perf. by Rūta & Zbignevas Ibelhauptas Piano Duo (LT)
Commissioned by the “Warsaw Autumn” foundation

A slow metamorphosis of silence of the falling snow. Alongside it is a metamorphosis of touching the piano; a study of the touches that vibrate the pianos and turn them into long sounding, resonating objects. Thus you realize that the piano keys are like certain magic buttons by which resonating abysses of the piano can be raised. If you succeed in pressing them right, you may hear at least some music of those resonating abysses, meanwhile the sounds of the key attacks are just little iceberg peaks sticking out on the surface.

Desktop

"Silence of the falling Snow" for 2 pianos (2002)

for horn, trumpet, trombone and piano

Horn, Hisaki Kanai
Trumpet, Hana Ushirogata
Trombone, Yukina Ito
Piano, Yikun Qi

Brass tends to be thought as an image of something loud, fanfare, or hero-like. On the other hand, brass is also used in pop and jazz, melodic, lyric music, not to mention that a lot of possibilities in contemporary music. The image in this piece is cute（かわいい）. Various cute, or beautiful melodic materials are used here: Genshin, Mozart, commercial song, Schumann, Crayon Shinchan, Kana Hanazawa, Pikachu, Ravel, Sumire Uesaka. In the middle section, some performers speak "pikachu", and another one use their instrument to imitate the intonation. The structure is like Mozart's Fantasia in C Minor, K.475.

Fantasia (2021)

Yu Kuwabara - In Between (2018) for alto saxophone, percussion and prepared piano

Cond. Kento Ishikawa 
Fl.&Picc. Jun Nakamura 
Cl. Soyoka Tanaka 
Perc. Kaoru Tajima 
Koto Azusa Mori 
Vn. Hiwako Yabuki 
Vc. Mano Shimojima

日本の箏と西洋の楽器の音色を融合させることを目指した。ビオラをギターピックで弾いたり、ピッコロで能管のような音を出したり、ティンパニの上にリンを置いて弓で擦ったり、和洋のさまざまな音響を引き出した。

AcculturationⅠ(2021)

Written for Goska Isphording&Maciej Frąckiewicz and commissioned by the Musical Aspiration Foundation (PL), co-financed by the Ministry of Culture and National Heritage of the Republic of Poland (programme Composing Commissions, implemented by the Institute of Music and Dance) with the support of the Lithuanian Composers’ Union.

In this piece two instruments of a very different or even opposite origin and acoustic nature are melted into a monolithic “monochrome” mechanism, as if constructing a utopian instrument with characteristics of the harpsichord and accordion. The idea of such composition came from a play on words, only changing a sequence of letters in an English name of the harpsichord: harpSIchord – harpISchord. “Harp” is being read as an arpeggio (e.g. a technique asking to play chord notes in succession upwards or downwards), while “chord” is perceived as a synchronous entrance of all the chord sounds together. In this piece the two indivisible phases of sound – sound attack and resonance – are being separated in a sense of timbre. The first one is obviously assigned to the harpsichord, which naturally has almost no resonance, and the second one clearly belongs to the accordion, dynamically raising sounds from the silence. By the way, the principle of duality/opposites is expressed also through a special use of double keyboards which both instruments have whilst the diatonic white-keys harmony comes from the “eolian (wind) harp” sound.

Justė Janulytė

At van Abbe Eindhoven

"Harp is a Chord" for harpsichord and accordion (2016)

『チョコレート』
オーケストラ

Noriko_Koide

ChOcoLAtE

桑原ゆう｜柄と地、絵と余白、あるいは表と裏 (2018) 三味線独奏と7人の奏者のための（抜粋）
影も溜らず ー 淡座リサイタルシリーズ Vol.1 桑原ゆう個展
2019年7月19日 @東京オペラシティ リサイタルホール
演奏 | 本條秀慈郎（三味線）、梶川真歩（フルート）、西村薫（クラリネット）、中山航介（打楽器）、大須賀かおり（ピアノ）、三瀬俊吾（ヴァイオリン）、笠川恵（ヴィオラ）、竹本聖子（チェロ）、水戸博之（指揮）
本作品の全録音は、KAIROSよりリリースのアルバム「桑原ゆう：音の声、声の音」でお聴きいただけます：https://save-it.cc/hne/yu-kuwabara-sounded-voice-voiced-sound

Yu Kuwabara | figure and ground, image and margin, obverse and reverse (2018) for solo shamisen and seven musicians (excerpt)
recorded live from Shadowless - Yu Kuwabara Portrait at Tokyo Opera City Recital Hall, Tokyo, Japan on July 19, 2019
performed by Hidejiro Honjoh (solo shamisen), Maho Kajikawa (fl/afl), Kaoru Nishimura (cl/bcl), Kosuke Nakayama (perc), Kaori Osuga (pf), Shungo Mise (vn), Megumi Kasakawa (va), Seiko Takemoto (vc), Hiroyuki Mito (cond)
The full recording of the work can be found on YU KUWABARA: Sounded Voice, Voiced Sound (KAIROS): https://save-it.cc/hne/yu-kuwabara-sounded-voice-voiced-sound

YU KUWABARA: Sounded Voice, Voiced Sound

figure and ground, image and margin, obverse and reverse (2018, expt.) for shamisen and 7 musicians

Beta_for accordion and pedalboard  -   released on CD "Sul Tasto" by Luca Piovesan

http://www.col-legno.com/de/katalog/gesamtverzeichnis/sul_tasto

"Beta" is part of a cycle entitled "Corpo è ferita".

The concept of emersion is at the basis of the sonic development of Beta.  The bellows as a lung distributes the air in the areas of greatest need creating, in this way, shadow zones, of instability.

Beta_Extract_http://www.col-legno.com/de/katalog/gesamtverzeichnis/sul_tasto

Composer, pianist
https://youtube.com/@yikunqi9353

Fantasia (2021)

Yikun Qi

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