Document of Special Lecture:Kyoto City University of Arts,Faculty of Music
Present,from Electro Acoustic Music 3 CARLO FORLIVESI
Research session for koto 6 culumusica concert 15 clumusica friendship charity 17

28 March[SAT],2015 Electro Acoustic Concert featuring east-west instruments
29 March[SUN]Lecture,Workshop,Presentation and Video Shooting
Kyoto City University of Arts,KCUA University Hall

Electro Acoustic Concert Kyoto City University for Arts,Universtity Hall
Compostition Carlo FORLIVESI(professor of National Conservatory of Rodi,Italy)
NAKAMURA Noriko(associate professor of Kyoto City University of Kyoto City University of Arts)
Aquim Bornhoeft(director of studio for electro acoustic,Universtaet Mozarteum,Salzburg)
Koto:OE Miyako Fagotto:NAKAGAWA Hidetaka (cultural special encouraged artist of Kyoto City,2014)


Thank you so much for coming.

I would like to thank prof. Nakamura for her great collaboration and efforts in the promotion of art and music between Japan and the world. To achieve this result we have been collaborating for over 5 years on several projects, which involved different disciplines including contemporary music, orchestral music, traditional Japanese instruments, early music and finally electronics.
We would like to express our gratitude to Dr. Stefano Fossati, director of the Italia Bunka Kaikan of Osaka, for his support and interest in all these cultural activities.
I am now quickly presenting the pieces.
We are going to perform a selection of three pieces made with electronic media, that means primarily computer generated music, I composed in the last 18 years, notably The Tunnel of Light, Through the Looking-glass, and Requiem, plus one electronic work by prof. Nakamura titled Quasi Flos, and works for Japanese koto performed by the koto master Oe Miyako, the two pieces will be titled Bright Moon Music Vol.2 and Silenziosa Luna. There will be in addition a piece titled “Naturell-Courage-Naturell” by a German composer, Achim Bornhoeft, professor of electronic music at the Mozarteum of Salzburg, a university strongly linked to the Kyoto City University of Art thanks to the intermediation of prof. Nakamura.

During this concert you can enjoy a first-class sound system and the marvellous acoustic of this hall. A light choreography has also been designed for each piece.

Electronic music is an experience not just limited to the ear, it rather goes to the heath and soul, it is a journey of the mind. Thank you.


Carlo FORLIVESI:光の隧道 The Tunnel of Light(1998,electronics)

  Ascending to an immense light through a cylindrical tunnel, concentric circles seen in perspective in completely dark surroundings. This short sound work, after Hieronymus Bosch's The Tunnel of Light, opposes an apparently disordered but rather structured activity (vision) to an almost static sound stripe (contemplation).Duration: 0:59

NAKAMURA Noriko:花如 quasi flos(2014,electronics) 

 The huge choral works of MAMIYA michio and choral composers is existing in Japan as the createon from the correction of Bartok Bela and Zoltan Kodaly in music history.Ultimately,it is not reached as the the song of Maria in spite of huge choral molding of MAMIYA Michio.

  I was commissioned the orchestral arrangement for work song”Magouta”.It was listened by traditional folk song singer and he said that this orchestration is able to collaborating with true sense of traditional music.However about this folk song”Suzuka Magouta” and I’s crossing the time and space in the just ground,it had lost in real history.

   Japanese own traditional music had refused form Japanease moderisation of music education,and I confirmed by the research about this KCUA’s students memories of traditional work song magouta,and their memories were non crossing with such Japanese traditional music.Duration:3:38

Carlo FORLIVESI:鏡の向こうに Through the looking glass(1998,electronics)

As it passes through an imaginary looking-glass,the evening song of the birds is transformed,littl,in a processs of acoustic mutation from a natural context into one that completely electronic and filled with fantastical colours.Duration3:36

Aquim Bornhöft:自然--自然 Naturell-Courage-Naturell(2003,World Premiere,electoronics)

The electronic piece Naturel lis the first version of a work conceived in such a way that it can never assume a defitive shape,but can always be reworked and performed in new ways in the future to suit new perspectives and circumstances.In the initial ‘acoustical status report’,Bornhöft works with various natural sounds form his personal but eve-changing sound library.In this case the sounds are primarily noises caused by water and birds-sounds we often encounter in his oeuvre in wide-ranging forms and variants.The piece’s underlying material consists entirely of four-second excerpts,fragments extracted from the orginal recording of their acoustic continuum,thereby rendering their prigins ambiguous.The result is an impressive and ambivalent interplay between concretenesss and abstraction,searching and (re)discovery.Naturell is a study of acoustical identies,of mimesis and mimicry,of being and appearance.In all the things surrounding us we can always,depending on our distance and vantage point,descry another world- a’second nature’.(German text:Stefan Fricke,English translation:Dr.J.Bradford Robinson)

Courage was made for the CD 90 Minuten Wirklichkeit(90 seconds reality) by the German Association of Electronistic Music(DEGEM),a collection of 47 small pieces one and a half minute long.This piece is dealing with several sounds of action and reaction related to physical violence.

NAKAMURA Noriko:明月楽弐之巻 Bright Moon Music II (2001-09,17gen&koto with voice)

Bright Moon Music II was constructured as solo Koto-Uta piece insteaed of duo version,on the base of Bright Moon MusicI by the performance of Camilla HOITENGA(alto-flute)&OE Miyako.On the volume 1,it was expressed as the journey to death by two persons and On the volumeII, It is expressed the journey to pilgrimage by one person.Original version”IMO-SE” was composed by the commission of Hiroshi YONEZAWA & Eriko KUMAZAWA for 40 anniversary of German-Japanese Association.By the request of Heikan KUREYAMA who listened to this”IMO-SE” Kyoto premiere,It was recomposed for western instrument and eastern instrument as”KAGAMI” for western instrument and western instrument as“HATA”.By the request Miyako OE,these were recomposed as the two version of “Bright Moon Music” and as the trio version on the GAGAKU style of “SEIGAIHA[stella waving sea].”IMO-SE” is inclusive 6 versions another versions by same composers.

It is able to perform this Bright Moon Music II,only the player who performed Bright Moon Music I.By the composer,performer is requesterd to hold trictly the afterimage of sound color,dynamics length,pitch in this order, only the performer’s body & spirit hold afterimage of the performance of the player who played together by Bright Moon Music I.After the performance of duo version Bright Moon Music I,the performer of Bright Moon Music II is permitted the deviation from notation in the point of sound pitch, length,length,dynamics,color,in this order.

This piece was composed by the request of Miyako OE,and premiered at Miyako OE 17gen Recital,October 2009 in Kyoto. In original version”IMO-SE”20gen part is changed to 17gen with 13gen by solo player.

Carlo FORLIVESI:沈黙の月 Silenziosa luna(2009)

Why this infinite air,and this deep Infinite serene?what means this Immense solitude?and I.what am I?

And so much activity,so much motion In every celestial,every earthly thing, Ceaselessly turning,
Always back to starting place; Any point,any purpose
Is beyond me,But you for sure, Deathless maiden,know everything.

What do you do,moon,in the sky? Tell me,what do you do, Silent moon?

From "Night song of the wandering shepherd of Asia"(1830) by Giacomo Leopardi Duration:4 min.

NAKAMURA Noriko:玉 TAMA Bach(2009,17gen)

WAGON(AZUMAGOTO)’s music was translated to 17gen as the spring song which was made the triple sequence by AZUMAASOBI tuning.(Duration:3 min.)

NAKAMURA Noriko:眞聲花如 vox verum quasi flos(2015,electronics and Bassoon,World Premiere)

VOX VERUM is the six diferencias which was structured on the both way between graphic score and 5 lines notation based ROKUDAN structure of YATSUHASHI Kengyo.VOX VERUM is contained on QUASI FLOS,electronics.(Duration:13 min.)

Carlo FORLIVESIREQUIEM (1999,rev.2007)

Requiem is a composition concerived as an ‘acoustic rite’,an electronic poem in three parts-Komm,Les pleurs and ( )- separated by a period of silence.During a performance there is,in the darkenss,an array of eight speakers with eight channels,to which correspondd as many coloums of light.It is requested that the composition end without applause.Through ‘concrete’and synthetic music this work comprises of selection of the sounds,developed electronicallymof rituallystic objects used in various cultures around the world:littlee bells,pipes,glasses,matches,a rain stick,a dobachi (a rituall Japanese instrument),toghther with a chord played on a broque violin from the Passacaglia of Hinrich Biber.The central moments of Komm and of Les pleurs are,respectively, areworking of Motet BWV 229 by J.S.Bach( in retrograde and with altered tempo),which generates a syllabic though not texual signifier,and a quotation from a composition for viola da gamba of Monsieur de Saints Colombe.(translation:Jeremy Drake)

Present from electro acoustic music 3 Lecture,Workshop and Presentation
29 March[SUN]Lecture,Workshop,Presentation and Video Shooting
Kyoto City University of Arts,KCUA University Hall,Salon and CM lab. 10:00-18:00
LecturerCarlo FORLIVESI TranslatorNAKAMURA Noriko
Participantsstudents of composition speciality INATANI Yusuke(3) HARUNO Kai(3) ENDO Takaaki(2)YAMAKAWA Kazuya(1)
AuditorDavid Boss(3.Lowrence University)
AcousticsNISHIMURA Chizuko Lighting KINOSHITA Shiori (M1,Lacquer work)
Video ShootingINATANI Yusuke,HARUNO Kai YAMAKAWA Kasuya

Electronic Music Presentation KCUA Hall 16:00
HARUNO Kaikoto signal (2015,electronics,world premiere)
Composition form koto sound of concrete.(Duration:60 seconds)

Electro Acoustic Music Video Shooting 16:30-18:00
Acoustics:NISHIMURA Chizuko Lighting KINOSHITA Shiori(M1,racquer work)
Video ShootingINATANI Yusuke HARUNO Kai YAMAKAWA Kazuya

Special thanks: Prof.TOKITA Alison[Research Centre for Traditional Japanese Music]
Prof.KURIMOTO Natsuki[racquer work KCUA]

Thanks for coming concert from around Kansai area,Kyoto Osaka,Tokyo,and Wisconsin,U.S.A.

京都市立芸術大学音楽学部特別講座 ドキュメント 
電子音楽の現在3 カルロ・フォルリヴェジ
箏へのリサーチセッション6 クラムジカコンサート15 フレンドシップチャリティ17 
329日(日)ワークショップ プレゼンテーション ヴィデオシューティング

カルロ・フォルリヴェジ 中村典子 featuring アキム・ボルンヘフト
箏・十七絃:麻植美弥子 ファゴット:中川日出鷹(平成26年度京都市芸術文化特別奨励者)
音響:西村千津子(本学教員) 中村典子 録音:西村千津子
照明デザイン: 木下栞[大学院美術研究科漆工専攻] カルロ・フォルリヴェジ 中村典子
照明:木下栞 中村典子

巨大な光が円筒形のトンネルを通って上昇し、完全な暗がりに包まれた遠近感で集中した円を見る。この短い作品は、ヒエロニムス・ボッシュの光のトンネルの後に明らかな異常を阻止し、しかしむしろほとんど静止した音響の姿の活発なビジョンを構造化する。(カルロ・フォルリヴェジ 訳:中村典子)(0:59)

中村典子:花如 quasi flos [2014,電子音楽]




 空想の鏡を通り抜けるうちに、小鳥たちの夕暮れ時の歌が、自然の音から夢想的な電子音へと変質されてゆく。(カルロ・フォルリヴェジ 訳:金光真理子)(:43)

 電子音楽「自然」は、正確な形を想像することが決してできない方法で考え付いた作品の最初のヴァージョンであり、しかし将来、新しい観点と情勢を満たすため常に再創造され、新しい方法で演奏することができる。初めの音響的な状況の報告のなかでボルンヘフトは、彼の個人的な、しかし絶えず変化するサウンドライブラリーからの様々な自然の音響と作業する。このケースでは音響は、最初に水と鳥達によって起こった音であり、それは、私達が幅広い形式と変形の彼の作品においてしばしば邂逅する音響である。作品の基本的な素材は,全体に、それら音響の連続体である原型となる録音からの断片が追加されたそれによってぼんやりとした原型を描出する24の抜粋から成る。その結果は具体性と抽象性、探求と発見(再発見)のあいだで印象的で両義的に相互に作用する。「自然」は、音響的な擬態と模倣の、存在と出現の独自性の研究であり、私達を取り巻くすべてのことで、私達は常に私達の距離と優れた点を信じ、べつの世界を見つける。[独テキスト:シュテファン・フリッケ 英訳:Dr.ブランフォード・ロビンソン 訳:中村典子]
「凛」は、90秒のリアリティ(ドイツ電子音楽協会[DEGEM]による471分半の47の掌編のために制作された。この作品は、身体的な暴力に繋がる動作と反作用の幾つかの音響を配している。[独テキスト:アキム・ボルンヘフト 訳:中村典子]





中村典子:眞聲花如 vox verum quasi flos[2015,電子音楽とファゴット,世界初演]
 八橋検校の六段の調の構造を元にした6つのディファレンシアス。ファゴットのための眞聲 vox verumは、図形譜と五線譜の往復可能性の上に構造化。その眞聲を花如 quasi flosで包む。(中村典子)(12:30)

眞聲 vox verum


REQUIEMは、「音の儀礼」として考えだされた電子音楽作品である。全体は、Komm,Les pleurs、そして()という三つの部分よりなり、それぞれのあいだに無音の部分が入る。コンサートでは、暗闇の中、スポットライトとともに八つのスピーカー(8channel)が八方から観客を取り囲む。なお、演奏の最後に拍手をする必要がない。この曲はミュージック・コンクレートと電子音の合の子ともいえる作品で、世界中のさまざまな文化の儀礼で用いられる音具、たとえば、鐘、笛、グラス、マッチ、レイン・スティック、土鉢(日本の仏具)の音を、ハインリヒ・ビーバーのパッサカリアから採った。バロック・ヴァイオリンの弓の一弾きとともに、電気的に合成して作られる。Kommの中間部には、J.S.バッハのモテット(BWV229)が加工(逆行および速度の変化)されて用いられており、言葉のようでありながら意味をなさない音節を生み出している。またLes pleurの中間部には、サント=コロンブのビオラ・ダ・ガンバのための作品が引用されている。(伊テキスト:カルロ・フォルリヴェジ 訳:金光真理子) 本学大学会館ホールでは2012523日にREQUIEMを日本初演。この日は同曲の納められたカルロ・フォルリヴェジのCD「沈黙の月」(ALM RECORDS)のカバー写真に作曲者が撮影した京都一乗寺の詩仙堂丈山寺の庭園のつくばいを造営した石川丈山忌であった。石川丈山(1583(天正11)1672618(寛文12523)は隷書、漢詩の大家にして日本における煎茶(文人茶)の開祖。(中村典子) (15)

麻植美弥子(箏・十七絃)吉崎克彦氏に師事。NHK邦楽オーディション合格。長谷検校記念全国邦楽コンクール箏部門第1位優秀賞、平和堂財団芸術奨励賞、京都芸術祭音楽部門京都市長賞、京都芸術祭賞。中島貞夫監督監修DVD「茶の湯」、舞台 「横笛」等音楽参加。日本、イタリア、フランス、韓国、シンガポールで演奏。ムジカA際音楽協会会員。NHK交響楽団フルート奏者菅原潤氏とCDCollaboration」リリース。

中川日出鷹(ファゴット)京都市立芸術大学卒業。在学中に仏ニース国際音楽祭にて独奏。201011年スイス、ルツェルン音楽祭で現代音楽での演奏でピエール・ブーレーズ、ペーター・エトヴォシュと共演。ヨーロッパで放送。パリ地方音楽院高等課程卒業。NHKで藤倉大氏の"Calling for bassoon solo"演奏が放送。日仏現代音楽協会会員。平成26年度京都市芸術文化特別奨励者認定。

電子音楽の現在3 レクチャー&ワークショップ&プレゼンテーション 
2015329日(日)10-18時京都市立芸術大学大学会館CM室・交流室・調整室・ホール 10:00-18:00

講師:カルロ・フォルリヴェジ 通訳:中村典子 
受講:作曲専攻学生 稲谷祐亮[3回生]春野海[3回生]遠藤隆明[2回生]山川和也[1回生]
音響:西村千津子 照明:木下栞[漆工専攻院1回生] 録画:稲谷祐亮 春野海 山川和也

電子音楽プレゼンテーション 大学会館ホール16:00
春野海:koto signal[2015,電子音楽]

電子音楽全曲ヴィデオシューティング 16:30-18:00
音響:西村千津子 照明:木下栞[漆工専攻院1回生] 録画:稲谷祐亮 春野海 山川和也

Special thanks:日本伝統音楽研究センター時田アリソン所長 


by n-nakamura226 | 2015-04-03 01:32 | Comments(0)