Ichiyanagi - Cloud Atlas X

for piano was commissioned by Kaori Kimura. It was composed as the last work in the piano music cycle Cloud Atlas (1985-99). Works in this cycle are still shaped by the powerful writing of Ichiyanagi's previous works, in which different elements, such as color and rhythm, accumulate to create a texture that becomes increasingly dense. The image of a cloud, an image that was frequently used in classical Japanese art, is transformed into the contemporary image of the mushroom-shaped cloud of the atomic bomb. (notes adapted from Yougaku, by Luciana Galliano)

The first performance was given by Kaori Kimura in Tokyo on June 14, 1999.

Niimi - Lux Originis

Lux Originis means literally `primitive light.' Here `light' is life. Until recently, I had long thought that color and shape were nothing but a semblance, in which the essence appears to the human eye but is not actually the essence itself. A short time ago, I was enlightened by the writings of Fukumi Shimura, a master of the art of dyeing and weaving (a soft, thin cloth that is usually hand-woven from handspun silk), and now I know I was wrong. Color and shape are a part of essence. I now feel that light, color and shape are produced by the energy of the unity of essence, phenomenon and mystery.

This piece comprises three parts played without pause. The images I had when I wrote this work are as follows: I. is light, or a premonition of life; II. Is the surge of energy before the birth of life; and III. Is light born and enveloping us softly. I tried to put the colors of wind and string instruments and piano into unity and contrast. In the second part, I used heterophony extensively. - TN

Nishimura - Duologue for Timpani and Piano

When I started to think about the combination of timpani and piano, one idea that came to my mind was to write the piano part in a lower compass than the timpani part. Essentially, the timpani is a low-pitched instrument - however, one can play more low sounds on the piano, and the sound of the strings becomes tougher and stronger towards the lowest register. Musical conceptions that were first formulated in this work include one that became the climax - the upper part (timpani) and lower part (piano) are played in unison keeping the interval of two octaves. Another is strongly played phrases in very fast irregular time. As a result, this piece was formed in two parts of varied movement - the strength of the first half, and the rhythmic passages in Vivace tempo of the last half. The timpani part requires great virtuosity and concentration. - AN

Ichiyanagi - Cosmic Harmony

This work for cello and piano was commissioned by the Suntory Music Foundation. The first performance was given by Tsuyoshi Tsutsumi and Yuka Kobayashi at the Cello Festival in Kronberg on October 22, 1995. - TI

Yuasa - A Winter Day: Homage to Basho

This work takes its title from an anthology of Basho's works. The music is frozen and static, influenced by the extremely evocative use of brevity in haiku to fix a moment full of tension in which nothing visible changes, in a stasis full of palpable kinetic energy. It is important to note that in Yuasa's portrayal of Basho's words through music, there is no use of symbolism. What fascinates him is the image itself, and the tactile sensations that image provokes. In his brief introductory note to this work, Yuasa describes recent changes in his creative perspectives: "The work reflects not only my interest in the temporal structure of music, but also my interest in the semiotic depiction of music; I am more interested in the musical gesture than in structural concepts."

The piece is in six movements, and the musical material given to the five instruments is reduced to a minimum: superposition of different patterns of repeated notes with irregular rhythms; ad libitum passages in which only the widely spaced pitches are indicated; short percussive patterns on the piano; and harmonics and flutter-tongue on the flute and alto flute (reminiscent of the noh style of flute playing). These minimal elements are to create a slow, simple song embellished with ornaments (perhaps more aptly described as "gestures"); according to Yuasa, it is in these minimal movements that the essence and most of the meaning of the music lie. (notes adapted from Yougaku by Luciana Galliano)

A Winter Day was commissioned by the Canada Council and was premiered by the New Music Concerts on February 14, 1981, in Toronto.