Masashi Yamamoto
Masashi Yamamoto
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Atelier Dai Q Geijutsu

1/26 (fri) 19h

＆

1/27 (sat) 15h

 

Philippe Boivin：ZAB ou la Passion selon Saint-Nectaire (1981)※Japan Premiere 

Yasunoshin Morita：Impromputu No.3 (commissioned by Masashi Yamamoto・2021)※World Premiere 

Masamichi Kinoshita：piling up stones IX (commissioned by Masashi Yamamoto・2023)※World Premiere 

John Cage：The Wonderful Widow of Eighteen Springs (1942) 

Jacob Druckman：Valentine (1969) 

Tochi Ichiyanagi：Generation of Space (1985) 

 

 

 

1/27 (sat) 19h 

＆

1/28 (sun) 15h

 

Philippe Boivin：ZAB ou la Passion selon Saint-Nectaire (1981)※Japan Premiere 

Yasunoshin Morita：Impromputu No.3 (commissioned by Masashi Yamamoto・2021)※World Premiere 

Masamichi Kinoshita：piling up stones IX (commissioned by Masashi Yamamoto・2023)※World Premiere

Dai Fujikura：Bis (2018) 

Yann Robin：Myst (2019) ※Japan Premiere 

Hinako Takagi：Lost in____ VI commissioned by Masashi Yamamoto・2022) 

 

 

 

How far can I go and what can I do with a double bass?

This performance will explore the essence of the double bass solo, with unaccompanied works that bring out the full potential of the double bass, and masterpieces that require challenging and varied expressive skills and performance techniques.

The distance where even the sound of breathing can be heard 　 　 　

The venue, Atelier Q Geijutsu, is an experimental and free space that transmits a variety of expressive arts. The many contemporary works that make the most of the characteristics of the instrument, together with the lighting direction of Seiji Hayakawa, chief director of Atelier Q Geijutsu, will make for an unprecedented three days of music. 　

World premiere of a new work commissioned to Japanese composers　

While I made it its mission to revive and pass on works that are rarely performed again, in recent years I have also actively commissioned new works from Japanese and overseas composers in order to present the appeal of the double bass in a new way.

In this performance, I will present the world premieres of two highly original works commissioned from up-and-coming composers with strong personalities.

Masamichi KINOSHITA

Born 1969, Ono, Fukui. After experience in brass bands and hard rock, studied music at Tokyo Gakugei University. He was selected for the Toru Takemitsu Composition Award and other prizes. Currently, his activities are based on three pillars: compositions commissioned by or jointly organised with various groups and individuals, organising radical concerts with the cooperation of outstanding performers, and improvisation using electrical equipment used in unusual ways.
In recent years, they have composed and premiered around 20 pieces a year, mainly chamber music. Most of the cutting-edge performers active in Japan who are interested in contemporary music have premiered and performed their works.

Masashi Yamamoto

Yasunoshin MORITA

Studied composition under Yoriko Matsudaira and Frédéric Durieux. He has received numerous awards, including the Japan Contemporary Music Society Composition Newcomer Award and the Valentino Bucchi Prize (Italy); selected for the 2013 and 2023 ISCM World Music Days (Vienna, South Africa); invited composer for the 2017 ISCM World Music Days (Vancouvat). Director of the Japan Contemporary Music Association.

Masashi Yamamoto

 

 

 

Japanese premiere of an eccentric foreign work

『ZAB』Philippe Boivin（1981） 　

A theatrical problem piece that is unique among contemporary works with a variety of ideas. Due to its difficulty, this work has only been performed by two performers in the past. The special techniques and theatrical performances scattered throughout the piece were highly praised by the composer himself in the summer of 2023 in the south of France.

 

『Myst』Yann Robin（2019） 　

A ‘monster’ created by the double bass. It radically overturns the double bass, or stringed instrument playing. Is there a fine line between too much destruction and too much beauty? In Darmstadt, I was taught by the premiere performers every detail of expression that cannot be read from the score. 　

All of them demonstrate a meticulous ability to reproduce the music, and the time has finally come for the first performance in Japan.

 

Rubbing, singing, playing, talking, strumming, moaning the double bass...　

 

Extremely stimulating and unpredictable works, completed only by the double bass and performers. 　

Please come and experience what Masashi Yamamoto, who captures contemporary works with an original approach, will perform at the venue.

 

『The Wonderful Widow of 18 Springs』John Cage  (1942)

Song of just under three minutes. Accompanied by piano, but treated as <percussion>, which is softly tapped with fingers or fists with the lid closed. In this performance, the double bass is played as <percussion>.

 

 

『Valentine』Jacob Druckman  (1969)

A contemporary work for solo double bass, probably the most performed work in the world since its premiere in 1969. The performer strikes the instrument's body, pieces and strings with the bow, both hands and timpani sticks, producing a variety of beats and tones. There is line reading, exclamations and also sung counterpoint. ‘Valentine begins with great intensity and moves towards a state of euphoria.’ The performers must attack their instruments with an almost Marquis de Sade-like concentration.’ (from the beginning of the score)

 

 

『ZAB ou la passion selon saint nectaire...』Philippe Boivin (1981)   ※Japan Premiere

The players do not simply play the instrument, but use every movement of handling the instrument, their voice and even their breath, giving the double bass a role that is more than that of an instrument. Because of its difficulty, only two players have performed it in the past. For decades, it existed as a buried masterpiece. Boivin also studied electronic music with Xenakis and others in the early days of IRCAM, and ZAB, written during that period, is a completely acoustic work that is truly challenging and experimental. In order to revive this work, we visited the composer this summer to reconsider it together.

As of 2023, new works are being created one after another, but it is also a new challenge to uncover works that have been unknown until now, by exploring, unravelling and revealing buried works that have not been performed very often. The year of composition is 1981, but even today, more than 40 years later, this work still feels new. I am very much looking forward to seeing the quirky ideas and techniques further refined and presented.

 

Masashi Yamamoto

Philippe Boivin

Born 1954. Studied musicology at the Sorbonne, harmony at the Conservatoire National Supérieur de Musique de Paris and composition with Max Deutsch; awarded the SACEM prize for best educational work in 1985 and the Georges Enesco Composition Prize in 1988; studied new music with Iannis Xenakis from 1979; studied at IRCAM and He also studied at the University of California, San Diego, and later worked as a producer for Radio France.

He has written numerous works for a variety of instruments, ranging from solo pieces, chamber music and large orchestras.

Masashi Yamamoto

 

『Generation of Space』Tochi Ichiyanagi  (1985)

It is written in a way that is as easy on the instrument as it is on the classical, and will be liked by those who are not interested in contemporary music. The piece begins with a slow monologue with effective use of heavy notes and harmonics, which eventually builds in density to a rhythmic section dominated by eighth notes. After a climax is built up over time, it slowly relaxes, returns to a gentle section and is finally cut off by a sharp pizzicato. After a long harmonic aftertaste, a tranquil space is left behind.

 

 

『Bis』Dai Fujikura  (2018)

Using a special tuning, the double bass is strummed like a guitar throughout the entire piece. Stringed instruments usually produce a sound by pronouncing the strings from the ‘pressing point’, but because the double bass has long strings, it can produce a loud sound even if the strings are pronounced from the ‘pressing point to the upper bridge’, in other words, on the fingerboard. This work can be said to have established a new method of playing the double bass, making good use of the pitch and acoustic difference between the ‘piece to string pressing point’ and the ‘string pressing point to upper part’.

 

Masashi Yamamoto

 

『Myst』Yann Robin  (2019)  ※Japane Premiere

After an introductory section with long, heavy tones directed down to the intervals of the shimmer, a furious storm of sound that could be described as noise begins almost throughout the piece. The left hand slams the fingerboard, the right hand slams the bow against the strings. At other times, the left hand plays Bartók pizzicato while the right hand tremolos under the bridge. All these sounds have to be completely controlled. The fierce battle between the instrument and the player, which goes on from beginning to end, comes to a quiet end with a long tone on the lowest note.

 

 

『Lost in_____Vl 』Hinako Takagi  (commissioned by Masashi Yamamoto・2022) 

A composer to watch, winner of the composition category of the Geneva International Music Competition in 2019, Lost in______ is a series of solo pieces, so far composed for oboe, violin and horn. This is the sixth in the series. The inspiration for this piece came from the novel Ryutandan, written by Kyoka Izumi, a writer active from the late Meiji to early Showa periods. The piece is a natural progression that can be achieved simply by playing the score as written. Harmonics and special techniques are also used effectively.

 

 

『Impromputu No.3』Yasunoshin Morita  (commissioned by Masashi Yamamoto・2021)　※World Premiere

One minute the bottle is running around on the fretboard, the next you are intoxicated by the lingering harmonics of the pitchcart, the next you are pounding out a rhythm with the mallets, and the next the bottle is running around on the fretboard again. The piece is not only surprising for its rollercoaster-like slow speed and Formula One racing speed, but also for its consistent sonority and scattered improvisations.

 

 

『piling up stones』Masamichi Kinoshita  (commissioned by Masashi Yamamoto・2023)   ※World Premiere

Ninth in a series of works using two tanka poems by Kenji Miyazawa. The piece will be in the form of a performance and talk. Mr Kinoshita and I have been to many of each other's concerts and have premiered several of his solo pieces. We also performed together in July this year. He is without doubt the composer who has heard me play the most. I am convinced that this will be a unique work.

 

Organized by Masashi Yamamoto

Supported by Tokyo University of Fine Arts Douseikai   Japan Society of Contemporary Music 

Grant : Arts Council Tokyo [Startup]

This concert is recommended by the Suntory Arts Foundation.

Masashi Yamamoto
Masashi Yamamoto
Masashi Yamamoto