Off - Record label
＜制作ノート＞
レコーディングについては今回ピアノを用いているが、主題と和音の両パートそれぞれにおいて虚像を影のように纏わせている。虚像は電子的な変調により、空間や心理的な歪みを引き起こし、時に真実との境目が曖昧になる。
制作者本人による「ヴェクサシオン演奏時」の瞑想状態や幻覚を鑑賞者が追体験出来る様な音空間を目指している。
<プロフィール>
山梨生まれ。作曲家としての活動を学生時代より始め、ピアニストとしても活動する。
ピアノやアンサンブルなどのアコースティック作品は国内外で広く演奏されており、また電子音響音楽も制作している。
これまでに2枚のCDをリリースしており、Apple Music等でも販売している。
A new album by electro acoustician Japanese composer Kazunori Okuno (see also OJP015 and OJP046).
From Okuno San own words:
Digital release on the 16th of July 2021.
Track listing:
Cover art by A.L.
OVX007 : Shido Izukawa / Vexations Vol.7
What Shido says about his proposal:
"At this point in my life as a musician, this recording has become the one I least want people to hear and the one I most want them to hear.
I also don't know if Satie intended it to go that far, but if he saw a traditional instrumentalist from a far eastern island country struggling to play this piece 100 years after the piece was written, I'm sure he would at least think, "I've got it". I hope that those who listen to this recording will be able to experience the atmospheric sound of the shakuhachi, as well as the bittersweet cultural conflicts, and It would be a great reward for me and the shakuhachi if the listeners could enjoy it as a well-crafted musical composition by Satie.
1. First of all, I tried to record only the theme 40 times in the studio, but after a few blasts, the instrument started to hate it, and the recording became impossible to continue.
2. Since it became impossible to continue recording in the studio, I tried to record outdoors in the mountains late at night and managed to record the theme 37 times.
3. Although, I felt that I had reached my limit at this point and decided that it would be difficult to record the entire piece 40 times and asked to abandon the recording, I received encouragement and advice from
Mr. Iwata and tried to record additional parts other than the theme, aiming to complete 40 times and record this story by editing.
4. After a gap of about two months, I tried again to record in the studio, and succeeded in recording the missing parts, although the performance was less like the original shakuhachi. (Incidentally, the two months gap was due to the lockdown caused by COVID-19 and unexpected construction work at the university studio.)
5. The first priority is to preserve the original sound of the recording as much as possible, and to assemble it in Protools as specified in the score.
*As for the placement work on the DAW, it should be done only once in a row, so to keep the “one-time experienceness” as a shakuhachi player. I did not make any changes afterwards.
THEME
Equipment used:
SHIDO Izukawa is a Composer, Shakuhachi (Japanese Bamboo Flute) player, PhD in fine art. He graduated from the Osaka University of Arts in music, then studied composition, ethnomusicology and electro-acoustic music at Osaka University of Arts graduate school. He is a member of the Society of Research in Asiatic Music, Information Processing Society of Japan, and Japanese Society for Electronic Music. He is a Junior Associate Professor at the Osaka University of Arts.
Izukawa plays in the style of "Suizen (It means that he enters the world of Zen by blowing shakuhachi)," which is a way of Zen meditation for Myoan Taizan School shakuhachi, and the
sound of Jinashi Shakuhachi called "Neaji (Taste of Sound)." He has taken professional western music education since he was a child, and he has established his own creative policy just as he sought for the unique spirit within Japanese traditional music. He has worked on sound producing which crosses genres. He has put his effort in the development of electro acoustic music.
