En penetrant en automne_live_20211111

Ayana TSUJITA 「ハイドンのおまじない」(2022) https://youtu.be/-zEGtati550
Piano : Tatsuto MASUDA
Video editing : Jun ISHIKAWA

Regarding the technique that has long been used to "replace the spelling of a name with a sound," I have long had some doubts about the relationship between the actual sound that resonates and the letter. I wanted to find my own connection between these two points, and this was the genesis of the idea for this work.

As a different topic, last year I had the opportunity to visit a fashion brand with a witch motif, and I became very interested in the idea of modern witches and the culture associated with witches. There I learned that there is a writing system called "runes," which is closely related to witches.

Runes are letters used in ancient Europe for divination and rituals. Each of them has its own symbolic "color" and "meaning," and you can find runes in various scenes even today, such as combining some of the letters to make an original mark to ward off evil, or replacing your name with a runic character.
When I learned about these uses of letters, I felt that the use of letters as sound name symbols in classical music is also similar to a kind of "spell," and I found my own meaning in the use of sound sequences in which the alphabet is replaced by sounds.

The runes can be adapted to the modern alphabet.
The present work consists of six sections in which the "HAYDN" alphabet string is replaced by "sound strings" and "runes".
Following the opening section, which uses "H-A-D-D-G" as the sound string, the music expresses the symbolic "meaning" and "color" of the corresponding runes when the alphabet is replaced by the runic letters.

A section using a sequence of notes with the symbolic names of the notes at the beginning of the section.
The accentuation of the word "Haydn" when it is uttered, as well as the highs and lows of the accent, etc.
The image is incorporated as an incantation.


Next are the rune letters corresponding to HAYDN and their symbolic meanings and colors.
If we replace "HAYDN" with the runic letters, we get "ᚺᚨᚣᛞᚾ".

    ᚺ Hagar
    Hail, destruction, sudden accident, bright blue
    The sound falls in spots like hail. This section is like sitting still and waiting for the storm to pass.

    ᚨ ansur
    Mouth, communication, dark blue
    It is composed as if the right hand and the left hand are speaking. The left hand gradually stops listening to the right hand.

    ᚣ el.
    Death and rebirth, defense, dark blue
    The piano lid is closed and a passage from Haydn's work is played.

    ᛞ Daeg.
    Beginning and end, dawn, routine, power of light, bright blue
    This section is developed in a routine with motifs using note rows, which is also meant to be a rebirth from the previous section.

    ᚾ niid
    Binding, necessity, patience, black
    A recreation of the beginning of the piece unfolds.

Translated with www.DeepL.com/Translator (free version)

Magic spell of Haydn / ハイドンのおまじない(2022)

2012年に作曲された「しあわせのおと」、2015年に作曲された「みらいへのあしおと」、そして「おと」シリーズの3作目であり新曲の「おとあわせ」。
「わたし、めぐる」https://soundcloud.com/tayannu/2020a?utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing の原型になった作品です。
未来に向かって前向きに、明るい気持ちで踏み出せますように。

おとあわせ（わたし、めぐる Piano version）(2020) /Excerpt

premiered on 31.01.2023 by Zöllner-Roche-Duo
Heather Roche, clarinet
Eva Zöllner, accordion

sound recording: Max-Lukas Hundelshausen

Zerfließen... für Klarinette und Akkordeon (2022)

Ta-tan-ta-ta for Violin, Flute and Piano

MERRY - GO - ROUND / Composed by 辻田幸徳

「2月の演奏会」https://twitter.com/amis_libelle による委嘱作品「みらいへのあしおと」ショートversion。（ライブ録音）

本作は2012年に作曲された「しあわせのおと」に続く「おと」シリーズの二作目。
聴いてくださった皆さまが未来に向かって前向きに、明るい気持ちで踏み出せますように。

-------------------------

みらいへのあしおと（short version）(2017) /Excerpt

played by Quatuor Tana, 29.05.2012 Bruxelles, Embassy of Japan in Belgium

String Quartet with electronics (2012)

Yuragi for double string quartet (2016)

本作は美術家・千葉紘香氏の「あなたにとっての庭園とは」という問いかけを発端とし、作曲された。

　私にとっての庭園とは、自分自身と対話をする場所である。植物、虫や動物の気配を静かに感じながら考えを巡らせていると、今までの価値観を全くひっくり返してしまう事に気づく。

　タイトルの「Blink」はまばたきの意味。まばたきをきっかけに世界の見え方がガラリと変わってしまう瞬間。「可愛い」と思っていたものは自分に牙を剥くかも知れない、「恐ろしい」と思っていたものは本当は自分の味方なのかも知れない―その様な体験をこの作品に込めた。

　作品は、庭園に配置された草木や人工物など様々なオブジェを見て回るように、それぞれ違った質感を持つ非常に短く断片的なモチーフを組み合わせて進行する。木の枝が揺れる様子、葉から落ちる水滴、規則正しく並ぶ石畳。音楽は次第に秩序立ったシステムに従って流れるようになる。

　作品の中間地点で心臓の音を模したバスドラムが大きく響き、まばたき（Blink）をすると、目の前の風景が反転した様に全く別のものに見え始める。各モチーフはグロテスクで強烈な音響に変貌してしまう。大きな転機を経たのち終盤では、冒頭とは異なる部分に焦点を当てた同モチーフにより音楽が再構成される。

　完成した本作を元に千葉紘香氏、Yayi Tang氏により映像作品が制作され、プロジェクションマッピングによる投影を伴い初演された。

Animation : 千葉紘香、Yayi Tang
Music : 辻田絢菜

Blink↔ʞnilᙠ for Orchestra(2019)

Gemini rabbits / ふたごうさぎ(2019)

Born in 1978 in Yokohama, Japan, Takuya Imahori graduated Tamagawa University College of Literature, and received the superior diploma in composition from L'École Normale de Musique de Paris Alfred Cortot. In 2005-06, he collaborated in the composition courses of the Institut of Research and Coordination of Acoustic and Music (IRCAM). 2012-2014 he has studied at the Haute École de Musique de Genève. He graduated the Accademia Nazionale di Santa Cecilia di Roma in 2017 with the perfect score with praise. Imahori studied composition with Yoshiyuki Doi, Masami Mikai, Yoshihisa Taira, Jean-Luc Hervé, Philippe Leroux, Michael Jarrell, Luis Naon, and Ivan Fedele. He also studies conducting with Laurent Gay and actually with Yoichi Sugiyama at Civica Scuola di Musica di Milano Claudio Abbado. He participated in world-class summer courses and master-classes such as Darmstadt (Germany), Centre-Acanthe (France), Voix-Nouvelle de Royaumont (France), Composit (Italy), Savellyspaja (Finland), ISA (Austria), Takefu (Japan) and Akiyoshidai (Japan). He was awarded the Gaudeamus Prize (Netherlands / 2001) for his work Circle of Time for 16 players. His works have been performed all over the world, in such renowned festivals and venues as Donaueschinger Musiktage, Festival Présences of Radio France, Yokohama Minato-mirai Hall's commissioned concert “Just Composed in Yokohama”, “Musik der Gegenwart” radio programme concert in Rundfunk Berlin-Brandenburg, Pharos International Contemporary Music Festival in Nicosia, Festival L’Archipel in Geneva, Biennale of Venice and Wittener Tage. He has been invited to the resident composer in Visby International Composers Centre in 2012 and 2015, and also selected and invited to the “KulturKontakt Austria” Artist in Residency Program in Vienna by Austrian Federal Minister for EU in 2018 April to June. Takuya Imahori received the 3rd prize of the 2nd edition of Basel Composition Competition in 2019 with his work “Con mille fiori che sbocciano così belli”.