Voices Phantasma - Flame

Yoshimura Nanae
Camerata Tokyo Inc - 32CM-311
1993

Дорожка	Название	Кандзи	Длина	Исполнитель
1	Let the Wave	濤韻	12'33	Кото: Yoshimura Nanae
	Koto, a 2000 year-old Japanese instrument, was originally intended to express a prayer to the gods. Ms. Yoshimura is one of the few koto players today who is capable of vivifying this divinely ancient instrument. The composition TOIN (TO means strong wave and IN is sound in Japanese) 'let the wave..." consists of two psychological elements- one the large mindedness perceived from the koto's history and two the fresh energy created by the living performer. These elements signify the volumes of wave which together conceive a larger undulation as in the swell of the sea. The work was commissioned by Ms. Yoshimura and was premiered in Tokyo in 1992. - Yoshihiro Kanno
2	Shichidan Tone	七段遠音	13'17	Кото: Yoshimura Nanae
	This work was composed for "Nanae Yoshimura Koto Recital" (Oct. 5, in TOKYO FM Hall) in autumn, 1992 and first performed. It is a variation with seven sections. The theme is a lullaby of Iwate Prefecture, which is played or sung at the same time (ad libitum), in the last part. The 1st section gradually starts with the musical idea, such as the origin of music, but it is pulled back to the situation before the origin again. In the 2nd, there is the melodious occurrence, though, it cannot leap as it is bound by the primitive power of a low tone. In the opening of the 3rd, we can hear the free sound movement, but this time, the unrealistic sound of the treble interrupts it very often and constantly. We can hear the natural and light tune at last in the 4th, the rhythmical step in the 5th, the firmer motion in the 6th. And in the 8th, it shows the world of a folk music, then, a maze of the various tune and sound is closed Additionally, from the 3rd to the 6th, a finger movement on the strings is repeated in the same forms and the opening string (that is a register) the only difference. However the melody is not similar figures because of the special tuning. The tuning consists of sounds; C, F, A-flat, B-flat, C, B-flat, F, G, A-flat, B-flat, B, C, C-sharp, D, B-flat, B, F, F-sharp, G, G-sharp, A. In the bass register an interval is wide, and in the treble it is narrow. - Minao Shibata
3	Voices Phantasma, Flame	「炎の幻声」～独奏二十絃筝と弦楽合奏のための協奏曲	14'19	Кото: Yoshimura Nanae
	This work is composed in 1988 commissioned by Casals Hall, Tokyo, and is dedicated to Nanae Yoshimura. The world premiere was held in August 1988 at Casals Hall by Nanae Yoshimura and Tokyo New Vivaldi Ensemble conducted by Masaaki Hayakawa. I intended to make a rencotre with Koto which is the Japanese string instrument and the occidental string instruments' family. As everybody know that both of Koto and the occidental string instrument makes their sounds in a similar way (i.e., flip and / or rub its strings) but, they have a big difference between then concerning its playing techniques, musical aesthetics and expressions. As for me, I would rather tried a coexistence of such differences than appeal it in this work, and wished to express a musical imagination depended on the rencontre and the coexistence of both instruments. There existence of a "flame" which is burning briskly and is fluttering violently in the middle of the imagination. This "flame" is a Tantric saint flame, and utters the "Voices Phantasma" which is inspire of one's ghost. - Akira Nishimura
4	Oh No Shima	青の島	10'51	Кото: Yoshimura Nanae
	OH-NO-SHIMA is the word which meaning is quite similar to the word, NIRAIKANAI, spoken in Okinawa Islands. Pelog mode which seems to have its origin in India and Ryukyu mode, what a wonderful common term they are! The species of mode came up to North from South in six thousand years ago, still remain mysteries. Why didn't this mode invade Japan proper, north of the Amami Islands..? In this work, Ryukyu mode is a kernel, various executions with 20 strings-koto such as tremolo by finger without a pick, pizzicato with pp in the same way, changing a pitch simply by pushing and releasing or poking, and so on. They are used freely and produce a sound space with warmth and energy, which have something in common with MINAMI-NO-OH by their subtle interval, timbre, rhythmic lag between two Kotos. In the aspects two kotos intimately finishes. I hope to own jointly a feeling as like a yearning for south which we all have. (Nanae Yoshimura, Yoko Naito commissioned work. First performance: Jun. 23, 1989) - Tokuhide Niimi
5	Kaze no Rosho II	風の朗誦２	13'30	Кото: Yoshimura Nanae
	Swinging Sound Flowing Wind And Dancing Leaves. When Wind Blows Trees Rustle Sound Like Spinning Something Dance Of Wind Peaceful Moment In Perpetual Movement (First performance: Jun. 17, 1991. KAZE '91. In Bario Hall. Twenty String-koto: Nanae Yoshimura) - Issao Matsushita