秋山邦晴 “画廊のための音楽” CD

Category : * EDITION OMEGA POINT , Obscure Tape Music of Japan(日本の電子音楽-その3)


(English is below)

高橋アキ宅で発見されたいくつかのテープと、これまで保留してきた音源をまとめてリリース。時代や内容がさまざまで、ほとんどが詳細データが不明である。とはいえ、鈴木博義の実験工房時代の、活動当時らしきライブ録音、武満徹の知られざる作品、湯浅譲二の謎の電子音楽など、興味をそそられる内容のものばかり。分析は研究者に任せることにして、光を当てるべく紹介することにした。

tr.1_秋山邦晴 画廊のための音楽 (1968?) <試聴>
テープの箱には「銀座 田島」と書かれているが、田島画廊という画廊が実在したのかも含め、不明な点が多い。内容は全編にわたってオルガンと電子的なコンクレート音の混合で、時に大音量のクラスターも現れる。箱には草月アートセンターの奥山重之助の名があり、草月が1950-60年代に関係したアンフォルメルや具体のような激しい筆致の作品展のための音楽だったかもしれない。

tr.2_武満徹 駿河台銀行のための音楽 (1971) <試聴>
駿河台銀行という銀行は実在せず、作品の意図は不明。内容は、どこかのロビーのような空間の、人々の声や物音など現実音を背景に、金属かガラス片などの変調された打撃音、小物を鳴らす連続音等が、点描的に続く。題名とは無関係にそういう環境で音楽を再生し録音したのかもしれないし、その現実音自体フェイクで、架空の銀行(?)の空間を模したテープ作品なのかもしれない。

tr.3_鈴木博義 モノクロームとポリクローム (1954)
テープには「オートスライドのための 試験飛行家W.S.氏の眼の冒険」、美術:山口勝弘、音楽:鈴木博義と書かれていた。しかし録音されていたのは鈴木の、オーケストラと当時開発された電子楽器クラヴィリオンによる《モノクロームとポリクローム》であった。初演だとすれば、1954年11月、日比谷公会堂でのもの。後年の洗練された演奏では味わえない、初期現代作品の初演に特有の荒削りな演奏は、貴重な記録である。

tr.4_武満徹 他 半常識の眼 (制作年不明) <試聴>
制作時期、テープに書かれたこの題名の意味、使われ方は不明。冒頭の2分は誰かが読み上げる下品なコメントを、変調したり速度を変えたりしてつなげた、多少違う2つのテイクがある。その後に武満のテープ音楽《クラップ・ヴォーカリズム》が続く。《クラップ・ヴォーカリズム》は久里洋二のアニメーションの初期代表作「人間動物園」で使われており、冒頭の猥雑なノリからしても、久里洋二に関係した音源だと想像される。またその中で「ラジオは危険である」という言葉があり、ラジオ番組のプログラムか。

tr.5_湯浅譲二 IBM Music (1976) <試聴>
湯浅がUCSD(カリフォルニア大学サンディエゴ校)で教鞭を執った年代、そして題名がIBMだから、そこの電子音楽スタジオのIBM製コンピュータによる作品だろうと考えたが、湯浅からは結局具体的な説明が得られなかった。UCSDにIBMコンピュータがあったかも含め、詳細は謎のまま。内容は彼の初期のコンピュータ音楽作品に共通する散文的な電子音で、UCSD時代に作曲された《マイ・ブルー・スカイ 第2番》に近い。短い3つの部分からなる。

Kuniharu Akiyama Music for Gallery CD
Edition OMEGA POINT OPA-029

Several tapes that were discovered at Aki Takahashi's house and audio sources that have been put on hold until now are being released collectively. The time periods and contents of the sounds vary, and most of the detailed data are not known. Nevertheless, the contents are all very intriguing, including live recordings by Hiroyoshi Suzuki from the days of "Jikken Kobo" (Experimental Workshop), never-before-heard works by Toru Takemitsu, and the strange electronic music of Joji Yuasa. We decided to leave the analysis to the researchers and introduce these sounds to shed light on them.

tr.1 Kuniharu Akiyama Music for Gallery (1968?) (sound file)
The box of tapes is labeled "Ginza Tajima," but there are many unknowns, including whether a gallery called Tajima Gallery even existed. The contents are a mixture of organ and electronic concrète sounds throughout, with occasional loud clusters popping up. The box has the name of Junosuke Okuyama of the Sogetsu Art Center written on it, which may indicate that the music was for an exhibition of works with intense brush strokes like those affiliated with Art Informel and Gutai, with which the Sogetsu Art Center was associated in the 1950s and 1960s.

tr.2 Toru Takemitsu Music for Surugadai Bank (1971) (sound file)
Surugadai Bank is a bank that does not actually exist in the real world, and the intent of the work is unknown. The content is a series of dotted sounds, such as modulated blows of metal or glass fragments, and continuous sounds of small objects clanging, against a background of real sounds such as people's voices and noises in a space like a lobby somewhere. Perhaps the music was played and recorded in that kind of environment unrelated to the title, or perhaps the real sounds themselves are fake, and the content of the tape is meant to imitate the space of an imaginary bank.

tr.3 Hiroyoshi Suzuki Monochrome Polychrome (1954)
The tape was labeled "The Adventures of the Eyes of Mr. W.S., Test Aviator for Auto-slide, " Art: Katsuhiro Yamaguchi, Music: Hiroyoshi Suzuki. However, what was recorded was Suzuki's "Monochrome et Polychrome" featuring an orchestra and a clavioline, an electronic instrument that was developed at the time. If it was the first performance, it was at Hibiya Public Hall in November 1954. This is a valuable record of the rugged performance that is unique to the premiere of early contemporary works, and which cannot be experienced in the refined performances of later years.

tr.4 Toru Takemitsu and others Eye of Half Common Sense (date unknown) (sound file)
The date of production, the meaning of this title written on the tape, and its intended use are unknown. The first two minutes are two somewhat different takes of a vulgar comment read out by someone, modulated and spliced at different speeds. This is followed by Takemitsu's tape music, "Clap Vocalism". "Clap Vocalism" was used in Yoji Kuri's early animation masterpiece "Ningen Dobutsuen" (Human Zoo), and from the obscene groove at the beginning of the film, one would imagine that the source of the music was in some way associated with Yoji Kuri. Also in it is the phrase "radio is dangerous," perhaps hinting that it is from a radio program.

tr.5 Joji Yuasa IBM Music (1976) (sound file)
Since the production date was around the time when Yuasa taught at UCSD (University of California San Diego) and the title was IBM, we assumed that the composition was produced on an IBM computer in the electronic music studio there, but in the end we could not obtain a clear explanation from Yuasa himself. The details, including whether there were IBM computers at UCSD, remain a mystery. The content consists of prose electronic sounds that are common to his early computer music pieces, similar to "My Blue Sky, No. 2" composed during his time at UCSD. It consists of three short parts.

型番 Edition OMEGA POINT OPA-029
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2,600円(税込)

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