Johakyû (2001) 14’
soprano, violin, piano
lyrics: from  Japanese
No theater Adachigahara
commissioned by
Kees van de Wiel
Free score

Tabi no koromo wa suzukake no    
Tabi no koromo wa suzukake no 
tsuyukeki sode ya shioruran 
  
For a travel cloak we donan outer garment of hemp.
For a travel cloak we don an outer garment of hemp.
Which projects usfrom the dew and ensures a sound sleep.
Kokoro mo madoi
kimo wo keshi,
Kokoro mo madoi
kimo wo keshi,
yukubeki kata wa
shiranedomo.
ashi ni makasete
nigete yuku,
ashi ni makasete
nigete yuku
  
And the heart is confused,
we are disturbed.
And the heart is confused,
we are disturbed.
We do not know, where we
must turn to
To search for good fortune
in the expanse of space.
To search for good fortune
in the expanse of space.
To search for good fortune
in the expanse of space.
India's Office Tiger
The tittle 'The Office Tiger' comes from American /
Indian internet company which supplies 'back office'
services.
As a composer I am intrigued by the concept model
with which such companies operate. 'We're changing
the way the world does business.' While the people
that actually do the work (the Indians) have a
completely different cultural perception of processing.

What kind of impact does this have on the Indian
employee?
Where does all this lead?
Does it actually lead anywhere at all?
Does globalization lead us to a new cultural identity?
Musically speaking the Westerner approaches with a
strong movement that can't be avoided, whereas the
Indian raga starts quietly by exploring the musical
substance.
In the seventies the 'West meets East' theme was an
important factor within the world of music. It was
supported especially by Sir Yehudi Menuhin, the
violinist, and by Ravi Shankar, the sitar player.
To me as composer it is more important to get an
answer to the question: 'How does the East influence
the West?' How do those processes form themselves
in terms of culture? That collaboration and those
cultural connections were for me the reason to
compose 'The Office Tiger'.
"OFFICE TIGERS", a documentary by filmmaker
Liz Mermin. www.merminfilm.com
 
Performers
Mondriaan Quartet
Recording: 2-2-2011
Kees van de Wiel
Muziekproducties
Muziekcentrum de Toonzaal
's-Hertogenbosch
Netherlands
The Office Tiger (2009)17:51'
string quartet,
raagini digital or tanpura
commissioned by
Mondriaan kwartet
Free score
'Eda Samazama' big diversity 

Eda Samazama is Japanese - it is difficult to translate, but might be something like: big diversity. The appellation‚ 'Samazama' can be found in Japanese pharmacies and is possible to be interpreted as follows: there are many pills you can get but the effects are very different from each other - that’s how it is with my composition as well.

The music has a cyclic effect. Each cycle changes the color of the chord chains.

Eda Samazama (1996) 11:30’
violin, alto saxophone, piano
Also possible:
flute, alto saxophone, piano
or flute, clarinet Bb piano.
Free score

© Paul Frankhuijzen
paul frankhuijzen
composer
The meaning of “Johakyű” is introduction, development and finale and is derived from the Japanese Nô theatre.
In this tradition the subject of the idea, realisation and the result are all central.
Zeami Motokiyo (1363-1443) perfected this and form in this dream vision “Mugen-No”, which dates from the 15th century. It is a portrayal of the soul, a revelation of the destiny of people.
This experience is described within a psychological framework. They are Buddhist vision of being and
appearance, of being and not being. These are the elements use in the composition Yohakyű.

Part one ‘Monomane’ is about the idea, the intrinsic, the imitation. It's not the reality that is copied, but the intrinsic. The text derives from the Nô play
Adachigahara “The heath of Adachi” and was originally
spoken by a priest before he started his pilgrimage.

Part two ‘Yűgen’: the hidden truth, realisation in
addition beauty, love and play. The present themselves in a personal attitude, it is about an experience in a musical space.

Part three ‘Hana’ is the result: In en chanting flower a journey of new surprises. This text also derives from Adachigahara and is about an experience seen in
retrospect, and the actions consequent of this.
Performers
Tomoko Mukaiyama:
piano / vocal
Monica Germino:
violin and voice
The Office Tiger relates to many aspects, for instance: the fast dynamics (drive), its cultural background, which continually flows under-neath, the doubts, the obscure part of its soul. These aspects alternate (speed / near standstill / incorporation). It seems as if the composition is about an office employee, so to speak.

The form of the composition is both sonata and raga, consisting of the following components overlapping each other:

Introduction,
1st  part  frenzy and silence
(predominantly West)
2nd part spirito puro (predominantly East)
3rd part globalization
echo
This is made by variation, modulation but also
through the structure of the chords, which are played by the piano.
The violin and the saxophone play a more
freely melodic role; they are truly the leaves on the tree. They give contour to the tree
(composition), color and play, but sometimes take over the role of the piano as well.
It is a game of accompanying each other and cutting one’s one path again.