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CD0140 Psappha 2500YEN

Eliot Carter Pieces for Timpani (1950/1966)
Recitative/ March/ Moto Perpetuo/ Improvisation

Title: Psappha
Artists: Shiniti UENO&Percussion Group PHONIX Reflexion
Instrumentation: Percussion
Included: 1.Recitative by Shiniti UENO
2.March Shiniti UENO
3.Moto PerpetuoShiniti UENO
4.Improvisation Shiniti UENO
5.Zyklus by K.Stockhausen
6.¡Öoptical Time¡×for Timpani Solo by Isao MATSUSHITA
¡¡¡¡The score:¡¡" OPTICAL TIME" M0718 1,890yen

7.GROUND for Solo Percussion by Norio FUKUSHI
8.Psappha by Xenakis
CDNO�¡ø PHNX-0003 These are part of the eight pieces for Timpani composed between 1950 and 1966. They are significant in that they changed the very concept of Timpani sound by adding sounds of rim shots, explosions, and death sounds. It is not too much to say that many of the timpani techniques used in contemporary music first appeared in these pieces.
Carter¡Çs unique approach to rhythmic aspect of music can be seen in his mathematical representations of tempo and rhythm in his music.
Each of the pieces is dedicated to a renouned American timpanist: ¡ÈRecitative¡É is dedicated to Morris Lang; ¡ÈMarch¡É to Saul Goodman; ¡ÈMoto Perupetuo¡É and ¡ÈImprovisation¡É to Paul Price. (Shiniti Ueno)

K. Stockhausen Zyklus

This piece was first performed in Darmstadt in 1959 by Christoph Caskel. The title means ŽÒcircle,ŽÓ and the music, which consists of 16 pages, does not proceed in the traditional fashion of from beginning to end, but allows the performer to start from any page and proceed in any direction. Each page gives directions of how to perform the piece by way of figures and signs, and the piece is played once through in accordance with the directions given, beginning at the performerŽÕs chosen location and ending with the first note that was played at the beginning. This freedom of the performer, however, is limited within the composerŽÕs calculated order. The performer nonetheless is allowed to try various combinations and choices, making the performance his or her own. This kind of music is a challenge to the performerŽÕs musical sensitivity and his or her ability to bring out the best in the music, which can be very rewarding if successful.
I first heard the performance of this piece when I was still in high school. It was performed by Gualda at Ueno Bunka-Kaikan in Tokyo. During my studies abroad, I was also very fortunate to have had a chance to study with Gualda and Caskel, and this experience has remained invaluable to me. (Shiniti Ueno)

Isao Matsushita Optical Time

I composed Optical Time in 1987, commissioned by Mr. U»Ïo, who premiered it in his recital in the same year, and it has since been performed on various occasions. The central concept is to create spaceoptical time by using only 5 timpanis rather than creating musical space using various instruments. At the beginning of the piece, the musical line starts from far away, and individual sounds gradually mass together, and radiate into the wider space. This ŽÒOptical TimeŽÓ also features pedaling which controls timpani tones and creates a spectacular display of spaceoptical time. Mr. U»Ïo has premiered my ŽÒLyrical TimeŽÓ for Organ and ŽÒOptical ScopeŽÓ for Electric Organ and percussion instruments, and each time I have been impressed with his acute sensitivity, extraordinary techniques, and the ability to understand my work fully and to create wonderful effects. Shiniti U»Ïo brings out originality in every piece he performs and can truly be called an ŽÒartist who creates a new world of music.ŽÓ He is truly an indispensible expert of Japanese contemporary music and a performer and friend whom I trust wholeheartedly. (Isao Matsushita)

Norio Fukushi Ground for Solo Percussion

Commissioned by Sumire Yoshihara, I composed ŽÒGroundŽÓ in 1976. Performed at international musical competitions in Geneva and Munich in the 90s, ŽÒGroundŽÓ has since been boldly played at college graduations. It requires high technical skill in that multiple instruments must be played simultaneously. For this reason, for the first ten years, no one except for Ms. Yoshihara included this piece in his repertoire. Aside from Ms. Yoshihara, Mr. Shiniti U»Ïo is the only exception that I know of thus far. I admire wholeheartedly his power to challenge the frontier of percussive art from different angles, and am very excited with this new recording.
Its structure consists of five parts: wood, metal, leather, metal, and wood. The background of the whole is sustained by the combination of the static rhythm and the delicate organic rhythms that repeatedly increase and decrease. (Norio Fukushi)
I. Xenakis Psappha

PsapphaŽÓ is an archaic form of Sappho, the ancient Greek woman poet. Her poems are characterized by their ŽÒSapphicŽÓ rhythm, which gives this piece its rhythmic inspiration. ŽÒPsapphaŽÓ was first performed by my teacher Silvio Gualda in London, while I was studying in France. Inspired by all of the invaluable advice I received from both Professor Gualda and composer.Mr. Xenakis this has become a memorable repertoire. (Shiniti Ueno)


This product was added to our catalog on Wednesday 05 July, 2006.

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