Performance

Clarinet: Sae Higashi
Guitar: Shin-ichiro Tokunaga

Composition: Yukiko Watanabe

Crossings Showcase Vol. II
 ~ Stockholm × Tokyo × Object ~
2021.7.3　17:00開演　@BUoY（北千住）

Trapeze's waiting 空中ブランコの閑 クラリネットとスチール弦アコースティックギター、E‐Bowのための (2018)

Will Guthrie - drums, percussion, microphones
Rudolf Eb.er - electro-acoustics, microphones

LP on Fragment Factory

rudolfeber.bandcamp.com/album/h-i-l-t
willguthrie.bandcamp.com/album/hilt

Rudolf Eb.er & Will Guthrie - HILT (excerpts)

Panorama

Miya Masaoka: Mapping a Joyful Path

Martin Schüttler - Linked trips - For ensemble and Fernsopran - Live Music Harvest Odense

Recorded at: Little Palm Creek, Finke Gorge National Park, NT
Date/time: 17 August 1990, noon
Environment: Rocky gorge in desert, sparse vegetation, pools
Description: One bird, aware of my presence, gave alarm mimicry of Whistling Kite, Crow, Grey and Pied Butcherbirds, Little Eagle

NFSA title No. 1221379
Track No. 19

These sounds were gathered by Vicki Powys during a three month recording and painting expedition to Northern Australia in the winter of 1990. This collection includes highlights such as the shrieks of the Red-tailed Black Cockatoo soaring overhead and the close calls of a lone Dingo which - at the time - was identified by internationally respected wildlife communities both in Australia and abroad, as the only known recording of such.

"I had recently bought a small four-wheel-drive car and a tent and had set off with a twofold purpose - to explore the landscape for painting and to record wildlife sounds. The sounds would later evoke the places every bit as much as my sketches and photographs. My recording gear was fairly basic, using a compact cassette (Sony WMD6C), with two ‘tie-pin’ microphones in a quasi-binaural setup for stereo sounds. Despite the limitations of the equipment, the sounds are still very evocative for me, of those times and places. The dingo that I recorded at Palm Valley (Finke Gorge National Park, Northern Territory) was later hailed by the British Library of Wildlife Sounds as ‘the only known recording of a lone dingo howling, in the wild’." Vicki Powys, 2014.

Information on the database of Vicki Powys' wildlife recording work (to-date)is available via the NFSA website at
www.nfsa.gov.au/collection/search-collection

General Note: Vicki Powys has been recording and writing about bird song since the 1980's. Her recording expertise includes developing stereo configurations specifically for wildlife recording based on the SASS (Stereo Ambient Sampling System) design. Vicki is also a key member of the AWSRG (Australian Wildlife Sound Recording Group).

You can find out more about her at
www.caperteebirder.com

Vicki Powys - Spotted Bowerbird

today's joy t3 1,15 2024

Il Futuro Del Passato Non Realizzati performed by Ander Telleria

abgrund, for ensemble (2017) 

Lucerne Festival 
KKL Luzern 23.08.2017

Lucerne Festival Alumni Ensemble:
Raoul Cho flute
Tomonori Takeda clarinet
Vitaliy Kyianytsia piano
Bill Solomon percussion
Marina Kifferstein violin
Rachel Koblyakov violin
Francesco Tosco viola
Simon Thompson cello
Juan Díaz double bass
Conducting:
Mehdi Lougraïda

abgrund, for ensemble

18.09.06 | Gaudeamus Muziekweek | Utrecht, Netherlands
Quatuor Bozzini, Dudok Kwartet, and Quatuor Alcea

The Innocence of Trees

…like many surfaces of an attempt, for Schallfeld ensemble (2018)

impuls Minutenkonzerte
esc kunst medien labor Graz
May 26th 2018 

Schallfeld ensemble: 
Myriam García Fidalgo violoncello 
Matej Bunderla saxophone
Szilárd Benes bass clarinet 
Juan Pablo Trad Hasbun double bass 
Davide Gagliardi sound

Program notes:
This piece is about the distance between musical events and the difficulties posed in making connections between them. However, connections between them still somehow exist. They have to be searched for, invented, discovered. There is something disturbing in that process, but also calming. In the second part of the piece I use a text that I wrote, which gives the listeners new opportunities for constructing the flow of the music and deciphering its meaning. 

Text: 

What if we meet and I fall in love?
What if we meet and we don’t like each other?
What if we meet and we like each other 
so much, that we can not 
breathe? 

What if we meet and you start to hate me?
What if we meet and you are boring to me?
What if we meet and I seem old to you?
What if we meet and you like me more?
What if we meet and I like you more?
What if we meet and you fuck me 
so hard, that I don’t wanna
talk? 

What if we meet and I don’t like your smell?
What if we meet and you’re  not impressed 
with my body?
What if we meet and you say something wrong 
something stupid 
something cruel? 
What if we meet and you scare me?
What if we meet and we don’t understand 
each other?

What if we meet and it’s raining 
so heavily
that we have to stay inside and fuck 
all the time
and hug all the time
and talk all the time?

What if we meet and it’s sunny 
so beautiful
that we have to kiss on the grass 
all the time
hide from other people all the time
smile at each other 
all the time?

What if we meet and I hate the way you smoke 
the way you walk
the way you’re touching me?

What if we meet and you don’t like my thoughts, 
my worlds, my colors of the 
rainbow?
What if we meet and we realize that we 
are two different galaxies?
What if we meet and I feel that I’m not 
enough for you?

What if we meet and it gets awkward? 
What if we meet and I get anxious?
What if we meet and you faint?
What if we meet and …? 
                ………
                ……
                 ….
What if we never meet?

Sonja Mutić

...like many surfaces of an attempt, for Schallfeld Ensemble

View is a solo piece written for cellist Emile Girard-Charest and can be realized either on cello with a "bach-bow" covering three or four strings, or with a bowed fretless guitar with the two top strings removed.

Emile Girard-Charest - Cello

Recorded live at UdK, Berlin on 10th of July 2019

View (for cello)

Yukiko Watanabe, a Japanese composer, has a unique approach to music called "Audio-Philosophy," which emphasizes experiencing music through sound rather than language. Mindful listening and composition are at the core of her "sound-inspired creations" philosophy. She co-represents JWCM, conducting research on various aspects related to female composers, and is involved in curatorial activities with the Cabinet of Curiosities initiative. She is also the founder of Yamabiko Lab, exploring the connection between nature and contemporary music.

Yukiko's education includes mentorship from Keiko Harada, Beat Furrer, and Johannes Schöllhorn, and she has received recognition through awards like the <Ö1 Talentebörse-Kompositionspreise> in Austria, selection for the Asian Composers Showcase in 2015, and the 26th Akutagawa Composition Award.

Currently, Yukiko is based in Nagano, Japan, and she shares her knowledge as a lecturer at Toho Gakuen School of Music, Aichi University of the Arts, and Nihon University.

Trapeze's waiting 空中ブランコの閑クラリネットとスチール弦アコースティックギター、E‐Bowのための (2018)

Yukiko Watanabe

Related tracks

Trapeze's waiting 空中ブランコの閑 クラリネットとスチール弦アコースティックギター、E‐Bowのための (2018)

Yukiko Watanabe

Related tracks

Trapeze's waiting 空中ブランコの閑クラリネットとスチール弦アコースティックギター、E‐Bowのための (2018)