Afiş /Poster
Afişul festivalului

Luni, 25 Mai / Monday, 25 May

12.00 / 12.00 pm - Aula Palatului Cantacuzino / The Cantacuzino Palace Hall
Joji Yuasa: conferinţă despre muzica japoneză tradiţională şi contemporană (I) / lecture on Japanese traditional and contemporary music (I)

Conferinţă realizată cu sprijinul / Supported by: The Agency for Cultural Affairs - Government of Japan, Rohm Music Foundation, The Kao Foundation for Arts and Sciences, The Nomura Cultural Foundation, The Asahi Shimbun Foundation

17.00 / 5.00 pm - Universitatea Naţională de Muzică Bucureşti / National University of Music Bucharest, Sala „George Enescu” / George Enescu Hall
Grupul de muzică nouă TRAIECT / TRAIECT New Music Group România / Romania
Conducerea muzicală / Music Director: Sorin Lerescu
Alexandru Hanganu, flaut / flute, Răzvan Gachi, clarinet / clarinet, Tiberiu Cenuşer, trombon / trombone, Georgeta Radu, percuţie / percussion, Andrei Podlacha, pian / piano, Geanina Săveanu, vioară / violin, Viorica Nagy, violoncel / cello

Program / Programme:
Dušan Bavdek – Intermezzo pentru ansamblu / for ensemble
Anatol Vieru – Feuerwerk pentru flaut, vibrafon şi vioară / for flute, vibraphone and violin
Iannis Xenakis – Mikka’s (violin solo)
Horia Şurianu – Vrytra pentru clarinet şi pian / for clarinet and piano
David Beovič – Meditation (composition for flute, clarinet, trombone, percussion, piano, violin and cello) (p.a.r.) / (Romanian Premiere)

Ansamblul TRAIECTTRAIECT was born in December 1982 on the initiative of the composer Sorin Lerescu. As a result of its members' preoccupation to bring the values of contemporary music to concert life, the group has become a launching ramp for new music interpreters as well as a crucible for the latest compositional experiments. The Ensemble is formed from Sorin Lerescu (music director), Alexandru Hanganu (flute), Răzvan Gachi (clarinet), Tiberiu Cenuşer(trombone), Georgeta Radu (percussion), Andrei Podlacha (piano, keyboards), Geanina Săveanu (violin), Viorica Nagy (cello), and has introduced to the public both at home and abroad a large number of contemporary works, covering a broad spectrum of styles and aesthetic trends characteristic to the music of the XXth century up to the present. TRAIECT has performed in many cities in Romania and abroad taking part as well in prestigious music international festivals. ATM Prize of Romania's Board of Musical Critics for the great number of first auditions performed at concerts, 1983. Recordings atRomanian Radio Broadcasting Corporation (ROR), Romanian Television Broadcasting Corporation (TVR), TV SIGMA - Bucharest, Beogradski Televizja (Serbia), TVM - Chişinău (Republic of Moldova), Radio 3 Gent (Belgium). Recordings edited by ELECTRECORD (1988, 1991), INTERCONT MUSIC (1997), Editura Muzicală (2008).

Composers and Programme Notes

Dušan Bavdek
(born in Kranj/Slovenia on July, 17, 1971) was studying composition with Professor Alojz Srebotnjak at the Academy of Music in Ljubljana and graduated in 1994. In 2000 he completed a post-graduate study in composition at the same institution with professors Marijan Gabrijelčič and Danijel Dane Škerl. He also studied the masterclasses with Professor Janos Vajda and Professor Helmut Lachenmann. His compositions have been performed in many parts of Europe and elsewhere in the world and were also played on several radio stations. From 1994 ownwards he taught music theory at the Music High School in Ljubljana. In 2002 he began teaching harmony and solfeggio at the Ljubljana Academy of Music receiving a tenure as assistant professor of theoretical subjects at the same institution in 2003. He was a secretary general of the ISCM World Music Days - Slovenia 2003 and is a member of the supervisory committee of the European Composers Forum. He has been a member of different juries in Slovenia and abroad.

Intermezzo for ensemble
The Intermezzo was commissioned by Pavel Mihelčič for the MD7 Ensemble. The composition has an expressiveness that – through condensed articulation of all but minimalistically conceived motivic patterns – brings a range of contrasts, although the individual lines stick to an explicitly limited ambitus. Developing metrical rhythm, minutely elaborated motivic cells within a prevailingly polyphonic texture and a management of the unfolding "dramaof fragments", are perhaps its most characteristic structural traits. The Intermezzo was performed for the first time at the 14th International Week of New Music in Bucharest, whereas in Slovenia in the Tower of the Estates of the Ljubljana Castle during the 52nd Ljubljana Summer Festival, in both cases interpreted by the MD7 Ensemble. In the Linz Bergtheatre, the composition was played by the 'neues ensemble' under conductor Alfred Peschek and at the ISCM – ACL World Music Days Hong Kong 2007 by Luxembourg Sinfonietta under maestro Marcel Wengler.

Anatol Vieru was born in 1926, Iasi, Romania. He attended at the University of Music, Bucharest and the Tchaikowsky Conservatoire in Moscow where he studied composition with Aram Khatchaturian. From 1955 untill his death (in 1998) he was professor at the University of Music, Bucharest. In the 70’s he initiated in Bucharest Musiques Paralleles, a non-dogmatic series of concerts (in wich he also conducted) including works by Lassus, Ives, Skriabin, Schönberg, Varèse, Schnittke etc. He attended The Internationale Ferienkurse für Neue Musik, Darmstadt for the first time in 1967 and was the recipient of a DAAD fellowship in West Berlin from 1973 to 1974. He also gave many guest lectures in the USA, Canada, Israle an dat the Internationale Ferienkurse für Neue Musik, Darmstadt. Between 1992 and 1993 he was composer in residence at New York University. Vieru’s music has frequently been awarded with important prizes (George Enescu Prize, 1946; Herder Prize, Wien, 1986; Koussevitzky Foundation Prize, 1966, Washington etc) premiered in international concerts and festivals and his works – published by Editura Muzicală, (Bucharest), Salabert (Paris), Schott (Germany), Breitkopf & Härtel (Germany), Muzyka (Moskow). Vieru’s musicological writings are based on a mathematical theory of musical scales. In 1978 he became a Doctor in Musicology with a thesis entitled From modes Towards a Model of Intervallic Musical Thoughts and in 1980 his Book of Modes was printed in Bucharest.

Feuerwerk for flute, vibraphone and violin
Written in 1994 and dedicated to Friedrich Hommel, director of the Darmstadt ”Internationale Ferienkurse für Neue Musik”, Feuerwerk highlights the flute, vibraphone and violin sonorities in a redundant type sound discourse, with a peculiar dynamic. „Fireworks” are suggested by lightning-like flashes and stresses of the flute, seconded by the other two instruments. The New Music Group TRAIECT has first played this work at the 1998 ”Meetings of New Music” International Festival in Braila, Iannis Xenakis’ birthplace.

Sorin Lerescu

Iannis Xenakis (May 29, 1922 - February 4, 2001) was a Greek composer, music theorist and architect. He is commonly recognized as one of the most important post-war avant-garde composers. Xenakis pioneered the use of mathematical models such as applications of set theory, varied use of stochastic processes, game theory, etc., in music, and was also an important influence on the development of electronic music. Among his most important works are Metastaseis (1953–4) for orchestra, which introduced independent parts for every musician of the orchestra; percussion works such as Psappha (1975) and Pléïades (1979); compositions that introduced spatialization by dispersing musicians among the audience, such asTerretektorh (1966); electronic works created using Xenakis' UPIC system; and the massive multimedia performances Xenakis called polytopes. Among the numerous theoretical writings he authored, the book Formalized Music: Thought and Mathematics in Composition (1971) is regarded as one of his most important. As an architect, Xenakis is primarily known for his early work under Le Corbusier: the Sainte Marie de La Tourette, on which the two architects collaborated, and the Philips Pavilion at Expo 58, which Xenakis designed alone.

From Wikipedia, the free encyclopedia

Mikka’s (violin solo)
The famous solo violin play by Iannis Xenakis, Mikka’s, testifies, once more, to the refinement and complexity of the composing thought by one of the most important personalities to have an impact on the music of our times.

Sorin Lerescu

Horia Şurianu was born in 1952 in Timişoara (Romania). He has been living in Paris since 1983 and has the French citizenship. He is bachelor in composition from the National Musical Academy in Bucharest and Ph.D. in Aesthetics and Sciences of Arts from the University Paris I Pantheon-Sorbonne. Actually, he is professor of harmony, contrepoint, composition and musical analysis in two conservatoires in the Paris region and associate professor at the University Paris I Pantheon-Sorbonne. His works, in various musical genres, are played in France and abroad, and are published by Editura Muzicala in Bucharest and by several French publishers like « Editions Combre », « Editions Henry Lemoine » and « Editions Salabert ».

Vrytra for clarinet and piano (or tape) is a work written in 1982, and performed initially by Aurelian Octav Popa. It has been taken over afterwards by the TRAIECT New Music Group. The conversation between the clarinet and the piano contours a complex sound path, with multiple semantics.

Sorin Lerescu

David Beovič
”I was born on 28 February 1977 in Kranj. (...) After graduation I enrolled at the Faculty of Theology in 1995 and a year later I started the study of composition at the Academy of Music. I studied with Professor Marijan Gabrijelčič (1940-1998) for two years. I continued the study of composition with Professor Pavel Mihelčič. In 2000, I graduated from the Academy of Music and from the Faculty of Theology in 2001. (...) Since 2001 I have been working as a music teacher at the Anton Aškerc (Šolski center Ljubljana) and Jurij Vega Grammar Schools in Ljubljana and Idrija respectively. My works have been performed almost throughout Slovenia, some have even been performed abroad (Trieste, Innsbruck, Bucharest, Berlin, Luzern…). (...) I am pleased that most of my works have been performed by notable ensembles (MD7 Ensemble, the Slovenian Philharmonic Orchestra, Academic Choir Vinko Vodopivec…) and excellent soloists (Matej Zupan, Luka Einfalt and others). I write music for classical ensembles, incidental music, film score (Tabula rasa), music for computer games (Noe) and web sites; I have made numerous musical bases for various performers (the Pot band, Sončni žarek, MC Krača ...).”

http://www.davidbeovic.com/biography.html

Meditation (composition for flute, clarinet, trombone, percussion, piano, violin and cello)
Written in 2004 for an instrumental septet, the work by the Slovene composer considers a bending of the sound discourse in different layers of melodic and harmonic evolution, recomposing melodic paths accompanied by homophonies and contrasting accents.

Sorin Lerescu


19.00 / 7.00 pm - Ateneul Român / The Romanian Athenaeum
Concert-portret Joji Yuasa / Concert-portrait Joji Yuasa
Japonia / Japan
Joji Yuasa

 

Îşi dau concursul / Guest performers:
Cvartetul de coarde EXCELSIOR / EXCELSIOR String Quartet, Nanae Yoshimura, Mario Caroli, Toshiya Suzuki



Program / Programme:
Joji Yuasa – Projection for String Trio
Joji Yuasa – Interpenetration for flute and recorder version
Joji Yuasa – My Blue Sky No 3 for violin solo
Joji Yuasa – Cosmos Haptic III – Kokuh for 20 stringed koto and recorder
- pauză / intermission -
Joji Yuasa – Terms of Temporal Detailing for bass flute
Joji Yuasa – Projection for String Quartet
* Romanian Premieres

Concert supported by: The Agency for Cultural Affairs - Government of Japan, Rohm Music Foundation, The Kao Foundation for Arts and Sciences, The Nomura Cultural Foundation, The Asahi Shimbun Foundation.

Toshiya SuzukiNanae Yoshimura is born in Tokyo. From the age of three her mother began to teach her the Koto and at the age of 16 she took the teacher’s license herself. In 1972 at the age of 22 she made her debut and won the incentive prize of the ”Competition for Newcomers in Japanese Instruments”. In 1979 she won the 1st prize of the Contemporary Japanese Music Competition organized by Panmusik-Festival, and in the same year she gave the first recital with a 20-string Koto in Tokyo, which became the beginning of her recital series, Yoshimura has been continuing once in every one and a half year so far. Nanae Yoshimura’s activities are spanning the traditional 13-string Koto as well as the 20-string Koto, which she substantially established as an instrument for Japanese contemporary music. She is representing Japan as a unique player of the 20-string Koto and is going on an overseas tour almost every year, introducing the instrument to foreign countries. From 1988, she started to collaborate with Japanese composers of her time, such as Akira Nishimura, Takashi Yoshimatsu, Tokuhide Niimi, Somei Sato, Shin’ichiro Ikebe, Joji Yuasa, Minao Shibata, Maki Ishii, Satoshi Minami, Toshiro Saruya and Kiyoshi Furukawa. By establishing joint production recitals with some of today’s most important Japanese artists, she opened up a new path for the 20-string Koto in Japanese contemporary music. Due to her merits on this field she was awarded the National Arts Festival Award (1993), Japan Arts Foundation Encouragement Award (1994) and the Nakajima Kenzo Award (1999). Starting from an invitation to the Asia Pacific Festival in Wellington, New Zealand, Nanae Yoshimura has performed at numerous major festivals and concert halls all over the world, where she appeared in solo recitals as well as joint recitals with Kifu Mitsuhashi, shakuhachi player. Her trips led her to Asia, the U.S, Central Asia, and all European countries. In 1989 she went to Pakistan; in 1994 toured the Scandinavian countries, Estonia and Germany, organized by Japan Foundation. In 1986 she took part in the St. Louis Opera’s world premiere of ”JORURII” (composed by Minoru Miki) as 20-string Koto soloist , moreover in 1991 she performed as a soloist with Tokyo Metropolitan Symphony Orchestra on the occasion of Carnegie Hall’s 100th anniversary, and at the JAPAN FESTIVAL in London. In 1994 she participated in an Avignon Festival production of the Noh Opera ”SUSANOU” (director: Hiroshi Teshigahara, composer: Maki Ishii). In 1995 she was invited by Rome Contemporary Music Association as a part of ”Japan in Italy”, and gave recitals in several cities of Italy. In 1997 she participated in a China-Japan Friendship Contemporary Music Festival, which was held in Beijing on the occasion of the 25th anniversary of the recovery of Sino-Japanese diplomatic relations. In 2000 she went on a recital tour to Northern Europe. In March of 2003 she was sent to Croatia, Slowenia and Serbia by the Foreign Ministry of Japan. In November of the same year she performed the German premiere as well as a CD recording of ”A Sea of Trees” by Akira Nishimura and ”Within Dreams Without Dreams” by Takashi Yoshimatsu, both concerti for 20-string Koto and Orchestra and in the same year appeared in a solo recital at Kunsthistorisches Museum Vienna. In addition, from 1972 she kept organizing numerous concerts in collaboration with Promusica Nipponia and from 1997 began the series ”Japanese Music”, which is focusing on the younger generations of Japanese musicians and composers.

Mario Caroli
studied flute with Annamaria Morini and he has been deeply influenced by Manuela Wiesler. At the age of 22 he won the very coveted ”Kranichstein” Prize, in Darmstadt, and he has since enjoyed a very highly successful career as a solo flutist. Mario gives recitals as well as flute and orchestra concertos in the biggest concert halls of the world, included Berlin Philharmonie and Amsterdam Royal Concertgebouw, Tokyo Suntory SIMN Hall and New York Lincoln Centre. He has toured worldwide with the major orchestra of all Europe, Japan and US, under the baton of Boulez, Cambreling, Eötvös, Holliger, Rophé... A very higly acclaimed interpreter, Mario has inspired the main composers of today to dedicate to him an important part of the solo flute repertoire of today. Composers such as Eötvös, Fedele, Kurtag, Rotaru, Sciarrino, Stroppa, Yuasa have written pieces for him. His CDs (around twenty until today) have been awarded the highest critical prizes thought the world, from Diapason d'or to Coup de Coeur de l'Académie Charles Cros to Amadeus Prize. "This young Paganini of the flute is an example for many famous musicians. Possessing a technique without limits, he doesn’t content himself with the usual repertoire. When Mario Caroli plays, it is nothing less then love which transforms the self and the surroundings of the self through the music" (S.Sciarrino). A distinguished teacher, Mario Caroli gives masterclasses in the most prestigious Institutions and Universities, such as University of Harvard, Toho College in Tokyo, Conservatoire Supérieur in Paris, Sibelius Academy in Helsinki and he teaches flute in the postgraduated cycle of the Conservatoire National in Strasbourg, where he lives. Mario Caroli obtained also a PhD University degree with a thesis on Nietzsche's ”Der Antichrist”.

Toshiya Suzuki (born in 1961) studied the recorder at the Sweelinck Concervatorium with Walter van Hauwe in Amsterdam. He specializes in performing contemporary music and working to extend the techniques and the possibilities of the recorder. He worked with composers, such as L.Cori, B. Ferneyhough, T. Hosokawa, H. Itoh, H. Nakamura, I. Nodaira, Y. Pagh-Paan, U. Rojko, W. Schurig, S. Sciarrino, G. Stäbler and J. Yuasa and premiered their works. As a soloist he performed at festivals including, Wien Modern, Tage für Neue Musik Zürich, Gaudeamus Music Week, SIMN Darmstadt Ferienkurse für Nene Musik, ISCM World Music Days (1995,2000,2001 and 2002), Festival d'Automne à Paris, Akiyoshidai International Contemporary Music Seminar & Festival, Takefu International Music Festival, Voix Nouvelles at the Royaumont, Composium 2000 at the Tokyo Opera City, Europe-Asia International Festival of Modern Music, Klangspuren, Tongyeong International Music Festival and Festival A Tempo. He has had recitals and workshops in Europe, Russia, Turkey, USA(UCSD), Venezuela, Hong Kong, South Korea, Taiwan and Japan. He was awarded the Nagoya Citizen Art Festival Prize (1994), the Darmstadt Stipendien Preis (1994), the Darmstadt Kranichsteiner Musikpreis (1996) and the Kenzo Nakajima Music Prize (2006). In 2001 he founded a Duo with a sho player, Mayumi Miyata. He has been a lecturer at the Internationale Ferienkurse für Neue Musik Darmstadt in 2002. His solo CD [Tosiya Suzuki Recorder Recital] was awarded 'Musik & Ästhetik Interpretationspreis 2003' by der Gesellschaft für Musik und Ästhetike. The second CD [Salvatore Sciarrino] was released in November 2006.

Composer and Programme Notes

Joji Yuasa, born in 1929, is a self-taught composer. He first became interested in music while a premedical student at Keio University, and in 1952 turned to music full-time when he joined in Jikken-Kobo' (Experimental Workshop). Since then, Yuasa has been actively engaged in a wide range of musical composition, including orchestral, choral and chamber music, film music, music for theatre, and intermedia, electronic and computer music. He has won numerous commissions from such institutions as the Koussevitzky Music Foundation, Saarland Radio Symphony Orchestra, Helsinki Phil harmony Orchestra, Japan Philharmonic Orchestra, NHK Symphony Orchestra, Canada Council, IRCAM, National Endowment for the Arts of the U.S.A., Suntory Music Foundation and Suntory Hall, etc. Since 1981 through 1994 Yuasa had been a professor of the UCLA, San Diego. Also he had been a composer in residence of the Orchestra Ensemble Kanazawa from 1993 to 1995. His music has been widely performed throughout the world such festivals as the ISCM World Music Days, Warsaw Autumn, ULTIMA Oslo Contemporary Music Festival.
Awards & Prizes:
- The 21st Otaka Award and the Grand Prize of the Japan Arts Festival for his Chronoplastic for orchestra (1973)
- The Grand Prize of the Japan Arts Festival for A Perspective for Orchestra (1983)
- The 36th Otaka Award for Revealed Time for viola and orchestra (1988)
- Hida Furukawa Music Award Grand Prix and Kyoto Music Award Grand Prix for Piano Concertino and Symphonic Suite The Narrow Road into the Deep North: Basho (1995)
- The 45th Otaka Award for Violin Concerto in memory of Toru Takemitsu (1996)
- The Suntory Music Award and Art Encouragement Prize of Japan for his musical achievement in 1996 including Violin Concerto in memorial of Toru Takemitsu, Jo-Ha-Kyu for 5 players and Projection No.2 for string quartet (1996)
- Medal with purple ribbon from the Japanese government (1997)
- The Imperial Prize and the Japan Art Academy Prize (1999)
- The 51st Otaka Award for Haptic Cosmos V for orchestra (2003).

Projection for String Trio
(2001)
This work commissioned from the Suntory Hall was premiered at the Lucern Music Festival in 2001 by the Festival soloists (Kyoko Takezawa, Taiji Toyoshima and Tsuyoshi Tsutsumi). I have been composing pieces under the same title since 1955 and this turns out to be the thirteenth one, I took the word ”projection” from Jean-Paul Sartre’s ”projet”, which I interpret to mean as expressing ideas and intentions in terms of time and projecting them towards future. As with the case of Projection for String Quartet I and II, the task I faced was finding a way of composing my own music without being constrained by the form of string quartet, an old vessel that has been established for a great many years. This particular piece lasts approximately twelve minutes including extended technique, inviting the listener onto a new journey, and what serve as its uniting principles are atonality induced from the twelve-tone mode and systematized as well as musical narrativity developing along the axis of time.

Interpenetration for Two Flutes (1963)
– Flute and Recorder version –
Composed from March through June of 1963, ”Interpenetration” was premiered in July of the same year by Ryu Nocuchi and Masao Yoshida as a commissioned work for the second recital of the regular concert series presented by performers’ group New Direction. In the first piece, the two flutes play at fluctuating tempi independently with constant application of accelerando and ritardando, causing the music to proceed without an established speed and the vertical alignment of the two flutes unfixed. However, the ”entrance” for each sound group is designated, as an attempt to replicate the mihakarai (waiting for a good timing) tradition of the Japanese Noh. There are five tempo designations each attached to different staves at 180, 120, 90, 60 and 40, among which the music moves freely. The performer is allowed to take a rest for a discretionary duration in between the sound groups. Although the pitches are serially chosen based on a twelve-tone row, elements such as the number of notes in a measure, allocation of the sound group or group of rests, and tempi, are all dictated by the chance operation of cards.
The second piece includes instructions calling for ”free tempo”, ”non-vibrato”, ”entrance and sustain for as long as possible”, or a strong attack without tonguing particular to the Noh flute.
”Non-structural structure” or ”structural non-structure” are intended throughout both pieces, designed to express the innate intensity in the flowing time and the vitalistic time in which two players inspiring each other, ”Interpenetration” is a concept of Zen, a sort of paradoxical identity where two elements are united in one yet simultaneously independent from each other, allowing for intercommunication in between. Included here is a performance by the ingenious flutist Mario Caroli of Italy and Tosiya Suzuki on recorder, fully exploiting the Japanese vitality exactly as I have intended.

My Blue Sky No 3 for Violin solo (1977)
”My Blue Sky No.3” was composed in Berlin, during the composer’s one year residence, for DAAD Berlin Artists Program in 1977 and was premiered by Akiko Tatsumi in Berlin. The composition explores the stasis and kinesis of sound, so that a sense of velocity of ”coming” and ”receding” sonority in its spatial vector dominates the piece. The title ”My Blue Sky” means for the composer an infinite transparent depth of clarity of the sky, a unity of man and the universe and ”eternal solitude” as defined by Dr. Daisetsu Suzuki as one of the keyword of Zen philosophy. I emphasize this entity, the narrativity of sound, because I am convinced that this embraces the greatest possibility for the future of music that employs existing musical instruments.

Cosmos Haptic III - Kokuh for Nijugen-Koto (20 stringed Koto) and Shakuhachi(1990)
– Recorder version –
There is an inevitable problem for composers to confront in a composition for traditional Japanese instruments – namely the relationship between creation and tradition. Creation originally means to produce something new, free from conventional confinement. However, it is almost impossible to utilize an instrument without engaging in the historical establishment of characteristic techniques specific to the instrument. Consequently, composers face the antinomy of striving for original creation while holding traditional convention in high esteem.
This composition represents a meeting of two ideas; cosmos haptic, one of the sources of my musical imagination, and mumyo (obscure lightness) as exemplified in ”Kokuh Reibo”, a piece of authentic Shakuhachi music. It may be said that it is a musical commitment to the cosmic unconsciousness which Dr. Daisetsu Suzuki teaches. I intended to express my aspiration to the infinite depth of kuh; empty space, the sky. At this specific occasion, this piece is played by tenor recorder (Tosiya Suzuki), and nijugen koto (Nanae Yoshimura) instead of shakuhachi.

Terms of Temporal Detailing for Bass flute
– homage to David Hockney –
(1989)
This piece was composed on the commission from the National Endowment for the Arts (USA), requested by Sebastian Winston, the flutist. Here, carious extended techniques are employed such as multiphonics, tongue ram etc., above all since the pitch ranges of Bass Flute and male voice are similar, various aspects of doubling playing of flute and voice are closely concerned for the composer. This piece was inspired by Photocollages by David Hockney who is detailing space and time, and proliferating them. I employed this idea on the musical time and space.

Projection I for String Quartet (1970)
”Projection I for String Quartet” was commissioned by the Art Festival of the Century in Hawaii in the summer of 1970 and premiered by the Julliard Ensemble. In the following year, it became my first work selected by the ISCM World Music Festival 1971 (London). In this piece, I avoided the Western treatment of the four instruments belonging to the same family which is to play them contrastively against one another, and instead attempted to bring out the homogeneity of the instruments. Also, the piece is not written adhering to the Germanic tradition where music is composed of a theme and its variations. Instead, it proposes music as ”movement of acoustic energy in time” simply as a summation of musical gestures varying in pitches, dynamics, and timbre. It took determination on my part in selecting the string quartet, a completely mature medium, knowing this traditional musical ”goblet” must be filled with a new type of ”wine”. Aside from the new techniques developed by the likes of Penderecki and Berio, I have invented some methods of playing the string instruments which were not existent before, like a glissando produced by vertically applying the bow onto the string, a noise-like pulse produced by applying the bow strongly against the string which fluctuates by microtones, or a tremolo-glissando changing pitch intervals. These types of techniques and musical ideas are later expanded in my orchestral works such as ”Chronoplastic” or ”Time of Orchestral Time”.

Joji Yuasa