Yu Kuwabara | Time Abyss (2019-20) for 17 musicians divided into 2 groups (excerpt)
commissioned by International Ensemble Modern Academy in the context of CRESC... Biennale für aktuelle Musik, CRASHKURS HUMAN__MACHINE
recorded live at Albert-Schweitzer-Schule Offenbach, Offenbach am Main, Germany on 1 March 2020
premiered by Enno Poppe (cond) and Ensemble Modern
awarded The 31st Yasushi Akutagawa Suntory Award for Music Composition

桑原ゆう｜タイム・アビス (2019-20) 17人の奏者による2群のアンサンブルのための（抜粋）
2020年3月1日 @アルベルト・シュバイツァー・スクール・オッフェンバッハ（オッフェンバッハ・アム・マイン／ドイツ）
cresc...現代音楽ビエンナーレ「クラッシュコース ヒューマン＿マシン」
演奏｜エンノ・ポッペ（指揮）、アンサンブル・モデルン
第31回芥川也寸志サントリー作曲賞受賞作品

Time Abyss (2019-20, expt.) for 17 musicians divided into 2 groups

«Mimma’amaqim» (Out of the depths)

Premiere: Stadtcasino Basel – Musiksaal, January 25, 2024
10th Mizmorim Chamber Music Festival Basel
Lucerne Festival Contemporary Orchestra (LFCO)
Basler Madrigalisten
Tito Ceccherini, conductor
Recorded by SRF (Schweizer Radio und Fernsehen)

This Psalm is a cry, a call out for help, for being heard by God.
It is often described as a canticle of gradual ascent (Shir Hama’a lot). This ascent could be understood as a rise from the abyss to redemption.
I believe this Psalm could resonate with many, even non-believers, as it shows a universal and tragic part of human life and human nature. That is the experience of grief, depression, abuse, solitude or simply being in a place so dark that leads to despair.
But it also sends a message of light, optimism, and hope, through the conviction that one will be heard.
Even inf it comes from the Hebrew tradition it shows universal values that can be embraced by many cultures and promote tolerance and acceptance. In fact, this psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies.
In this sense, during the piece the text follows a chronological use and adaptation throughout the Judaism and the different versions of Christianism: Latin: 530, Rule of Saint Benedict; German: Martin Luther Hymns, 1524, al and eventually the English: King James Version from 1610

Miamma'amaqim

Centrifugal melodies was commissioned by Vertixe Sonora Ensemble, and composed at the University of Music and Performing Arts Graz in Austria in 2014. This piece is inspired by centrifugal force caused by cyclic motions. From the idea of centrifugal force the basic structures of the 2 dimensions of this composition are derived: fluctuations of musical tension, and emergences of melodies.
The fluctuation of musical tension is associated with changes of centrifugal force in dependence of the speed of rotation. In imitation of irregular changes of centrifugal force, the musical tension oscillates between higher and lower intensities, while three types of melodies and few types of phrases are introduced.
The emergence of melodies is designed in analogy to the visual image of an object revolving in space,where the different sides repeat to come into and out of view. Eventually the four types of melodies vanish during the course of the piece. Toward the end, the tension of the piece gradually raises in accordance to the intensified centrifugal force during an acceleration of the cyclic motion.

Centrifugal melodies for flute, violin, harp and electronics(Live)(2014)

Julien Vincenot, Mémoire de l'eau for accordion and live computer (2015)
Yohann Juhel, accordion
Studio recording with the help of Kevin Gironnay
Premiered in July 2015 at Conservatoire national supérieur de Paris — Salle Maurice Fleuret

Mémoire de l'eau for accordion and live computer (performed by Yohann Juhel - 2015)

Into sections is a musical examination of the relationship between identity and place through the sounds of insects. In their multitude, the tiny creatures are often heard before they are seen, composing an ever-present aural territory to which we are tenants. Though many species of insect have a global reach that rivals our own, the different sounds they make sometimes imprint and make a place distinct. 
Into sections was commissioned by the Tempest Flute Ensemble in Vancouver and ECM+ in Montréal; the two cities in effect my two homes, the piece examines personal narrative through space as defined by recordings of insects made predominantly in those two geographical regions.
Despite their important ecological roles, insects are often associated with disease and danger; they are ‘alien’ to us. So, the piece is also an examination of the alienation between self and place resulting from living in different places; of divorcing oneself from a sense of ‘home,’ of the kind of revulsion or disgust of embodiment, as in the body horror genre cinema of David Cronenberg.
There are other bisections in the piece, between noise and pitch, light and dark (night and day), cutting divisions into the continuum of the body of sound. The idea of filters is used to govern form within sections, cutting parts of the spectrum below or above certain threshold; the piece derives some material from the application of this technique in Daft Punk’s One More Time.

Into sections - ECM+ Flûtes, Véronique Lacroix

An audible attractor created by a 3 neuron recurrent network topology.

Chaotic Oscillation 1

A mosaic is an image formed by small fragments of stone, wood, or other material. Each one of those fragments does not have a specific meaning by itself, its role is only revealed when we observe the formed global image. And each fragment of a mosaic usually has only one color.
Mosaic, for piano, toy piano and electronic sounds, uses a similar technique. The piece is composed by a succession of phrases and musical gestures of small dimensions. They gain meaning as the work progresses in time. Each one of these small gestures is almost an independent unit, and its musical material does not need to relate directly to what precedes and follows. It will be their succession in time that will reveal the “musical color” of the piece. This work was commissioned by Viseu Conservatory of Music.

Mosaic

2008/10/17 @TokyoOperaCity (Tokyo, Japan) 
Utaka Fujiwara, Va I
Fumiko Kaï, Va II
The 25th JSCM Award for Composers

act III for 2 violas

Cikada Ensemble
BCA19
Ankara, Turkey

Instrumentation: Fl, Cl, Pno, Perc, Vl.1, Vl.2, Vla, VC, D.B.
Live Record

Sheida: https://soundcloud.com/mohammad-h-javaheri/sheida-for-ensemble

Painting: Zoheir Javaheri

Devenir fou par amour_Sheid/V2 (for ensemble) | 2019

ギター演奏：山田岳　Classical guitar: Gaku Yamada

初演：2019年11月　メニコンANNEX HITOMI ホール（愛知）
再演：2020年2月23日  ミッドジャパン音の芸術祭（マルチチャンネルヴァージョン）（愛知）

再演予定：2020年10月（東京）

Chatoyant for classical guitar and electronics

*The live electronic part is omitted in this version.

Heiko Maschmann (Double Bass)
Katrin Maschmann (Erectronics)
Live Performance on 21th Jun. 2020 at Heinrich Osterwold-Halle in Lauenburg, Germany

Fukuda: Assimilation for double bass and electronics* (2013/2020)

Takuto Fukuda(b.1984/Japan) is a composer, sound artist and gestural controller performer. How can music alleviate intercultural collisions today? This question awakened him to the social significance of the concert, which provides a shared musical experience to all audience members regardless of race, religion and nationality. In the hope of attracting more people to the concert, he has been researching the enhancement of liveness–attributes that make music live such as spontaneity, corporeality and interactivity. His approaches encompass, among others, gestural control of music, interactive audiovisual installations and Game Pieces – compositions whose unfolding is determined in real-time according to rules, chance operations and competitive strifes between performing opponents toward a goal.

His pieces have been prized at several competitions such as ICU International Composers Contest(Ukraine), AndrewSvoboda Memorial Prize(Canada), ISMIR2020(Canada), IEMC2020(China), WOCMAT 2013(Taiwan), CCMC2011(Japan), and Musica Nova 2010(Czech), selected for performance at numerous music festivals in Europe, Asia, North and South America such as Ars Electronica(Austria), ISCM World Music Days 2016(Korea) andICMCs(Slovenia, Greece, USA), and performed at prestigious institutes such as IRCAM(France), ZKM(Germany),ina-GRM(France), CIRMMT(Canada) and CCRMA(USA).

He received his first MA(Sonology/2011) from The Royal Conservatory in The Hague in The Netherlands and his second MA(Computer Music/2016) from the University of Music and Performing Arts Graz in Austria. He has completed his D.Mus in composition at McGill University in Canada with Chris Paul Harman, Georgia Spiropoulos and Sean Ferguson.

He has attended private lessons with outstanding composers such as Philippe Leroux, Philippe Manoury, IsabelMundry, Beat Furrer and Chaya Czernowin at various composition academies such as Matrix Academy(Germany), Impuls Academy(Austria) and Manifeste 2016(France).

Centrifugal melodies for flute, violin, harp and electronics(Live)(2014)

Takuto Fukuda

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