Cond. Toshiaki Umeda
Orch. Geidai Philharmonic Orchestra (Tokyo, Japan)
Live recording at 21.05. 2022 Sogakudo Concert Hall, Tokyo University of the Arts

痕跡/螺旋(差延 II) オーケストラのための Trace/Spiral (Différance II) for Orchestra (2021〜22)

29 May 2022, Tokyo Opera City Concert Hall
Toru Takemitsu Composition Award

Yasuo Shinozaki (cond),   Tokyo Philharmonic Orchestra

KEBESU - Circle of Flame (2020-21) for orchestra

Drifting Domain (2022)
by Yota Nakamura

Vc. Aki Kitajima

at Suntory Hall Summer Festival 2022

Drifting Domain for Violoncello

Shamisen: Yuki Nakajima 
Koto(17 strings): Azusa Mori
Viola: Sumire Nagata
Harp: Haruka Koguchi
Conductor:Rika Hayashi

三味線と箏を弓で擦ったり、ハープの弦に音叉を挟んだり、ビオラの弦に木製クリップをつけたり、さまざまな特殊奏法を駆使して独自性のある音響を目指した。

AcculturationⅡ（2022）

Ethan Hayden performs Dmitri Kourliandski's "Voice-off" (2008) live at 'null point 3: impossibilities' (November 15, 2014).

Program note:
The idea of the piece is the voice birth. It borns out of "side" noises produced by the vocal, breath and articulation systems. "Voice-off" means voice behind the screen. However, in this piece I was interested in overlapping different voice/sound layers. The vocal apparatus is divided into several independent lines/parts - sounds produced by lips, tongue, teeth, cheeks, gutter, vocal chords etc. Normal singing appears to be just one of many elements. All these elements are independent like instrumental parts in a chamber ensemble. Their counteraction forms a multilayer structure within which the "lips' part" can form a duo with the "gutter part", and the "vocal part" solo can rise over them.



Kourliandski - Voice-off

出願人: 株式会社バンダイナムコエンターテインメント

商願2015-36611

"組み合わされた風景"
Création : 28/5/2017 Tokyo Opera City Concert Hall
Kahchun Wong et Tokyo Philharmonic Orchestra 

© Tokyo Opera City Cultural Foundation

« Paysages entrelacés » pour orchestre (2016)

Studio recording with Jonas Olsson. 

Umeå, Sweden, 03.12.2018

Score: http://johansvensson.nu/wp/wp-content/uploads/2017/12/STUDY-FOR-PIANO-2.pdf

study for piano #2 (2015). performed by Jonas Olsson.

Con mille fiori che sbocciano così belli 
(With Thousand Flowers Coming Out Beautifully)
(Mit tausend Blumen, die so schön blühen)
(Avec mille fleurs qui fleurissent comme si belles)
(綺麗に咲く千の花とともに)

Video (the same interpretation, better mixing soundtrack)
https://www.youtube.com/watch?v=dlifuGrmqiY

Basel Sinfonietta
(cond.) Baldur Brönnimann
24. 2. 2019 Oekolampad Church, Basel, Switzerland
Basel Composition Competition 2019, received the 3rd Prize

3.3.3.3.-4.3.3.1.-timp, 2 perc. Hp, Pf/Cel, Strings

[program note]
I am always very interested to, influenced by, and impressed with plants, specially small flowers, and not on the commercial merchandise, but commonly seen on the filed, and in mountain, river side etc.
This piece has 11 sections as a form of variations. Each plants gave me an inspiration, as their form, or numbers of petals and leaves, etc. 

0:02 “Before blooming” 
A landscape is moving from winter to spring. A basic motif (C-B-Bb-Eb-A-D-Bb (Bb repeats two times)) at all of the beginning, and then some of transformed motives are presented.

1:22 “spring field”
This section is divided to 4 parts, as (1:22) Common Daisies,(1:52) Speedwells, (2:13) Clovers and (2:41) “carpet of flowers” which mixed all kind of ground flowers. They are gradually glowing, coming out and filling the field.

4:00 “Cherry blossoms”
This section has the relation with the number of 5 because of the number of petals. It is also drawn like a tree which has many blossoms and their petals falling down on the wind. This is also a paraphrase of Japanese traditional folk song “Sakura sakura” with means cherry blossoms.

5:07 “Dog roses”
Dog rose, as known as wild rose, is a kind of climbing roses, and it glows as a bush. It smells more stronger at night. This section quotes “Heidenröslein“ of Schubert/Goethe. Also this section is related with the number of 5 as the petals.

6:57 “Ginster”
It has many straight branches as a brush, and it blooms many yellow flowers. The fruit is as a shell of beans, even it has poison, and after dried it well in a sunny day, it explodes and scatters their seeds.

7:45 “Waterlilies” 
It is inspired by an image of reflection on the trembling water.

8:54 “flower of fennel” 
It has a form of fractal. Therefore I used fractal transformation with the basic motif.

10:00 “Cosmos” 
In this section, the rhythm and intervals is related with the number of eight such as the number of petals of cosmos.

11:18 “Chrisanthemum”
It symbolizes autumn, and specially related with funeral or All Saints Day. But in this section I observed rather the viewpoint of biology, such as number of petals of the flower which has a serie of fibonacci. It is related with the number of bells as 21, 34 and 55.

13:46 “Cyclamen”
In a field of winter, most of glasses has died already. Wild cyclamen comes out at that moment, in a cold wind or even in the snow.

14:29 “At the garden of the time”
Every flower gathers at a garden which across the time. It has two meanings; the first meaning is the assemblage of many flowers of every season, and the second meaning is that many parts in the orchestra have their own tempo independently from the conductor’s tempo. It makes a climax as a development section of sonata form, and it concludes with a harmonic section of strings such as fragrances of many flowers.

This work is included to a trilogy with my clarinet concerto “De Avibus Dialogum” (2017) and the Second Piano Concerto (as I am working actually).

This piece and the full of the trilogy is dedicated to the pianist Chisaki Doi.

Con mille fiori che sbocciano cosi belli (for orchestra)

AGNEL for 12-voiced choir, objects, choirboy und electronics (2013)

ROMAN HAUBENSTOCK-RAMATI: Cantando
Academia para la Nueva Música (CSMA) 
Nacho de Paz, conductor

LIVE RECORDING (2010)

ROMAN HAUBENSTOCK-RAMATI: Cantando / ACADEMIA PARA LA NUEVA MÚSICA (CSMA) [ 2010 ]

Yota Nakamura
2002~
Tokyo University of the Arts / Composition

https://twitter.com/Yota_comp

Drifting Domain for Violoncello

Yota Nakamura

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