – Juan Arroyo, Lucas Fagin and Keita Matsumiya
15h – 16h: Casa de Velázquez and Spain / Casa de Velázquez and research
16h – 17h: Concert by Juan Arroyo, Lucas Fagin and Keita Matsumiya performed by the Tana Quartet
17h – 18h: Casa de Velázquez and the Academy of Fine Arts
18h – 19h: Aperitif with Juan Arroyo and Fabien Houlès, musicologist specialized in music from the 20th century to today.
20h – 21h30: meeting with Benjamin Testa – Resident Casa de Velázquez and Simon Rouby – Resident Villa Medici / The multiple possibilities of the artistic look
Congratulations and a big thanks to the Ensemble Sonido Extremo and to the super soloist Shin-ichiro Tokunaga for the premiere of my Concertino for guitar and ensemble at Museo Nacional Centro de Arte Reina Sofía. I would also like to thank all my friends of Casa de Velázquez for allowing me in the adventure of this work.
Joan Alonso, Iván Siso Calvo, Alfonso Pineda, Jesus Gomez Camazon, Javier González Pereira, Beatriz Gonzalez, Sarai Aguilera and Jordi Francés.
On 22 May, the Casa de Velázquez will present the work of its three resident composers, the Peruvian Juan ARROYO, the Argentinean Lucas FAGIN and the Japanese artist Keita MATSUMIYA at the Museo Nacional Centro de Arte Reina Sofía.
During this spring festival, the creations of the composers of Casa de Velázquez will share the program with the works of other great names in the repertoire. They will be interpreted by the Spanish ensemble Sonido Extremo.
In this way, the world premiere of works by Juan ARROYO (Saturnian Songs, 2017), Lucas FAGIN (psyche-damage, 2017) and Keita MATSUMIYA (Concertino, 2017), members of the Académie de France in Madrid Artistic work of the Casa de Velázquez.
These works, created by the three artist’s works in residence, will be accompanied by the works of Philippe HUREL (… à mesure, 1996) and Madrid’s José Manuel López López (Sonidos azules, 2015).
Interpretation: Sonido Extremo
Direction: Jordi FRANCÉS
Composers: Juan ARROYO, Lucas FAGIN, Philippe HUREL, José Manuel LÓPEZ LÓPEZ, Keita MATSUMIYA
Works by: Juan ARROYO, Lucas FAGIN, Philippe HUREL, José Manuel LÓPEZ LÓPEZ, Keita MATSUMIYA
Org. : Casa de Velázquez – Academy of France in Madrid and Casa de Velázquez – Academy of France in Madrid and Centro Nacional de Difusión Musical (CNDM)
CONTACT
+34 914 551 580
ADDRESS
52 Calle de Santa Isabel 28012 Madrid Spain
Note: MUSEO NACIONAL CENTRO OF ARTE REINA SOFÍA AUDITORIO 400 MADRID
HOURS
On 22 May 2017, at 19:30
https://www.casadevelazquez.org/en/home/news/compositeurs-de-la-casa-de-velazquez-2016-2017/
World premier of my music for stage « KARURA », for electroacoustic music, dance and light at the Festival Dance Box 2017 in Paris, March 31st! With the collaboration of dancers, Mai Ishiwata, Azusa Takeuchi and technics of Hiromi Watanabe and Margaret Olliveaux! Come and see!!!
It is a musical stage piece of an episode in the life of the god Garuda, a man-bird creature making its appearance in the Hindu epic Mahabharata. Many events in mythology, such as the conflict between the Vinata and Kadru, and Vishnu’s involvement with Garuda, are represented through the dance of Mai Ishikawa and Azusa Takeuchi on the electronic music of Keita Matsumiya.
Music and concept: Keita Matsumiya
Dance: Mai Ishikawa and Azusa Takeuchi
Technic: Hiromi Watanabe
Light : Margaret Olliveaux
Production: Ensemble Regards
Support : SACEM
Price: 9 €
Reservations: +33 1 44 76 06 06 / resa@tenri-paris.com
Mandatory reservation
Location: Espace Culturelle Bertin Poirée
Address: 8-12, rue Bertin Poirée 75001 Paris
Subway: Châtelet, Pont-Neuf
Phone: 01 44 76 06 06
E-mail: bertin.poiree@tenri-paris.com
Info : http://www.tenri-paris.com/j/art/festival.html
Concert information. French premier of my piece « HIFUMI » for mezzo soprano and piano by Marie Kobayashi and Fuminori Tanada in Paris in March 11th!
Du passé vers le future@Auditorium du Conservatoire municipal du 5e arrondissement à Paris
le 11 mars 2017 19:30-
Keita Matsumiya HIFUMI pour mezzo soprano et piano (création française)
Marie Kobayashi (mezzo soprano)
Fuminori Tanada (piano)
Happy New Year ! Best wishes for 2017 !
Concert info for January 6 in Tokyo.
HIFUMI 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
47 rue Dulong, 75017 Paris
Price: 8/10 euros – Booking by mail: ensemble.regards@gmail.com
Faced with the impression of fragmentation of our world, the production of artists today testifies to a word of which we feel an inner strife: the interrogation of one’s own identity, the search for new means of expression, the importance of Art as a social bond. Would it then be a turning point that would allow the conditions for the emergence of new forms of syncretism and hybridization? In the concert we called Outre-Regards, we tried to give some insight into some of the possible forms of hybridization. Looks, those of composers, are posed on the “hybrid”, both technologically and aesthetically.
Programme :
– Juan ARROYO, Saynatasqa, for hybrid cello (10 minutes)
– Juan ARROYO, SOQOS (premier), for hybrid guitar (22 minutes)
– Luis VELASCO PUFLEAU, Utopia (premier), for hybrid guitar (10 minutes)
– Carlos de CASTELLARNAU, Polyptyque (premier), for hybrid duo -hybrid guitar and hybrid cello. (7 minutes)
– Keita MATSUMIYA, Déviation I (premier), for cello and guitar (20 minutes)
Duration : 1 hour 10 without intermission
Jeanne Maisonhaute, cello, hybrid-cello
Jeanne Maisonhaute received her first cello lessons at the age of six at the Rueil-Malmaison National Conservatory in Elisabeth Ley-Chenivesse class, and continued her studies with Philippe Bary at the “Paul Dukas” Conservatory in Paris. In 2000, she received the Gold Medal of the City of Paris. After a decisive encounter with Marie Hallynck, she went to study in her class at the Royal Conservatory of Brussels and in June 2005 obtained her diploma with the Greater Distinction. Admitted to the class of Raphaël Wallfisch at the Hoschchule Musik und Theater in Zürich, she graduated there in June 2007.
In 1999, she was awarded the 1st Prize of the “Kingdom of Music of Radio France” competition, in 2000 the 1st Prize of the International Competition of Woluwe St-Pierre, in 2005 the Fely Wasel Prize at the Royal Conservatory of Brussels, and in 2006 the Prize “Most Promizing Participant” at the International Cello Competition Aram Katchaturian (Armenia). She is the winner of the Belgian Foundation For Young Soloists in Belgium. In 2008, she joined the Ensemble Musiques Nouvelles and in 2010, she joined the Tana quartet to devote herself fully to it.
During many master classes she received the advice of Edmond Baert, Boris Baraz, Wolfgang Boettcher, Lluis Claret, Frans Helmerson, Oleg Kogan, Philippe Muller, Martti Roussi, Jiang Wang and Tsuyoshi Tsutsumi. In chamber music, she has worked with André Siwy, Thomas Kakuska, Xavier Gagnepain, Olga Sitkovetsky, the Artemis Quartet … In recent years, she has been invited to perform live in Italy, Switzerland, France and Belgium.
Luis Velasco Pufleau, guitar, hybrid-guitar
Guitarist, composer and musicologist, Luis Velasco Pufleau studied guitar, improvisation, contemporary chamber music and electroacoustic composition at the conservatories of Bordeaux, Agen and Paris XVI. Doctor of music and musicology at the University Paris-Sorbonne, he pursued the doctoral program in Music Interpretation (guitar) at the National Autonomous University of Mexico (UNAM).
His works and his research explore the relationship between music and politics, how sounds exist in the world and transform it, notably through mixed works. A former post-doctoral researcher at the Ecole des Hautes Etudes en Sciences Sociales (EHESS, Paris), he is currently a researcher at the University of Salzburg.
As a guitarist, he has worked with such composers as Leo Brouwer, Félix Ibarrondo, Jean-Yves Bosseur, Benoît Albert, Eduardo Garrido and Juan Arroyo. Passionate about improvisation and contemporary music, he developed his own language as a composer, improviser and performer.
Website of Ensemble Regard : ensembleregards.com
Financial Support for the project : SACEM
Concert information. World premier of my piece « Impromptu » for soprano saxophone by Carl-Emmanuel Fisbach at the Festival Ars Musica 2016 in Brussels November 12.
THE LAND OF THE RISING SOUND
MUSIC CONFERENCE ON JAPANESE MUSIC TODAY
Program
Toshiro Mayuzumi : Bunraku for cello
Kenji Sakai : Initial S for alto saxophone
Akira Nishimura : GakaIV Heterophony for violin and cello
Keita Matsumiya : Impromptu for soprano saxophone (world premier)
Ryohei Hirose : Hymn for flute
Musicians
Ensemble Musica Universalis
Carl-Emmanuel Fisbach, saxophone
Matthew Lejeune, cello
Mihi Kim, flute
Lecture
Kanako Abe
Dates and time
Saturday, November 12 at 16:00 – 18:00
Price
10€ / 8€. Pass conference + concert: 12 €
Event location
LE SENGHOR, 366, chaussée de Wavre 1040 Etterbeek
Co-production
Le Senghor & Ars Musica
Information : Ars Musica 2016
Ad for a conference organized by the Franco-Japanese Association of contemporary music !
Date and time
September 4 Sunday 17:00-20:00
Location
STUDIO1619 Green Studio (a minute walk from Shinsakuradai on Seibu Yurakucho-Line)
1-27-1 Sakuradai, Nerima 176-0002, Tokyo
Conférencier
Keita Matsumiya
Course
Price
¥ 2000 Booking (without reservation ¥ 2.500) (Place 30 people)
Information
Office AFJMC
+81 80 22 57 75 95
mail: nichifutsugenon@yahoo.co.jp
http://afjmc.org
Composer in residence at the Casa de Velázquez !!! I’m selected to the member of France Academy in Madrid for 2016-2017 !
And also, I got the prix of analysis at the class of Claude Ledoux !!! Finally, I got out of the Conservatoire de Paris. The life of eight years … Thanks Conservatoire !!!
“Regard-Mixed” is the discovery of the world of a generation of composers that the concern of cross-cultural integration of contemporary musical legacy approaches. Between parts of Juan Arroyo, Frédéric Durieux, Keita Matsumiya and Vincent Trollet, interleave is short sketches, written by composers who have been selected by the reading committee MIXTUR Festival (Oren Boneh, Manolis Ekmektsoglou Sergio Núñez Meneses, Fernando Rosales Sandoval).
Dates and time:
Friday, April 22 at 22:00
Event location:
MIXTUR Festival – Barcelona
Address of the place of the event:
I FABRA COATS
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
musicians:
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 : http://ensembleregards.com
Festival MIXTUR: href=”http://mixturbcn.com/en/festival-mixtur-2016/programacion-2016/” http://mixturbcn.com/en/festival-mixtur-2016 / programacion-2016 /
Concert information. French premier of my pieces « Silence, instant, récurrence » for piano and « La glace s’étoile, s’enchaine » for flute and electronics at the Paris Conservatoire Salon Vinteuil February 5, 2016. The Colloquium will be held in the morning at 10 am in the same room. Please Come to see !!!
hall : CNSMDP – Salon Vinteuil
time : February 5, 2016 at 19h
✪ Concert Friday February 5, CNSMDP, Salon Vinteuil, 19:00 ✪
Toru Takemitsu : Les yeux clos
Antoine Ouvrard, piano
Keita Matsumiya : La glace s’étoile, s’enchaine
Takahiro Uchiyama, flute
Susumu Yoshida : Kodama I
You Kyung Kim, violin
Susumu Yoshida : Kodama II
Justine Leroux, piano
Susumu Yoshida : Kodama III
Ludivine Moreau, flute
Justine Leroux, piano
Susumu Yoshida : Kodama IV
Evgeni Novikov, saxophone alto
Florent C. Darras : Chute des êtres du ciel (Première Mondiale)
Annabelle Jarre, harp
Keita Matsumiya : Silence, instant, récurrence
Josquin Otal, piano
Keita Matsumiya : « Silence, instant, récurrence » pour piano
Musician : Josquin Otal
At the opening of the Meiji era in the late nineteenth century, the training of Japanese musicians was subjected to cultural and political constraints in Western countries. Given a choice between European education, dominated by French and German schools, or teaching influenced by the US, the Japanese musician has sometimes been formed at the peril of their own cultural identity. However, Japanese artists seem to have preserved the ontology of their music while having assimilated some features of Western cultures. Conversely, early in the twentieth century European musicians found in Japanese culture sources of inspiration that could regenerate a musical discourse that seemed to wither between dogmatic struggles and exhaustion of their society. The relationships between Japanese musicians and France in this context are the focus of these first days of studies.
A second conference will be held at the Kunitachi College of Music, on May 2017.
hall : CNSMDP – Salon Vinteuil
time : February 5, 2016 at 10h
Information: http://www.conservatoiredeparis.fr/voir-et-entendre/lagenda/tout-lagenda/article/colloque-france-japon
Concert information of Japanese premier of my piece, Deviation for baritone saxophone and guitar in Megro Persimmon Hall in Tokyo 2015 December 21th. Haruka Inoue who created this piece in France at the Concert Hyper Regards in 2015 June in Paris and the young guitarist Tsunehito Tsuchihashi will play this piece at the first concert of Camerata Stravaganza, the chamber music group of young generation. Please Come to see the program of duo pieces !
This concert is supported by the Franco-Japanese Association of Contemporary Music.
There is an interview to Takahiro Uchiyama, founder-flautist Camerata Stravaganza on the association’s website.
« KYO-EN, DUO », the first concert de CAMERATA STRAVAGANZA
Date and time: December 21, 2015 Monday 18h45-
Location: Meguro Persimmon Hall small hall
Address: 1-1-1, Yagumo, Meguro-ku, Tokyo 152-0023
Tel: 03-5701-2924
Entrance ticket: 2,000yen / 2,500yen
Camerata stravaganza / DUO
@Meguro Persimmon Hall, Tokyo
Program :
André Jolivet : Extract of Sonatine
Ko Sahara : Ranma for trumpet and violin
Keita Matsumiya : Extract of Déviation for baryton saxophone and guitar
Norio Fukushi : Silica for piano and vibraphone
Luis Naón : Duel1 for clarinet and soprano saxophone
Arnold Schönberg : Phantasy op.47 for violin and piano
Einojuhani Rautavaara : Sonata for flute and guitar
André Jolivet : Heptade for trumpet and percussion
Darius Mihaud : Duo for two violins op.258
Musicians :
Flute : Takahiro Uchiyama
Clarinet : Soshi Nakadate
Saxophone : Haruka Inoue
Trumpet : Maki Tsuruta
Guitar : Tsunehito Tsuchihashi
Piano : Shun Oi
Percussion : Tomoyuki Akiu
Violin : Yuki Ishihara
Violin : Ryota Kuratomi
Organisation : CAMERATA STRAVAGANZA
Support : Franco-Japanese Association of Contemporary Music
I updated my piece commissioned by Yuiko Yasuda, the pianist created this piece in Kyoto. Listen to “Silence, instant recurrence” with commentary !
“Silence, instant, recurrence” for piano is a 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.
