Kazutomo Yamamoto "Concert for fixed media and live-electronics of Kazutomo Yamamoto"
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Kazutomo Yamamoto "Concert for fixed media and live-electronics of Kazutomo Yamamoto"
- TEF Vol.10 Performance [Recommendation Program]
Information
| Title | Kazutomo Yamamoto "Concert for fixed media and live-electronics of Kazutomo Yamamoto" - TEF Vol.10 Performance [Recommendation Program] |
|---|---|
| Date | 2015.12.25(Fri) - 2015.12.26(Sat) |
| Admission | 3,000 yen |
| Organize | Tokyo Metropolitan Foundation for History and Culture, Tokyo Wonder Site |
| Venue | Ryogoku Monten Hall |
| Artist | Kazutomo Yamamoto (composer), Sumihisa Arima (electronics), Gaku Yamada (guitar), Reison Kuroda(shakuhachi), Hiromi Shinoda (marimba), Akiko Kubota (biwa), Keiko Mori (shamisen) |
Before tuning into his 40s, the "fuwaku*", the composer has decided to work with the theme "roaming as much as possible". There will be two works from the "Roaming liquid set" that reflects his state of mind, as well as two works including one world premiere from the "Trance-media" series which allows only female musician(s) to perform. In heard in the another premiere "Electronics Solo" for Sumihisa Arima, the concert will take a closer look at the "peculiarity" of Kazutomo Yamamoto, who is expected to play an increasingly significant role in the Japanese contemporary music scene.
* "fuwaku"-Confucius teaching "At forty, one has no doubts."
Click here for Interview with Kazutomo Yamamoto (composer).
Program
Roaming liquid set-#01.Aquifer A/B
Roaming liquid set-#02.Undercurrent
Trance-media I -Oracle-
Trance-media II *
New piece for Electronics solo * (only on 25th)
New piece for Electric guitar and Onomatopoetic orchestra * (only on 26th)
All pieces are composed by Kazutomo Yamamoto
* =World Premiere
Please note that part of the program is different on both days.
Ticket Information
Tickets available at door. (Limited number only)
Please visit venue 30 minutes before the performance starts.
Date: December 25 (Fri.), 26 (Sat.), 2015 Finished
Start: 25 (Fri.) 19:00 (Doors Open: 18:30) | 26 (Sat.) 15:00 (Doors Open: 14:30)
*Duration 90 mins
Venue: Ryogoku Monten Hall
Ticket: 3,000 yen
Booking
1. Booking should be made by E-mail or Fax.Email: ticket@tokyo-ws.org / Fax: 03-5602-9882
2. Please inform us of your name, phone number, date/ time/ name of the performance and number of tickets with a subject of "Booking for TEF Performance". (On booking by Fax, please let us know your Fax number, too.)
3. Payment should be made at the venue on the day of performance.
4. Booking will be closed by 17:00 of the day before each performance, or as soon as the seats are fully booked. For the latest ticket information, please check this page.
*Please note that program content may change due to inevitable reasons.
Profile
Kazutomo Yamamoto
Kazutomo Yamamoto was born in Yamaguchi, Japan , in 1975. He studied music by himself. His works have been performed in Japan, Canada, France, Germany, Netherlands, Belgium, Russia and USA. He won the first prize in the Molinari Quartet's International Composers' Competition in 2006 (Canada), AIC/Mostly Modern International Composers' Competition in 2007 (Ireland), and The 5th JFC Composers Award in 2010 (Japan /Judge: Jo Kondo), and the 2nd Prize in the Toru Takemitsu Composition Award in 2009 (Japan/ Judge: Helmut Lachenmann), The 6th International Jurgenson Competition in 2011 (Russia).
Interview
Kazutomo Yamamoto
Composer, Encouragement Prize winner of TEF Vol.6 (2011) as a group 'Depuis 1975 Fumie HIHARA (Koto/ Shamisen) + Kazutomo YAMAMOTO (Composition)'. This time at TEF Vol.10, his works for electronics will be performed in Recommendation Program.
I got into singing by my mother's singing nursery rhymes and popular songs, then listening to different music on NHK-FM. From around nine years old, I started to produce sounds by myself. But since I couldn't read music, I initially made sense of the relationship between sound and written music through listening. Then, at school I tried producing sounds on the piano, and at home I used to play the cardboard keyboard which I made by measuring the real piano. Of course it didn't make a sound, but when I pressed those keys I used to imagine what sound it was making or what song I was playing, and I couldn't wait to get to school (laughs). The following day when I played the real piano, I was so impressed that it made the sound I'd had in my head! Even now when composing, I handwrite the score and the moment without sound is important. Precisely because my desire for sound grows with this moment, I can visualize different ideas. I'm still really happy when a piece turns into sound.
I'll go on confounding expectations so I don't seem immobilized. The best word to reflect this was 'fuwaku'. I wasn't ever aware of a turning point, but as I approach forty I feel like trying everything, doubting as much as I can, which has produced nothing but divisive pieces (laughs). I did a lot and discovered themes and issues that hadn't even occurred to me, so I think the time was right to be a bit reckless.
― Tell us about your "Trance-media" series, which only permits female performers.
The first piece was written for marimbist, Ms. Shinoda. When performing in the concert, she suddenly screamed. The overall theme of that concert was 'festival', and I felt like I was seeing the moment she became in effect a miko, a female shaman. It was exactly what I was looking for. Considering that many of the beings in ancient times who connected the supernatural to people were women like miko, I felt maybe only women could give an intuitive, almost spiritual performance. And for a new piece, I had a request from female performers Ms. Mori and Ms. Kubota to write about women's hysterical side. This is a really interesting idea.
― Can you tell us about the appeal of electronics, the theme of the program, also whether you have any new endeavors ahead?
When processing sound electronically, the sound is completely different from the original. That's interesting. And when I'm collaborating with technicians for electronic piece, there's a moment I am tackling sounds themselves.So comparing with instrumental piece, I have to have a more conscientious attitude to the sound itself. For my new work, a concerto for the electric guitar, I'm thinking of having about sixty Vocaloid (voice synthesizer) parts for the orchestral section. What if I created an onomatopoeic orchestra? That's something I'd like to try.
I want to appeal to something different from the brain which processes music. I want to stimulate instinct. When I think about the pleasure of listening to music, it's all about excitement and anticipation. I want to give a concert that makes the audience feel today was special, rather than provides 'good music'.
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