一柳慧(作曲) / 河合拓始(ピアノ) 「ピアノ音楽」CD

Category : * EDITION OMEGA POINT , Experimental Music of Japan(日本の実験音楽-その1)


[English description is below.]

ジョン・ケージの思想を受け継いで作曲された一柳慧の初期代表作「ピアノ音楽」。驚くべきことにこれまで、同時演奏など特殊な方法ではなく、全曲をまとめて演奏・録音されたことがなかった。今回演奏した河合拓始は、即興演奏を長くやってきたが、近年は現代曲を弾くことが多い。彼はこの作品によって拡張されたピアノという「音響装置」に、いわゆるクラシック畑のピアニストには決してできない鋭い切り口で対峙した。この録音は、日本の実験音楽黎明期の古典の再演などではなく、時代を超えて輝きを増し続ける問題作に、新しい生命が吹き込まれた記録なのである。一柳氏本人も絶賛の快演!

tr.1_ピアノ音楽・第1: 任意の順で演奏される5つの断片からなる。唯一五線譜を部分的に使用。

tr.2_ピアノ音楽・第2: 4枚の正方形の図形楽譜で、詳細な演奏法に従い、4枚を行き来する。音域や音数は指示されるが、具体的な音高や音量は不確定で、内部奏法を含む。

tr.3-4_ピアノ音楽・第3: 言葉のインストラクションのみによる。通常奏法・内部奏法・ノイズを使用する。(tr.3=第一楽章 / tr.4=第二楽章)(sound file)
tr.5_ピアノ音楽・第4: 言葉のインストラクションのみで、「アタックなしの持続音のみによる音響」をピアノから引き出すことが求められる。(sound file)

tr.6_ピアノ音楽・第5: ピアニストのデヴィッド・チュードアのために書かれた9分間の曲で、第4とは逆に「アタックのみ」により演奏され、ピアノ以外の音響も含む。

tr.7_ピアノ音楽・第6: クラスターとグリッサンドのみにより、「できるだけ速く大音量で」、「身体的あるいは精神的に疲れ果てるまで」演奏される。テリー・ライリーのためにと献辞がある。

tr.8_ピアノ音楽・第7: 上から下に縦に読む9枚の楽譜から成る(上図)。図形により音域とタイミングと演奏法が指示されており、鍵盤以外のピアノ奏法とピアノ以外の音源の使用も求められる。(sound file)

河合拓始プロフィール
1963年神戸市生まれ。ピアニスト、即興演奏家、作曲家。京都大学卒業後、1991年東京芸術大学大学院修士課程(音楽学専攻)修了。即興音楽家としてソロやアンサンブルのほか様々なジャンルのアーティストと共働する。1998年頃から作曲も行なう。近年は現代音楽作品に再び取り組み、高橋悠治、松平頼暁、藤枝守、平石博一、ケージ、フェルドマン、シェルシなどを演奏する。2008年と2012年に欧州演奏旅行。2011年ニューヨークでのトイピアノ・フェスティバルに招聘参加。2012年1月に、長年拠点としてきた東京から福岡県糸島市に居を移し、九州一円・関西・東京で精力的にコンサートを行っている。ウェブサイト:http://www.sepia.dti.ne.jp/kawai/

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TOSHI ICHIYANAGI (composition) / TAKUJI KAWAI (piano) Music for Piano CD
Edition OMEGA POINT OPX-011

About the works and my play on this disc Takuji Kawai
It was in ca2009 that I once again started to play written new music after longtime activities as an improviser. One of the projects I had in mind then was to play 'graphic pieces', hoping to make such music alive through my experiences as an improviser. Among many pieces, Ichiyanagi's series of 'Music for Piano' seemed to me an important milestone.
I finally realized my concert to play them at KEN, Sangen-jaya, Tokyo as organized by Ken Awazu and myself on 27 October 2012. This disc is a live recording of that concert.
The order I played them in the concert was: No.1, No.2, No.4, No.5 for the first half, and after the intermission there was my interview to Mr. Ichiyanagi, and for the second half No.7, No.6, No.3. (With this order you might enjoy better the tension of the live concert.)

track 1: Music for Piano No.1 (composed in New York in September 1959)
The composer had been in USA since 1952 and had a chance to meet John Cage for the first time in 1959. The night before, he composed this piece. Thereafter, inspired much by Cage and Tudor, Ichiyanagi was active with them until he returned to Japan in 1961.
The original score of Music for Piano No.1 was thought to be lost for a long time, so I had planned to play the other six pieces at the concert. But a couple of days before the concert, Mr. Koji Kawasaki, a music researcher, kindly let me know that it had been published as an appendix to the magazine Ongaku Geijutsu (February 1961). The composer also admitted this piece to be played.
The piece consists of five fragments A, B, C, D, E to be played in any order. Staves are partly used, but the notation of each fragment includes various kinds of indeterminacy. Contains playing on strings (pizzicato, mute). I played in the order D, B, A, C, E.

track 2: Music for Piano No.2 (composed in December 1959)
The score consists of four square sheets, each of which has two to seven graphic notations. Determined are the number and register of notes to be played and how they are played (on keyboard, on string or on both), but specific pitches and volumes are left to a pianist. The way to proceed from one sheet to another is designated to be different in each performance. To play on strings, I used plastic spatula, bass drum mallet as well as pizzicato and mute with fingers, scraping with fingernails.

track 3: Music for Piano No.3 (composed in March 1960) - 1st movement
track 4: Music for Piano No.3 - 2nd movement
Verbal instructions only. Playing sources are divided into four categories: keyboard (single note, aggregate, cluster, glissando, trill, etc), strings (pizzicato, scraping, beating, touching, glissando, etc), noise (sound from sources other than keyboard and strings), keyboard and string together(preparations, mute, etc). The piece consists of two movements. The first is the mixture of playing one note from one category and playing more than two notes from one category. The second is the mixture of playing one note each from more than two categories and playing any number of notes from more than two categories. Pitches, dynamics, durations, use of the pedals are left to the performer. This piece seems the most 'improvisatory' among No.1-No.7. I used wooden sticks, metal sticks, drum brush, papers, pasta ladle, small whisk, preparations with bolts and chopsticks, etc.

track 5: Music for Piano No.4 (composed in December 1960)
Instructions only. Should be played with sustaining sounds and silences, without making any attacks. This piece is paired with No.5 and both are 'for David Tudor'. I played this piece by bowing cotton twines tied to the piano strings in the low register.

track 6: Music for Piano No.5 (composed in December 1960)
Use attacks only. It lasts nine minutes and the timings to make sounds are indicated by seconds. The number of simultaneous attacks from different sources and their dynamics are also designated. At the beginning there is silence until the first attack at 0:48. I used various mallets, metal and wooden bowls, long wooden stick, etc.

track 7: Music for Piano No.6 (composed in January 1961)
Play only clusters and glissandos as fast and as loud as possible until the performer is exhausted physically or mentally. Written 'for Terry Riley'.

track 8: Music for Piano No.7 (composed in March 1961)
The score consists of nine sheets to be read from top to bottom vertically. Graphically designated are register, timing, use of white and/or black keys, harmonics. Sounds on piano other than on keyboard and sounds from other sources than piano are used. Though it is also possible to play putting sheets upside down or accumulating them one another, I played nine sheets most simply in its normal position in numerical order. I used keyboard-harmonica, small keyboard (casio), radio, whistle, slide whistle, electric food blender, bouncy ball, pellet drum, bottled water, voice, mallets, etc.

Durations:
tr.1_4'06" / tr.2_8'57" / tr.3_6'00" / tr.4_5'07" / tr.5_6'01" / tr.6_9'09" / tr.7_1'01" / tr.8_14'47"

profile of performer
Born in 1963. Pianist, improviser, composer. Began to learn piano (classical style) at the age of four. And began to improvise around 1986. After graduating from Kyoto University (philosophy major), Kawai got master degree in musicology at Tokyo National University of Fine Arts and Music in 1991. Since late 1980s, he has been active to have a concert as a pianist/improviser. In 2008 and 2012 he toured in Europe (Paris, Amsterdam, Berlin). He was invited to play in the "1st UnCaged Toy Piano Festival" in New York in 2011. Currently living in Fukuoka, Japan. Official website http://www.sepia.dti.ne.jp/kawai/

(reference rate: US$21.9)

型番 Edition OMEGA POINT OPX-011
定価 2,484円(内税)
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2,300円(内税)

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