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.
Performers Mondriaan Quartet Recording: 2-2-2011 Kees van de Wiel Muziekproducties Muziekcentrum de Toonzaal 's-Hertogenbosch Netherlands
The Office Tiger (2009)17:51'
raagini digital or tanpura
'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
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.
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 actor 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'.