In stock
CD
Yasumune MORISHIGE & REIZEN
“Live in Hong Kong”
This live show was organized by The Empty Gallery in Hong Kong. The owner and director listened a CD Music for Piano by cello improviser Yasumune Morishige and musician Atsushi Reizen released by Omega Point, and they decided to hold a live show on retrospective exhibition of experimental filmmaker Toshio Matsumoto.On this live show, two grand pianos provided through the good offices of the owner. This is the best situation for performing without interference of each player. This CD is made by main program “Music for Piano” only. You will listen Morishige's deep key play and Reizen's vibration drone by handy fan and others. Also they often play hardly. It may be induced by free-playable situation.
13,50€
Out of stock
LP
Akio SUZUKI
“a i sha”
Needless to say, Akio Suzuki is one of the representative sound artists in Japan. Many of his previous releases are sometimes interpreted as the work of a hermit or wizard creating beautiful sounds with his self-made musical instrument called “Analapos,” glass harmonica (De Koolmees), and stone flute, but the title of Suzuki's first sound piece, aidan ni Mono wo Nageru (Throwing Things at the Stairs) at Nagoya Station in 1963, reflects his perspective on the noises in his work. This LP consists of two 2009 performances created with the use of radio. “Howling Objects,” with reverberation of a large museum space, and “a i sha,” in which the radio moves throughout the museum, can be noise itself, but they exist in accordance with the method of “Oto-date” and “Tadori” for which Suzuki has been continuously searching. Here, an approach to Suzuki’s hardcore sound in his nature is surely concentrated.
“It was at a solo exhibition in the Minamigaro gallery in Nihonbashi, Tokyo in 1976 when I held the premiere showing of “Howling Objects”. When I inserted the microphone into the cylinder of the stand type Analapos, and played echo sound, I was surprised to cause a howling. From that incident, I arranged iron “wappa” boxes (cylindrical containers formed by bending a thin plate), inserted two wireless microphones with echoes in the boxes and moved the position of the boxes to search for a sound. ... In the performance I did at the 21st Century Museum of Contemporary Art, Kanazawa, I used roll papers, microphones and radios to revisit “Howling Objects”. These radios and microphones used from the 1970s have been increasingly degraded in recent years, so this performance has become the last one. “a i sha” is a performance in which the two radios used in “Howling Objects” are loaded onto a small dolly and moved around the museum. After setting the radios to AM, selecting the noise wavelengths and tuning the two radios to be able to hear an interesting rhythm, I adjust the volume to an appropriate level and start. As the sound landscape changes by the directionality of radio by moving over to a corridor, wide space and a window, I share the sound field with the people who happen to be there by chance and the people chasing the dolly”. Akio Suzuki
Full-color cover photo on sleeve. New liner notes in Japanese and English by Suzuki. Limited edition of 250.
“It was at a solo exhibition in the Minamigaro gallery in Nihonbashi, Tokyo in 1976 when I held the premiere showing of “Howling Objects”. When I inserted the microphone into the cylinder of the stand type Analapos, and played echo sound, I was surprised to cause a howling. From that incident, I arranged iron “wappa” boxes (cylindrical containers formed by bending a thin plate), inserted two wireless microphones with echoes in the boxes and moved the position of the boxes to search for a sound. ... In the performance I did at the 21st Century Museum of Contemporary Art, Kanazawa, I used roll papers, microphones and radios to revisit “Howling Objects”. These radios and microphones used from the 1970s have been increasingly degraded in recent years, so this performance has become the last one. “a i sha” is a performance in which the two radios used in “Howling Objects” are loaded onto a small dolly and moved around the museum. After setting the radios to AM, selecting the noise wavelengths and tuning the two radios to be able to hear an interesting rhythm, I adjust the volume to an appropriate level and start. As the sound landscape changes by the directionality of radio by moving over to a corridor, wide space and a window, I share the sound field with the people who happen to be there by chance and the people chasing the dolly”. Akio Suzuki
Full-color cover photo on sleeve. New liner notes in Japanese and English by Suzuki. Limited edition of 250.
29,00€
Out of stock
CD
VELTZ
“Hommage to home electronics”
“I have interested in junk materials and have made sound works since several years ago. Before then, I listened experimental music as a fan, but my border of music and non music became meaningless by encounter with Fluxus, sound-art, media-art and others. Since then, I love texture of “sound” itself. I remarked abandoned analog televisions when transmitting system of broadcast signal was changed to digital format in 2011. They are one of my favorite instrument at present, and I hold live performance and installation used them. In this CD, I used analog TV, cassette tape recorder and video player. However, their sounds are not manipulated, and I recorded their spontaneous machine noise only. Are These one of “experimental music”? I think it may be “discovered music”. Obviously, I cannot leave from the fascination of ordinary equipments in my life.” Profile of artist : Born in 1974 Akira Matsuoka established VLZ Produkt in 2008 for produce of live show and release of himself and related artists (T. Mikawa, Keitetsu Murai, Nobuo Yamada and others). His installation work for analog TV was opened at Gendai Hights gallery in 2011. He was participated in exhibition of Fluxus artist AY-O in 2012.
17,00€
In stock
CD
COMPILATION
HOMMAGE FOR SPACE – Experimental Music of Japan vol.1
This is the live recording of the music performance held at the installation exhibition of Chiharu Shiota in the gallery of Kanagawa Kenmin Hall in Yokohama Japan last October. The performance was defined as Art Complex by Toshi Ichiyanagi from the music stand point of view. The content of music consists of live computer improvisation as well as some acoustic programed pieces by piano performance by Akiko Samukawa, Toshi Ichiyanagi and computer electronics by Tomomi Adachi to create the interpenetration of temporal and spacial situation in the gallery space. Morton Feldman “2 Pianos”. Toshi Ichiyanagi “Time Sequence”. Michal Kleofas Oginski - Toshi Ichiyanagi “Polonaise in A minor "ojczyzny"” Improvisation, Hommage for Space. Avec Akiko Samukawa, Toshi Ichiyanagi, piano and Tomomi Adachi, live electronics.
16,00€
In stock
CD
Yasumune MORISHIGE – REIZEN
“Music for Piano”
This new recording is collaboration by Yasumune Morishige and Reizen. Yasumune Morishige is one of Japan’s most unique voices of the cello, improvising musician. His sound is not only hard edge and deep but also sensitive, however, he has played with other artists almost than solo. Reizen has acted as ambient unit Nerae until several years ago. He plays guitar drone now, and the sound was released on PSF and Fylkingen. In this recording, they played inside (and prepared) piano only. Especially Morishige’s solo piano play is extremely rare. Reizen’s sound is made from wires of piano vibrated by handy fan. All tracks consists of their solo playing. Recorded in March and October 2015.
200 copies.
16,00€
In stock
CD
Toshi ICHIYANAGI
“Music for piano (1959-1961)”
Experimental Music of Japan Vol. 11. The Music for Piano series was written under John Cage’s influence in his New York years. This CD is the premiere complete recording without simultaneous playing. The series was played and recorded by pianist Takuji Kawai at KEN in Tokyo in October 27, 2012. "Music for Piano No. 1-No. 7" was composed between 1959 and 1961. All the works were written using graphic notations (No. 1, No. 2, No. 5 and No. 6) and instructions (No. 3, No. 4 and No. 6). "This period of my compositions such as ’Music for Electric Metronomes,’ ’Stanzas for String Instrument,’ ’Duet for Piano and String Instrument,’ and ’Sapporo’ were all written by graphic notations, which expanded my idea of space in music in later compositions. The premiere of ’Music for Piano No.2’ took place in 1959, performed by David Tudor at Living Theatre in New York. No. 5 was by Yuji Takahashi, No. 4, No. 6 and No. 7 were by myself. This is the first time collecting all seven pieces played open to the public and recorded at the same time. Various techniques as well as different qualities of the sounds were created in an amazing manner by pianist Takuji Kawai through my graphic notations. He played all the noises and concrète sounds without using any electronic device but with live natural sounds only to reflect 1950s to early ’60s social situations." --Toshi Ichiyanagi
17,00€
Out of stock
CD
Toshi ICHIYANAGI
“Funakakushi” – Obscure Tape Music of Japan vol.17
“Funakakushi” (1963). This electronic work was composed for opening ceremony of hotel “Funakakushi-en” in Kagawa prefecture in 1963. It was realized like sound installation used many speakers built-in stone sculpture. They were designed by sculptor Mitsu-aki Sora (b. 1933) and were arranged here and there at main garden of the hotel. The sound was made from modified Japanese traditional instrument Biwa and sea wave sound. Engineer Junosuke Okuyama [3] assisted for electronic devices.
“Life Music (tape version)” (1964). Life Music was composed as tape version originally in 1964. After then, this work was played as another version with electronic modified orchestra (contact microphones were put on al instruments of the orchestra at Nissei Theatre in 1966. Junosuke Okuyama designed special effect machine named Electronics Sound Breaker (=ESB) for the concert. Kuniharu Akiyama, music critic, wrote about this machine on liner notes of “Orchestral Space” LP as follows, “…amplified sound of the orchestra was sent to some effect machines and ESB, and they were driven by tape version. Just then, electronic amplification was cut off synchronously by silent parts of the tape, and only non-effect live sound was played…”
“Life Music (tape version)” (1964). Life Music was composed as tape version originally in 1964. After then, this work was played as another version with electronic modified orchestra (contact microphones were put on al instruments of the orchestra at Nissei Theatre in 1966. Junosuke Okuyama designed special effect machine named Electronics Sound Breaker (=ESB) for the concert. Kuniharu Akiyama, music critic, wrote about this machine on liner notes of “Orchestral Space” LP as follows, “…amplified sound of the orchestra was sent to some effect machines and ESB, and they were driven by tape version. Just then, electronic amplification was cut off synchronously by silent parts of the tape, and only non-effect live sound was played…”
18,00€
In stock
CD
Toshi ICHIYANAGI + Yoji KURI
“Drip music” – Obscure Tape Music of Japan vol.9
Toshi Ichiyanagi (sound) + Yoji Kuri (manga). Yoji Kuri is an experimental animation artist in Japan has acted since early 60’s. His name is well-known not only by many works full of ’black humour’ in 60’s-70’s, but also the sound materials were made by avant-garde composers (Toru Takemitsu, Yoko Ono, and others). This new edition is combined Ichiyanagi’s unpublished tape work (it was sleeping at Kuri’s studio 30 years) with Kuri’s written off fantastic manga work (16pp) inspired by the sound. In 1966, "Yabunirami no Concert" (manga book with 7" single) was published by Kuri privately. This "Drip Music" is similar style issue since then.
19,00€
Out of stock
CD
Toshi ICHIYANAGI
“Electronic field”- Obscure Tape Music of Japan vol.8
This performance is a part of concert series “Japanese Experimental Music 1960’s” carried out at Art Tower Mito in Ibaraki. Toshi Ichiyanagi played improvisation on prepared piano and the sound was modulated by live-electronics. However he is a ’maestro’ of contemporary music now, his quite non-declined experimentalism is appeared by this great and deep sound. Also painter Sadamasa Motonaga (b.1922, a member of Gutai) projected abstruct figures to walls of the space. “Electronic Field” (1997).
18,00€
Out of stock
CD
Toshi ICHIYANAGI
“Music for Tinguely” – Obscure Tape Music of Japan vol.5
“Ichiyanagi is the best known composer for domestic and foreign avant-garde music fans. Especially in his brilliant 60’s, he made many great tape music. But most of them has not published on discs or issued for very small edition. This CD consists of his obscure three tape works. “Music for Tinguely” was made from junk objects of kinetic sculptor Jean Tinguely. “Appearance” is live electronic music. It’s not only premiere performance but also John Cage and David Tudor participated in performance. Very noisy and hard core!! “Music for Living Space” was composed for inner space of “Sun Tower” of World Expo in Osaka. Computer generated voice reads architect Kisyo Kurokawa’s manifest. Strange!!”
18,00€
Out of stock
CD
Toschi ICHIYANAGI
“Shikisokuzekuu-Kuusokuzeshiki – Obscure Tape Music of Japan vol.20”
“Shikisokuzekuu-Kuusokuzeshiki” (1964). “Extended Voices” (tape part, stereo version - 1967).
The details of “Shikisokuzekuu-Kuusokuzeshiki” are unknown except it was created at the NHK electronic music studio. According to Ichiyanagi, there are various discussions for the title, but it seemed to be eventually broadcasted on the radio with the title Kuu after a producer desired and decided to name it. At this time, the original title was used as following the initial intention of Ichiyanagi. In addition, short experimental film “Shikisokuzekuu” (1974) produced by a filmmaker Toshio Matsumoto where Ichiyanagi was also in charge of tape music was a different work so it does not have any relation with this music work.
Note: Shikisokuzekuu-Kuusokuzeshiki means “Form is exactly emptiness. Emptiness is exactly form.”
“Extended Voices” can be enjoyed by listening to the Columbia LP album “Extended Voices” with the collection of voices from the music works. A new version with mixing voices of baritone of Takashi Matsudaira to a monaural tape part was released by Omega Point in 2014, but since the stereo version was found later, it was added as a tape work without voice this time. It can be said that this is a completed work as an independent electronic music. (Provider of the tape recording: Gregor Meyer)
[Translated by Toshiyuki Kawata]
The details of “Shikisokuzekuu-Kuusokuzeshiki” are unknown except it was created at the NHK electronic music studio. According to Ichiyanagi, there are various discussions for the title, but it seemed to be eventually broadcasted on the radio with the title Kuu after a producer desired and decided to name it. At this time, the original title was used as following the initial intention of Ichiyanagi. In addition, short experimental film “Shikisokuzekuu” (1974) produced by a filmmaker Toshio Matsumoto where Ichiyanagi was also in charge of tape music was a different work so it does not have any relation with this music work.
Note: Shikisokuzekuu-Kuusokuzeshiki means “Form is exactly emptiness. Emptiness is exactly form.”
“Extended Voices” can be enjoyed by listening to the Columbia LP album “Extended Voices” with the collection of voices from the music works. A new version with mixing voices of baritone of Takashi Matsudaira to a monaural tape part was released by Omega Point in 2014, but since the stereo version was found later, it was added as a tape work without voice this time. It can be said that this is a completed work as an independent electronic music. (Provider of the tape recording: Gregor Meyer)
[Translated by Toshiyuki Kawata]
18,00€
Out of stock
CD
Takashi MATSUDAIRA
“Extended voices”
Experimental Music of Japan vol. 13.
Extended Voices, a compilation LP album released from Odyssey, a former section of Columbia Records, the U.S., contains works of “extended voices” offered by important authors of the experimental music circle including Pauline Oliveros, Morton Feldman, John Cage and Alvin Lucier [1]. As we had obtained the tape recording of Extended Voices composed by Toshi Ichiyanagi, a number consisting of electronic sounds and modulated voices which is contained in the album, we sought help from Takashi Matsudaira, a baritone singer, and worked on the realization of the piece in a different manner from the original version. By featuring this realization but also adding experimental pieces selected by Matsudaira as well as his own original work, we constructed “an anthology of extended voices” partially as homage to the original LP.
Toshi Ichiyanagi “Extended Voices” (new version
1). Toshi Ichiyanagi “Extended Voices” (new version
2). John Cage “Ryoanji”. Takashi Matsudaira “Shiroi Shojo”. Shigeru Matsui “ ” [partial] (realization by Takashi Matsudaira).
17,00€
Out of stock
CD
Somei SATOH
“Echoes” – Obscure Tape Music of Japan vol.18
“Emerald Tablet” (1978) was recorded at the NHK electronic-music studio in 1978. It is made up of only the sonic ingredients of a tubular bell, cymbals, and “Kin,” a largish-sized bell used for Buddhist memorial services in Japan. The attack of the sound of each instrument was eliminated, and the work was taped through repeated overdubbing. This produced a variety of beautiful harmonics that otherwise could not be produced from a single instrument’s sound, and the interference of harmonics created beats, generating a fantastical melody in the high tone range. Harmonics are one of the most mystic phenomena in the world. The wonder of harmonics led me to produce Emerald Tablet.
“Echoes” (1981) was composed for the “Mist, Sound, and Light Festival,” a 10-day event organized by the hot spring tourist association of Kawaji, Tochigi Prefecture, that was held on May 20-29, 1981. The venue was located at the Kawaji hot spring’s Ojika river valley, which was 50 meters wide and 200 meters long with an area of 7,000 square meters. Eight large loudspeakers were set up on hills surrounding the stream, with music played through an octuple channel-tape system. The combined length of cables connected with the loudspeakers exceeded one kilometers. The audience was amidst dense artificial mists spreading upward from the bottom of the valley, laser light beams projected on the hill surface, and tape music that played in extremely low tone at full blast, echoing in the valley. Echoes consists of the sonic ingredients of the three types of percussion instruments used in Emerald Tablet as well as my own voice. - Somei Satoh
Somei Satoh. Born in Sendai, 1947, composer. He began teaching himself western music and exploring experimental music at the age of eighteen. Since the late 1960s, he has presented several multimedia works. He subsequently spent a year in New York with an invitation from the Asian Cultural Council. Satoh’s works have been widely performed in USA, European countries and many countries in the Pacific basin. His other electronic works are Mandara, Mantra and Tantra.
“Echoes” (1981) was composed for the “Mist, Sound, and Light Festival,” a 10-day event organized by the hot spring tourist association of Kawaji, Tochigi Prefecture, that was held on May 20-29, 1981. The venue was located at the Kawaji hot spring’s Ojika river valley, which was 50 meters wide and 200 meters long with an area of 7,000 square meters. Eight large loudspeakers were set up on hills surrounding the stream, with music played through an octuple channel-tape system. The combined length of cables connected with the loudspeakers exceeded one kilometers. The audience was amidst dense artificial mists spreading upward from the bottom of the valley, laser light beams projected on the hill surface, and tape music that played in extremely low tone at full blast, echoing in the valley. Echoes consists of the sonic ingredients of the three types of percussion instruments used in Emerald Tablet as well as my own voice. - Somei Satoh
Somei Satoh. Born in Sendai, 1947, composer. He began teaching himself western music and exploring experimental music at the age of eighteen. Since the late 1960s, he has presented several multimedia works. He subsequently spent a year in New York with an invitation from the Asian Cultural Council. Satoh’s works have been widely performed in USA, European countries and many countries in the Pacific basin. His other electronic works are Mandara, Mantra and Tantra.
18,00€
Out of stock
CD
Mamoru FUJIEDA
“Radiated falling” – Obscure Tape Music of Japan vol.11
“Both “Radiated Falling” (1980) and “The Art of Fugue” (1981) are tape compositions in which sound materials of a prepared piano are electronically processed and modulated in various ways. “Radiated Falling” is based on “Falling Scale No.2 for piano” (1975). The sound materials were then transformed to layered sonic textures through the ring modulator, the phase shifter, the harmonizer, and various delay processes.
“The Art of Fugue” is based on a simple fugue in four voices from the first piece in The Art of Fugue by J. S. Bach. The four voices were randomly cut into fragments, which were then reassembled to form four new voices. Each of the voices played by a differently prepared piano was recorded in a multi-track recorder to produce sound materials for the piece. The sound materials of the prepared piano was then electronically modulated and spatially processed.” - from liner note
“The Art of Fugue” is based on a simple fugue in four voices from the first piece in The Art of Fugue by J. S. Bach. The four voices were randomly cut into fragments, which were then reassembled to form four new voices. Each of the voices played by a differently prepared piano was recorded in a multi-track recorder to produce sound materials for the piece. The sound materials of the prepared piano was then electronically modulated and spatially processed.” - from liner note
18,00€
Out of stock
CD
Makoto MOROI
“Kusabira” – Obscure Tape Music of Japan vol.13
Obscure tape music of japan vol.13. One of pioneers of japanese electronic music makoto moroi composed “kusabira” for kyogen (traditional comical theater) with electronic sound in 1964. ’kusabira’ means mushroom. a strolling buddhist monk ’yamabushi’ tried to exterminate many mushrooms grew out in garden of a man’s home. however and his magic did not take effect for them but also the mushrooms began to increase. the man and yamabushi were driven out of home by large mushroom finally. in this work and moroi modulated kyogen lines into concrete sound. it’s so noisy and strange! This cd also includes moroi’s important work used japanese traditional instruments. the thought of this work was based on alvin toffler’s “future shock” and was composed as spacephonic music by 4-channel recording system for great player susumu miyashita. he played various kinds of koto, gongs and percussions and indian flute bansuries. sharpness of the performance is so wonderful and also some human voices transformed noise sound are inserted on middle part of this work. both works are most avant-garde of moroi’s works!!
17,50€
Out of stock
CD
Makoto MOROI-Kuniharu AKIYAMA
“Music drama Akai Mayu” – Obscure Tape Music of Japan vol.3
Back in stock. “Akai Mayu” is a short fiction of Koubou Abe (1924-1993). This music drama version was broadcasted by NHK in 1960. Makoto Moroi is a pioneer of Japanese electronic music, and he composed the music used chamber ensemble, mixed chorus and electronic sound on this work. Also this work was performed at Sogetsu Art Center as a part of concert program of Moroi’s works. This different version included a pantomaime by Mamako Yoneyama, abstract image projection and stage setting by Hiroshi Manabe. Also in this concert, Kuniharu Akiyama (about his name, please see note of CD “Music for Puppet Theatre of HITOMI-ZA”) performed his work “Arcana 19”. This work was consisted of text, object sounds, piano and pre-recorded tapes. On this CD includes only some tape parts because live recording source of this performance was lost. Makoto Moroi (music) + Koubou Abe (text) “Akai Mayu” (1960), Kuniharu Akiyama “Arcana 19 (excerpt)” (1960).
18,00€
Out of stock
CD
Kuniharu AKIYAMA
“Tape works-Obscure tape music of Japan vol.6”
Obscure tape music of Japan vol.6. “Kuniharu Akiyama (1929-1996) was well-known as a music critic mainly modern and contemporary. However, his carrier was not only in music field but also was very expanded avant-garde art (especially he related early Fluxus movement). This issue is consisted his three obscure tape music, sound sculpture “Environmental mechanical orchestra” for exhibition, “Demonstration for opening event of Nissei Theater” and unknown work “Music for H.Bomb”.
17,50€
Out of stock
CD
Kuniharu AKIYAMA
“Environmental Music for Dining Room of Athletes’ Village in Tokyo Olympics 1964”
From participation in the early Fluxus to giving an introduction of Futurism, Kuniharu Akiyama (1929-1996), a renowned music critic, was involved in a vast range of activities. Particularly in the 1960s, he recorded a lot of music on tape for himself. To our surprise, the music compiled on this CD was actually discovered from a series of ambient music pieces played in the Athletes’ Village at the Tokyo Olympics! During this period, Akiyama was fascinated by the sound of Sanukite stone from Sanuki, Shikoku island and he composed several ambient music pieces including this one. Despite the detail of the work have been unknown as the composer was already passed away, a guru of electronic musicologist, Koji Kawasaki, managed to reveal everything behind the piece.
About the Works
On this CD, there are two pieces of ambient music, which were composed by Kuniharu Akiyama for the Tokyo Olympics in October 1964. This music was composed with the sound of stones for a pair of stone speakers. To understand how it was developed, we have to go back almost two years from then. Around mid January in 1963, Kuniharu Akiyama was asked to compose Ishi no Uta (Song of Stone) for a TBS’s TV program. It is said that Akiyama was interested in Aji Village, Takamatsu city through a relationship with the sculptor Masayuki Nagare. This village is known for its over hundred-year tradition of granite quarrying. Akiyama planned to compose the piece only by using stones and to do so he decided to visit Aji Village in late January.
At a dinner organized by Masanori Kaneko, the Kagawa Prefecture Governor, Akiyama found out that a beautiful “tone-stone” could be mined at Takamatsu. Akiyama then went to Takamatsu with Mitsuaki Sora, Nagare’s assistant and CEO of the Okada Stone Industry. Akiyama later recalled the moment when he encountered the Sanukite stone, “I was deeply moved when I hit the natural stones of various sizes that had not been modified by artificial elements. Clear beautiful sounds with amazingly long sustain. Each stone had a different tone. Sharp and very powerful. To be honest, I never had thought that stones could have such a beautiful, strong and sharp tone.”
From 1961, under the direction of the architect, Kunio Maekawa, Okada Stone had worked on a project to produce an exterior wall in stonemasonry style for the Japan Pavilion at the New York World Expo held in April 1964. To check its quality, a prototype was supposed to be displayed at a certain space in Takamatsu city. This location became a project of collaborative work and was finally used as a café. A collective formed by an architect Tadashi Yamamoto for construction design, Sora for facade and interior design, Akiyama for music and Junosuke Okuyama, an engineer of Sogetsu Art Center, for in-store sound design, worked on each assignment and the café “Shiro no Me (Eye of the castle)” was opened.
Two huge stone speakers were installed on the left and right side of the entrance to the café. These speakers were invented by Okuyama and produced by Okada Stone. “Enjoy our speaker system that makes it possible to play music in the most musical quality. As only ‘pure sound’ will be projected, the sound is superb” was written on a flyer at the opening of the café. This became possible because all vibration except for the paper speaker cone can be suppressed to the utmost limit by the weight of the stone.
In Sogetsu Studio, Akiyama used the sound of stones as material and composed an ambient music piece called Shiro no Me; Music for Coffee House No.1 for these speakers. This piece was assumed to be created by adding reverberation components to an improvisational performance with Sanukite and slowing down the playback to approximately one-half speed. This very primitive technique was chosen to take a full advantage of the beauty of Sanukite sound.
About one year and a half later, for the Tokyo Olympics held in October 1964, two large dining halls called “Sakura” and “Fuji” were built in the male section of the Yoyogi Athletes' Village by architect Kiyonori Kikutake. It is said that while Akiyama composed an ambient music piece called “Music for eating” they decided to transport the stone speakers from the café “Shiro no Me” to the Fuji hall. Also in the front garden of the Fuji hall, an ambient piece called Music for resting was played. Both pieces, which were in the similar composition style of Music for Coffee House, were recorded at Sogetsu Studio.
In 1965, Akiyama argued, “the purpose of designed music is non other than promoting the composer’s work, who designs music creatively, in a living environment. (omission) The composer would also have to participate in urban planning along with the architects and the artists. As we all know, it is because the composer himself/herself has also a role to dramatically shape a living space for today and tomorrow”. The compositions compiled on this CD can be considered as a practice of Akiyama’s assertion as well as a valuable innovation to the Japanese ambient music scene.” Koji Kawasaki (electronic musicologist)
[English translation by Toshiyuki Kawata]
About the Works
On this CD, there are two pieces of ambient music, which were composed by Kuniharu Akiyama for the Tokyo Olympics in October 1964. This music was composed with the sound of stones for a pair of stone speakers. To understand how it was developed, we have to go back almost two years from then. Around mid January in 1963, Kuniharu Akiyama was asked to compose Ishi no Uta (Song of Stone) for a TBS’s TV program. It is said that Akiyama was interested in Aji Village, Takamatsu city through a relationship with the sculptor Masayuki Nagare. This village is known for its over hundred-year tradition of granite quarrying. Akiyama planned to compose the piece only by using stones and to do so he decided to visit Aji Village in late January.
At a dinner organized by Masanori Kaneko, the Kagawa Prefecture Governor, Akiyama found out that a beautiful “tone-stone” could be mined at Takamatsu. Akiyama then went to Takamatsu with Mitsuaki Sora, Nagare’s assistant and CEO of the Okada Stone Industry. Akiyama later recalled the moment when he encountered the Sanukite stone, “I was deeply moved when I hit the natural stones of various sizes that had not been modified by artificial elements. Clear beautiful sounds with amazingly long sustain. Each stone had a different tone. Sharp and very powerful. To be honest, I never had thought that stones could have such a beautiful, strong and sharp tone.”
From 1961, under the direction of the architect, Kunio Maekawa, Okada Stone had worked on a project to produce an exterior wall in stonemasonry style for the Japan Pavilion at the New York World Expo held in April 1964. To check its quality, a prototype was supposed to be displayed at a certain space in Takamatsu city. This location became a project of collaborative work and was finally used as a café. A collective formed by an architect Tadashi Yamamoto for construction design, Sora for facade and interior design, Akiyama for music and Junosuke Okuyama, an engineer of Sogetsu Art Center, for in-store sound design, worked on each assignment and the café “Shiro no Me (Eye of the castle)” was opened.
Two huge stone speakers were installed on the left and right side of the entrance to the café. These speakers were invented by Okuyama and produced by Okada Stone. “Enjoy our speaker system that makes it possible to play music in the most musical quality. As only ‘pure sound’ will be projected, the sound is superb” was written on a flyer at the opening of the café. This became possible because all vibration except for the paper speaker cone can be suppressed to the utmost limit by the weight of the stone.
In Sogetsu Studio, Akiyama used the sound of stones as material and composed an ambient music piece called Shiro no Me; Music for Coffee House No.1 for these speakers. This piece was assumed to be created by adding reverberation components to an improvisational performance with Sanukite and slowing down the playback to approximately one-half speed. This very primitive technique was chosen to take a full advantage of the beauty of Sanukite sound.
About one year and a half later, for the Tokyo Olympics held in October 1964, two large dining halls called “Sakura” and “Fuji” were built in the male section of the Yoyogi Athletes' Village by architect Kiyonori Kikutake. It is said that while Akiyama composed an ambient music piece called “Music for eating” they decided to transport the stone speakers from the café “Shiro no Me” to the Fuji hall. Also in the front garden of the Fuji hall, an ambient piece called Music for resting was played. Both pieces, which were in the similar composition style of Music for Coffee House, were recorded at Sogetsu Studio.
In 1965, Akiyama argued, “the purpose of designed music is non other than promoting the composer’s work, who designs music creatively, in a living environment. (omission) The composer would also have to participate in urban planning along with the architects and the artists. As we all know, it is because the composer himself/herself has also a role to dramatically shape a living space for today and tomorrow”. The compositions compiled on this CD can be considered as a practice of Akiyama’s assertion as well as a valuable innovation to the Japanese ambient music scene.” Koji Kawasaki (electronic musicologist)
[English translation by Toshiyuki Kawata]
18,00€
Out of stock
CD
Kenichi KANAZAWA
“Solo performance”
Kenichi Kanazawa is a sculptor. He cuts and assembles thick iron plate pieces, and also he remarked the sound of the iron pieces. This CD is live recording of performance at his recent retrospective exhibition in 2011. Oto no Kakera (= Fragments of Sound) was laid by clue that I participated in an exhibition ’Sound Garden’ in 1987. An idea occurred for the work of the exhibition. I cut thick steel plate as like pieces of jigsaw puzzle on theme of relationship of iron, figure and sound. I attacked the pieces by sticks, and then I experienced listening their sounds first. Various pitches, tones and resonances of sounds were made from area and shape of each pieces. They extended world of iron sound richly.
In the ’Sound Garden’ exhibition, artists had to do any performance. I believe it was beginning of Oto no Kakera performance. This CD is recording of performance in exhibition ’Kenichi Kanazawa, iron as a starting point 1982-2011’. - from liner note
track 1: starting by Vibratile Shape - Circle and Square.
track 2: improvisation on Oto no Kakera 5 object.
track 3: I emphasized specific frequencies of sound through bamboo pipe, and I sounded by falling and rolling various materials on Oto no Kakera.
track 4: steel wire vibration on Vibratile Shape - Square.
track 5: rubbing an iron piece by iron bar.
track 6: high tone by hummer attack on iron piece.
track 7: preparation effect by various materials on Oto no Kakera.
In the ’Sound Garden’ exhibition, artists had to do any performance. I believe it was beginning of Oto no Kakera performance. This CD is recording of performance in exhibition ’Kenichi Kanazawa, iron as a starting point 1982-2011’. - from liner note
track 1: starting by Vibratile Shape - Circle and Square.
track 2: improvisation on Oto no Kakera 5 object.
track 3: I emphasized specific frequencies of sound through bamboo pipe, and I sounded by falling and rolling various materials on Oto no Kakera.
track 4: steel wire vibration on Vibratile Shape - Square.
track 5: rubbing an iron piece by iron bar.
track 6: high tone by hummer attack on iron piece.
track 7: preparation effect by various materials on Oto no Kakera.
16,00€
Out of stock
CD
Kenichi KANAZAWA – Shinjiro YAMAGUCHI – Hiroyuki URA
“Fragments of sound, figure of music”
Experimental Music of Japan vol. 9. Kenichi Kanazawa is a sculptor. He cuts and assembles thick iron plate pieces, and also he remarked the sound of the iron pieces. This CD is live recording of performance with young musicians, Hiroyuki Ura and Shinjiro Yamaguchi in 2010. This performance consisted of some fragments, and Yamaguchi planned detail of them. According to his explanation, he tried to catch invisible figure of music through composition by simple rule and style.
track 1: solo performance used self-made steel triangle instrument by Kanazawa.
track 2: each player plays sound 1 time at first 1 minute, plays 2 times at next 2 minutes, and it’s continued until 12 minutes.
track 3: performance used five kinds of plate sculptures. they performed on the rule that each 2 members must not play in same time.
track 4: drumming and rubbing of Oto no Kakera 9 with electronic noise.
track 5: solo performance by Oto no Kakera 9.
track 6: drone sound performance used Vibratile shape - circle 1200 and Vibratile Shape - Square 1200.
track 7: improvisation used Oto no Kakera 9 determined to finish with succession attack by all players.
track 1: solo performance used self-made steel triangle instrument by Kanazawa.
track 2: each player plays sound 1 time at first 1 minute, plays 2 times at next 2 minutes, and it’s continued until 12 minutes.
track 3: performance used five kinds of plate sculptures. they performed on the rule that each 2 members must not play in same time.
track 4: drumming and rubbing of Oto no Kakera 9 with electronic noise.
track 5: solo performance by Oto no Kakera 9.
track 6: drone sound performance used Vibratile shape - circle 1200 and Vibratile Shape - Square 1200.
track 7: improvisation used Oto no Kakera 9 determined to finish with succession attack by all players.
16,00€
Out of stock
CD
Kazuya ISHIGAMI
“Hosshin no Kizashi”
Experimental Music of Japan vol.5. However sound performer Kazuya Ishigami studied at academy of music in Japan and France, he also acts as noise/improvisation unit “Billy” and “Daruin” since 1997. This CD consists of recent 2 works of “Acousmatic electronic music”. I think many works of this style are bored for electronic music fan because they are so academic and confines in the style. But Ishigami’s sound brought from his wide activities and imaginations are so exiting and cool. - OP.
“Hosshin no Kizashi” is a work composed based on the theme “Pray” that the priest of buddhist temple Senkoji (in Osaka) presented.
Hosshin: Meaning of “Departure bodhi mind”. “Hosshin no Kizashi” is a meaning of this side of “Departure bodhi mind” one step. That is, it means there is still a hesitation. “Otokamui no Sasayaki” (Whisper of sound god); “Oto” means “sound” in Japanese. “Kamui” means “god” in Ainu.
Profile of artist: Kazuya Ishigami. Born in 1972, in Osaka. Sound performer, composer and sound engineer. He was graduated from Osaka University Of Arts in 1994. He composed his pieces in INA-GRM in August 1997. His Radiophonic work “Sonic Escapism”, “2nd 49” and “Whisper of Sound God” were broadcasted from Deutschlandradio In 2005-2008. - excerpt from liner note
“Hosshin no Kizashi” is a work composed based on the theme “Pray” that the priest of buddhist temple Senkoji (in Osaka) presented.
Hosshin: Meaning of “Departure bodhi mind”. “Hosshin no Kizashi” is a meaning of this side of “Departure bodhi mind” one step. That is, it means there is still a hesitation. “Otokamui no Sasayaki” (Whisper of sound god); “Oto” means “sound” in Japanese. “Kamui” means “god” in Ainu.
Profile of artist: Kazuya Ishigami. Born in 1972, in Osaka. Sound performer, composer and sound engineer. He was graduated from Osaka University Of Arts in 1994. He composed his pieces in INA-GRM in August 1997. His Radiophonic work “Sonic Escapism”, “2nd 49” and “Whisper of Sound God” were broadcasted from Deutschlandradio In 2005-2008. - excerpt from liner note
17,00€
In stock
CD
Kazuo UEHARA
“Assemblage”
Experimental Music of Japan vol.8. “Music Collage Re-Mix version” (1989-2010), “Pont de l’Alma de Paris” (1998), “OTO Mandala 2” (2009), “Sound Work 1” (1983), “Forest of Gombe” (2005), “Assemblage 2004” (2004), “Meteora version 1.0” (2007). Assemblage is a word from domain of modern art. This is the one of the technique of expression of art. The word means mixture originally. I decide the assemblage as a concept of this CD. The collage by Picasso is similar example. Dadaism is also similar example. I try to express new direction of music by using assemblage technique. Profile of artist : Kazuo Uehara was born in Osaka in 1949. He studied composition in Tokyo and in New York. He is an Professor of Music at the Osaka University of Arts. He gives courses on composition, experimental music and also multi-media performance at the university. His music has been performed in France, Germany, U.S.A., and other countries. He also performed his interactive live music and multi-media pieces at major festivals in Sweden, Bulgalia, Russia, France, Poland, Brasil, China, Korea and other countries. He is the prize winner of Bourge International Electro-acoustic Music competition. In 1990, he was awarded the grant from the New York State Council on the Arts. He had been producing the International Festival for Contemporary Music in Japan from1980s.
17,00€
Out of stock
CD
Kazuo UEHARA
“Early works” – Obscure Tape Music of Japan vol.16
“Seoul” (1982). This piece was composed using the recorded sounds as raw material. It was to reassemble the “historical” soundscape of the Korea’s capital city, Seoul, in the early 1980s. During this time, despite the political chaos and the tension in the city under the Korean military government, I felt the lively energy in its people’s life. The raw material comprised of wide range of different sounds includes the street cries in the downtown, cheerful voices of children in Namsang area, noise of arterial streets, and conversations of the students at the Seoul National University. “Music for Contemporary Dance - dedicate to Takao Kusuno” (1975). In 1970s, the art space “Jean-Jean“ in Shibuya served as a popular venue for experimental music, theatre, dance and others. In this movement, I did collaboration works with Takao Kusuno who performed as the artist and dance director. This piece for the dance was composed in collaboration with Kusuno to explore new approaches for dance. The work has two consecutive parts with the subtitles “Crows Habit” and “I am a Clown”. It was not merely a contemporary dance, nor Butoh, but it indicated the contemporary room for the dance scene of the time. “Science Technology Expo ’85 - Music for Cell Universe” (1985). The piece was specially composed for the Health and Sports Pavilion “Cell Universe“ at the International Exposition, Tsukuba, Japan, 1985. The space was comprised of twenty-seven-multiscreen film and stereophonic space. The uniquely designed space controller, the system for moving sound image, made it possible to control the electronic acoustic sound image to create virtual 3D space. “Homage to Xenakis” (1983). This piece was composed at a UPIC workshop held in Tokyo in 1980s where the composer Iannis Xenakis made remarks on each presented work. The musical composition tool, UPIC, was created by Xenakis. This unique sound synthesis system allows the user to create music by drawing lines on the board. Xenakis originally envisaged this tool to be used for pedagogical purpose. Other than musicians, the workshop drew participants from children to adults from the public. - from liner note by artist.
18,00€
Out of stock
CD
Kazuo UEHARA
“Event’ 73” – Obscure Tape Music of Japan vol.15
“From 1972 to 1973, I was based in New York for my creative activities and live performances. New York at this time was in its golden age of experimental music. Towards the end of my stay, I held a live performance entitled Event ’73 to sum up my creative works in New York. The venue for the performance was The Kitchen of the Mercer Arts Center that provided spaces for innovative and emerging artists. This CD consists of a mixture of sounds that were created at a studio prior to the live performance and the sounds recorded live at the performance. I used the Buckla Synthesizer for electronic sound and also for transformation of the sound. The work has four different segments: 1) Diffusion 2) Condensation 3) Chaos 4) Revolution. Each segment’s meanings and sounds itself doesn’t necessarily correlate to each other. Yet, the images that are evoked by each word express the chaotic world of the day.“”
17,50€
Out of stock
CD
Joji YUASA
“Background sound in textile pavillion of Expo’70” – Obscure Tape Music of Japan vol.14
At the EXPO ’70 in Osaka, many avant-garde artists contributed architectural, space, environmental design and sound works. In the Textile Pavillion ("Sen-i Kan" in Japanese), Japanese composer Joji Yuasa and filmmaker Toshio Matsumoto presented a remarkable experimental event, “Space Projection ’Ako’“ for multi-channel tape music and image projection. Also included in the presentation at the Pavillion was background sound for several spaces and objects, composed by Joji Yuasa, mainly. This original master tape was provided by Yoshimasa Matsumoto, the sound operator at the Pavillion, who was also a sound engineer for ’60s film and television which included “Ultra Q,“ “Ultraman“ and others. For the first track, “Music For ’Pattern-Slide ’Mon’yoh’,“ abstract textile images were projected on the walls of a corridor (“Mon’yoh“ means graphical patterns). This concrete sound was composed specially for this space. “Music For ’Colourful World’“ (by unknown mixer) was played and recorded by three electric guitar players. “White World“ involved the same interior space as “Colourful World,“ except it was painted white, in contrast to “Colourful World.“ Music for this room was made out of sound material from “Projection Esemplastic“ and “Icon For White Noise,“ both important electronic works from Yuasa’s early years. “Voices Of Dolls“ featured a group of tall, gentleman-like dolls set in a lobby space, accompanied by meaningless text in Japanese, English and Portuguese coming out of them. The Japanese version is a part of Yuasa’s concrete work, “Voices Coming.“ An English version (by Joseph Love) and a Portuguese version (by Joaquim M. Benoetez) were recorded for this project. For “Voice Of ’Raven’ Objects“ (by unknown mixer) the artist Masunobu Yoshimura created ravens and arranged them here and there on the Pavillion. The accompanying sound was made from modulated Noh chant and lines from a story coming out of the mouths of the ravens. “Background Sound Of Central Dome“ was taken from events such as “Space Projection ’Ako’” that took place in the dome space of the Pavillion. This background sound was prepared from marimba modulated by a square wave. Premiere recordings on disc, housed in a cardboard paper gatefold sleeve in an original design. Includes newly-written liner notes in Japanese & English. Limited edition of 500 copies.
17,50€
Out of stock
CD
Joji YUASA
“Miniatures of concrete works” – Obscure Tape Music of Japan vol.12
Obscure Tape Music of Japan vol. 12. Edition Omega Point presents work by legendary Japanese composer Joji Yuasa - one of most important composers in Japan after World War II. "Nadja, Twincling in Stars" (1963) is the incidental music, by NHK Radio, based on "Nadja" by Andre Breton who made "Declaration of Sur-Realisme." The actual chart of constellations was played by three players (violin, piano and vibraphone) which was used as the music score. Birdsong, electronics, and sound generated from inside the piano using music concrète techniques were constructed at the NHK Electronic Music Studio where Yuasa’s first so-called pure electronic piece "Projection Esemplastic For White Noise" was made in the same year of 1963. "Music For A Cenotaph For Industrial Victims" (1972) was set in the woods of Tama Hills, in the suburb of Tokyo. The music consists of echoing wooden bells in the woods, made from lowered marimba moderated by square wave, various metamorphosed sounds reminiscent of industrial work to accompany the offering flowers by the attendants, and again, more reverberant sounds of wooden bells. "Music For The Main Pavillion Of The Okinawa Oceanic Expo" (1975) is a musique concrète work which was made for the Oceanic Expo in Okinawa prefecture in 1975. Folk music with an indigenous stringed instrument (Jamisen), voices of various sea birds, the engine sound of a boat, and metamorphosed instrumental sounds reminiscent of the wind and waves combined with orchestral chamber music. Italian folk song "To The Sea" is arranged for chamber orchestra and recorded by the composer as an important sound source of this work. Limited edition of 500 copies only.
18,00€
Out of stock
CD
Joji YUASA
“Music for experimental films”- Obscure Tape Music of Japan vol.7
Many avant-garde composer had made sound tracks for experimental film maker Toshio Matsumoto. This cd consists of Joji Yuasa’s three musique concrete works for his 60-70’s short films - Broken meaningless words of “Andy Warhol : Re-Reproduction”, electronic sound and collage with chamber orchestra for obscure an earliest work “Document of The Long White Line” and strange concrete sound of “Autonomy”. Contents: “Andy Warhol : Re-Reproduction” (1974). “Autonomy” (1972). “Document of The Long White Line” (1960).
17,50€
Out of stock
CD
Joji YUASA
“Music for theatrical drama” – Obscure Tape Music of Japan vol.4
Back in stock ! “Joji Yuasa composed for some theatrical drama in his early years. This CD contains two works of them, “Mittsu no Sekai” (Three Worlds, 1959) and “Oen” (A Woman named ’En’, 1963). “Mittsu no Sekai” is constructed from orchestral composition and tape sound : music concrete. This mid-section seems industrial music. Actually he was influenced upon Edgar Varese in his earliest years. On the work “Oen”, all the metamorphosed sound made from concrete sounds are used and combined for a tragic story of a woman in Edo era, named ’En’ who was put in prison for forty years. This music concrete work aims not only depicting the situation, but also lighting up heroine’s dark passion, conscious and subliminal mind and psychological demension. Their deep sound materials are made from amplified inner-played piano, snapped long coil and others.”
17,50€
Out of stock
CD
Joji YUASA-Kuniharu AKIYAMA
“Music for puppet theatre of Hitomi-Za” – Obscure Tape Music of Japan vol.2
Backin stock.
“Hitomi-za is an experimental puppet theatre group. They had performed in February 13-17 in 1962 at Sogetsu Kaikan Hall. This program was consisted of three parts, and Joji Yuasa, Kuniharu Akiyama and Naozumi Yamamoto composed background sound for each parts. This CD contains two works made from magnetic tape from among them. Both works are world premiere issue. Limited 500 copies.
Joji Yuasa: “Moment Grand-Guignolesques” (1962)
“This "puppet" theatre, however all the puppets were made of cutting out thin and filmy paper, which gave me an idea of using all kind of sound out of various kinds of paper for this composition-musique concrete.”
Kuniharu Akiyama (1929-1996): “Noh-Miso” (a brain) (1962)
“"Noh-Miso" was the 2nd part of this Hitomi-za show. Akiyama composed background sound for the part by musique concrete, and he used modulated sound of inner-played piano by Yuji Takahashi in this work.”
“Hitomi-za is an experimental puppet theatre group. They had performed in February 13-17 in 1962 at Sogetsu Kaikan Hall. This program was consisted of three parts, and Joji Yuasa, Kuniharu Akiyama and Naozumi Yamamoto composed background sound for each parts. This CD contains two works made from magnetic tape from among them. Both works are world premiere issue. Limited 500 copies.
Joji Yuasa: “Moment Grand-Guignolesques” (1962)
“This "puppet" theatre, however all the puppets were made of cutting out thin and filmy paper, which gave me an idea of using all kind of sound out of various kinds of paper for this composition-musique concrete.”
Kuniharu Akiyama (1929-1996): “Noh-Miso” (a brain) (1962)
“"Noh-Miso" was the 2nd part of this Hitomi-za show. Akiyama composed background sound for the part by musique concrete, and he used modulated sound of inner-played piano by Yuji Takahashi in this work.”
18,00€
Out of stock
CD
Hiroaki MINAMI
“Kumo no ito” – Obscure Tape Music of Japan vol.19
“Kumo no Ito (The Spider’s Thread)” (1977). In 1977. I started the project of a musical piece for a female narrator and 4-channel electronic sounds with the text of the well-known Akutagawa novel. I worked with the hand-made analogue synthesizer which had been installed two years before in my home studio in Tokyo. Needless to say, the editing task was proceeded without the digital machines. I worked with the recorded tapes together with the scissors and the splicing tape. It was the resonance adding apparatus that I operated the resonance which was very important as sound effect. The part for the synthesizer was made manually ; recording the short fragments and collecting them onto one tape through several tape recorders. My studio was full of a lot of tape fragments. I think the situation in those days was stupendous but I didn’t feel distress. The manual procedure was usual at that time, so I could rather enjoy the process of advancing towards the goal step by step.
“Chaos” (1966-2012). In 1966 I composed a piece of concrete music titled Taiyo-fu (Solar Wind). It was to be staged as a performance of Tokyo-based Mieko Fuji Dance Company. The dance performance participated in the National Arts Festival of Agency for Cultural Affairs. The stage concept was to create a new modern dance, which suggest that the sun would be perpetually pouring all the energy of light, heat and wind to the earth. I made the music by manipulating the materials of the recorded instrumental sounds, not of the concrete sounds. With the idea of applying the editing and modifying methods of concrete music to the recorded instrumental sounds, I had started with composing a lot of fragments, and then I played them and recorded in our recording studio. Some students of Tokyo College of Music, where I worked as a teacher, helped me as musical performers. The recorded sound materials were operated in my private studio. Manipulating several tape recorders, I tried to produce the sounds that could not be identified as the original instruments. Thus I created out the seventy minute stage music. Fifty years have passed and the digital technology is now easy to access. But I remember the process of my manual operation and I can’t wipe the commitment to the music of Taiyo-fu. Nevertheless, I think the music is too monotonous to be appreciated without dance. So I re-constructed a piece with the sound materials of Taiyo-fu. The basic idea concerns the cosmic world and the title of the piece is Chaos. This Chaos comes from my illusion about the primordial universe.
“Chaos” (1966-2012). In 1966 I composed a piece of concrete music titled Taiyo-fu (Solar Wind). It was to be staged as a performance of Tokyo-based Mieko Fuji Dance Company. The dance performance participated in the National Arts Festival of Agency for Cultural Affairs. The stage concept was to create a new modern dance, which suggest that the sun would be perpetually pouring all the energy of light, heat and wind to the earth. I made the music by manipulating the materials of the recorded instrumental sounds, not of the concrete sounds. With the idea of applying the editing and modifying methods of concrete music to the recorded instrumental sounds, I had started with composing a lot of fragments, and then I played them and recorded in our recording studio. Some students of Tokyo College of Music, where I worked as a teacher, helped me as musical performers. The recorded sound materials were operated in my private studio. Manipulating several tape recorders, I tried to produce the sounds that could not be identified as the original instruments. Thus I created out the seventy minute stage music. Fifty years have passed and the digital technology is now easy to access. But I remember the process of my manual operation and I can’t wipe the commitment to the music of Taiyo-fu. Nevertheless, I think the music is too monotonous to be appreciated without dance. So I re-constructed a piece with the sound materials of Taiyo-fu. The basic idea concerns the cosmic world and the title of the piece is Chaos. This Chaos comes from my illusion about the primordial universe.
17,50€
Out of stock
CD
Hiroaki MINAMI
“Electronic symphony N°1”- Obscure Tape Music of Japan vol.10
Electronic Symphony No.1 (1977). “This unknown composer (not only for foreign fans, but also for domestic) is a pioneer of synthesizer music in Japan. However he was a professor of the top of academy of art university in Japan ’Tokyo Geidai’, actually he had a class of electronic music in there firstly. Also he built a private studio for self-made synthesizer in his home in 1976. This "Electronic Symphony No.1" is the earliest composition of the series. The spacy and very noisy sounds of analog synthesizer are like Roland Kayn’s 60’s concrete works.” (label note). “At the age of 15, having more of an interest in technology than music, I began to build radio sets and vacuum tube amplifiers. In the next 20 years, electronics advanced into the realm of transistors and integrated circuits creating a huge potential for the use of the synthesizer for musical applications. In the 70’s as knowledge about experiments in transistors, integrated circuit oscillators, and filter technology became available in electronic technology magazines, I attempted IC even though I only had vacuum tubes to completed an analog synthesizer, and purchased 2-channel and 4-channel tape recorders. I was finally equipped with the necessary equipment to create electronic music when tragedy struck my family: my eight-year-old daughter died from liver disease. It compelled me to compose the fifth movement "Sorrow Song the Stars Sang" of the Electronic Symphony No.1 as the requiem for my daughter. The piece, created from my own analog synthesizer, was distributed throughout the world as an individual work, and only later did I compose the rest of the movements in order to complete Symphony No. 1.” Hiroaki Minami.
18,00€
Out of stock
2 CD
Toshi ICHIYANAGI + Kenji KOBAYASHI
“Duo Recital – The Night before JOHN CAGE SHOCK”
600 copies as regular edition. Text in Japanese and English (track explanation).
In 1961, soon after Toshi Ichiyanagi returned from the USA, two concerts were performed at the Sogetsu Art Center ; “Toshi Ichiyanagi Concert”, at which some member of ‘Group Ongaku’ joined, as well as “Toshi Ichiyanagi and Kenji Kobayashi Duo Recital”, which recording is used for this album. It was a major opportunity for its audience to experience the works of Toshi Ichiyanagi and the
avant-garde philosophy directly in front of their eyes. Six months later, John Cage made his first visit to Japan for a concert tour. Of course, then the Japanese music scene would be struck by a huge“shock”. So we can consider the recital by Ichiyanagi as a “quiet shock” before the “storm”.
Sylvano Bussotti (1931-), “Music for violin”. Morton Feldman (1926-87), “Duet for violin and piano”. Toshi Ichiyanagi (1933-), “The Pile / For String
2”. Anton Webern (1883-1945), “4 Pieces for violin and piano, Op.7”. La Monte Young (1935-), “561 to Henry Flynt”. John Cage (1912-92), 34’46.776”
Sylvano Bussotti (1931-), “Music for violin”.
Italy-born Bussotti is a composer, a director and a designer but also well known as a multitalented person. At an early age, he began work on a graphic score. The music he wrote had quality but it was also visually interesting. For this performance, Kobayashi took a unique style. They used overdubbed violin sounds from a tape, which perhaps Kobayashi helped to record, and added a live performance of piano and percussion as well as some [sounds of] object.
Morton Feldman (1926-87), “Duet for violin and piano”.
Along with John Cage, Feldman is one of the leading figures from the New York experimental music scene. He is also well known as a soft sound composer as well as for an interesting episode when he invented graphic notation. Feldman was a productive composer but he often gave less creative simple titles to his music, for example, by referring a composition to the musical instruments.
Toshi Ichiyanagi (1933-), “The Pile / For String
2” (simultaneous performance).
‘The Pile’ is a piece composed for arbitrary musical instruments. At the concert, the composer himself performed with a method of playing the internal parts of a piano along with Yoko Ono’s voice while Juunosuke Okuyama assisted him as an engineer, which made it the first and only real piece with live electronics [3]. Like John Cage often taking this method for his work, they made a simultaneou
s performance for this piece, ‘For stringed instruments, the second movement’ by Kenji Kobayashi.
The only instruction in the score was; “Through the whole performance one should only play one note” [4]. The piece was not only performed throughout the sixties but also is played today.
Anton Webern (1883-1945), “4 Pieces for violin and piano, Op.7”.
Along with Schoenberg and Berg, Webern belonged to the New Wienna School of music. Preceding Feldman, he was a soft sound composer and had a particular taste about extremely conscious tones. Unlike other pieces on this album, this piece was composed in the very early period in 1910.
La Monte Young (1935-), “561 to Henry Flynt”.
La Monte was one of the composers who created pieces that were later categorized as Minimal Music. But most notably, he was a member of Fluxus, which we shouldn’t forget. This piece is very conceptual. The same note should be played for arbitrary number of times that was pre-determined. It was perf
ormed at this concert for the first time and Ichiyanagi played clusters with both arms. By the way, Henry Flynt (1940-) was a musician belonging to Fluxus.
John Cage (1912-92), 34’46.776”
A piece composed in 1954 and performed in the same year on October 17th for the first time at Donaueschinger Musiktage, a music festival, (simultaneous performance with ‘31'57.9864" for a pianist’).
Later that year, a score was published under the title ‘31'57.9864" for one pianist’. In this recording, apart from Toshi Ichiyanagi’s piano and Kenji Kobayashi’s violin, one can hear female narration in English and Japanese, about which there was no mention in any document at the time (assuming it as Yoko Ono’s voice however it is not confirmed). Perhaps, Ichiyanagi reproduced it by referring to an early performance method of the piece [6] In a promotional document of the concert, Yuji Takahashi’s name is written as another pianist. However, according to the musician, he canceled it after he got an offer of a simultaneous performance due to a technical reason.
In 1961, soon after Toshi Ichiyanagi returned from the USA, two concerts were performed at the Sogetsu Art Center ; “Toshi Ichiyanagi Concert”, at which some member of ‘Group Ongaku’ joined, as well as “Toshi Ichiyanagi and Kenji Kobayashi Duo Recital”, which recording is used for this album. It was a major opportunity for its audience to experience the works of Toshi Ichiyanagi and the
avant-garde philosophy directly in front of their eyes. Six months later, John Cage made his first visit to Japan for a concert tour. Of course, then the Japanese music scene would be struck by a huge“shock”. So we can consider the recital by Ichiyanagi as a “quiet shock” before the “storm”.
Sylvano Bussotti (1931-), “Music for violin”. Morton Feldman (1926-87), “Duet for violin and piano”. Toshi Ichiyanagi (1933-), “The Pile / For String
2”. Anton Webern (1883-1945), “4 Pieces for violin and piano, Op.7”. La Monte Young (1935-), “561 to Henry Flynt”. John Cage (1912-92), 34’46.776”
Sylvano Bussotti (1931-), “Music for violin”.
Italy-born Bussotti is a composer, a director and a designer but also well known as a multitalented person. At an early age, he began work on a graphic score. The music he wrote had quality but it was also visually interesting. For this performance, Kobayashi took a unique style. They used overdubbed violin sounds from a tape, which perhaps Kobayashi helped to record, and added a live performance of piano and percussion as well as some [sounds of] object.
Morton Feldman (1926-87), “Duet for violin and piano”.
Along with John Cage, Feldman is one of the leading figures from the New York experimental music scene. He is also well known as a soft sound composer as well as for an interesting episode when he invented graphic notation. Feldman was a productive composer but he often gave less creative simple titles to his music, for example, by referring a composition to the musical instruments.
Toshi Ichiyanagi (1933-), “The Pile / For String
2” (simultaneous performance).
‘The Pile’ is a piece composed for arbitrary musical instruments. At the concert, the composer himself performed with a method of playing the internal parts of a piano along with Yoko Ono’s voice while Juunosuke Okuyama assisted him as an engineer, which made it the first and only real piece with live electronics [3]. Like John Cage often taking this method for his work, they made a simultaneou
s performance for this piece, ‘For stringed instruments, the second movement’ by Kenji Kobayashi.
The only instruction in the score was; “Through the whole performance one should only play one note” [4]. The piece was not only performed throughout the sixties but also is played today.
Anton Webern (1883-1945), “4 Pieces for violin and piano, Op.7”.
Along with Schoenberg and Berg, Webern belonged to the New Wienna School of music. Preceding Feldman, he was a soft sound composer and had a particular taste about extremely conscious tones. Unlike other pieces on this album, this piece was composed in the very early period in 1910.
La Monte Young (1935-), “561 to Henry Flynt”.
La Monte was one of the composers who created pieces that were later categorized as Minimal Music. But most notably, he was a member of Fluxus, which we shouldn’t forget. This piece is very conceptual. The same note should be played for arbitrary number of times that was pre-determined. It was perf
ormed at this concert for the first time and Ichiyanagi played clusters with both arms. By the way, Henry Flynt (1940-) was a musician belonging to Fluxus.
John Cage (1912-92), 34’46.776”
A piece composed in 1954 and performed in the same year on October 17th for the first time at Donaueschinger Musiktage, a music festival, (simultaneous performance with ‘31'57.9864" for a pianist’).
Later that year, a score was published under the title ‘31'57.9864" for one pianist’. In this recording, apart from Toshi Ichiyanagi’s piano and Kenji Kobayashi’s violin, one can hear female narration in English and Japanese, about which there was no mention in any document at the time (assuming it as Yoko Ono’s voice however it is not confirmed). Perhaps, Ichiyanagi reproduced it by referring to an early performance method of the piece [6] In a promotional document of the concert, Yuji Takahashi’s name is written as another pianist. However, according to the musician, he canceled it after he got an offer of a simultaneous performance due to a technical reason.
28,00€