large ensemble (12+ players)

Works for Large Ensemble (12+ players)

Tramespace II (2013~15)
for 18 players divided in 2 groups

Information

Formation: 18 players

Instrumentation: 2.1.2.0 – 2.1.1.0 – 2perc.,pno, harp. – 2.1.1.1

Composed in: 2013~15

Duration: 18 minutes

Commissioned by: Ensemble Intercontemporain in the framework of Projet Tremplin

Study Score available for purchase: Edition Gravis

Première

May 9, 2015

Ensemble Intercontemporain

Pablo Heras-Casado, cond.

Kölner Philharmonie, Cologne, Germany

Additional Information

Tramespace is a hybrid word composed of two French words, “trame” (woof, or weft in English), meaning the crosswise threads on a loom over and under which other threads (the warp) are passed to make cloth, and “espace” (meaning space). The metaphorical loom is a context from which the musical materials are woven. Just as each thread is carefully placed and integrated to create a textile, each sound gesture, each musical impulse is threaded with precise intention. As the musical filaments are carefully interlaced – heterogenous, yet collaborating to become one – the surface becomes rich with patterns while depth is made by the multitude of interacting strands. At times, the weave is loosened and a thread becomes entangled, exposing the threads as merely threads just momentarily and no longer as fabric, shifting perspective and seeing things anew, even altered once the yarn becomes rejoined.

In tandem, the concept of space and its elusive quality is something Onishi became interested in during conversations with close friend, composer Mahir Cetiz, most notably regarding the “compositional space” in his work, Départ dans… As space is inexorably tied with time, with an elapsing sense of immediacy and memory, the awareness of physical and metaphysical space is fluid. As music passes with time, it fills a space, interacts with it and leaves it. It makes you aware of the room you are sitting in, yet your sense of inner space has expanded limitlessly. For Onishi, “…it lingers to the territory of the unknown…” and for him, this piece “is, in a sense, an attempt to circumscribe this metaphysical space using the sound that is developed over time.” His work is also informed in part from the philosophical discussion of “self” that is put in the context of the world as a space by Japanese philosopher Shizuteru Ueda in his “Two-Fold Being-in-the-World.”

Tramespace I was commissioned by Gaudeamus Muziekweek as a result of receiving the Gaudeamus Prize in 2011. Tramespace II, still a work in progress, is commissioned by Ensemble Intercontemporain in Paris.

Tramespace I and II can be played separately, although playing them together forms a coherent whole as a diptych.

– Program notes by Michelle Lou

 
Tramespace I (2012~13)
for 18 players divided in 2 groups

Information

Formation: 18 players

Instrumentation: 2.1.2.0 – 2.1.1.0 – 2perc.,pno, harp. – 2.1.1.1

Composed in: 2012~13

Duration: 18 minutes

Commissioned by: Gaudeamus Muziekweek for Asko|Schönberg Ensemble

Study Score available for purchase: Edition Gravis

Première

September 2, 2013

Asko|Schönberg Ensemble

Clark Rundell, cond.

Geertekerk, Utrecht, The Netherlands

Listen
Asko|Schönberg Ensemble
Clark Rundell, cond.
September 2, 2013
Live recording made by Richard de Gruyl for Concertzender/VPRO during Gaudeamus Muziekweek 2013

Additional Information

Tramespace is a hybrid word composed of two French words, “trame” (woof, or weft in English), meaning the crosswise threads on a loom over and under which other threads (the warp) are passed to make cloth, and “espace” (meaning space). The metaphorical loom is a context from which the musical materials are woven. Just as each thread is carefully placed and integrated to create a textile, each sound gesture, each musical impulse is threaded with precise intention. As the musical filaments are carefully interlaced – heterogenous, yet collaborating to become one – the surface becomes rich with patterns while depth is made by the multitude of interacting strands. At times, the weave is loosened and a thread becomes entangled, exposing the threads as merely threads just momentarily and no longer as fabric, shifting perspective and seeing things anew, even altered once the yarn becomes rejoined.

In tandem, the concept of space and its elusive quality is something Onishi became interested in during conversations with close friend, composer Mahir Cetiz, most notably regarding the “compositional space” in his work, Départ dans… As space is inexorably tied with time, with an elapsing sense of immediacy and memory, the awareness of physical and metaphysical space is fluid. As music passes with time, it fills a space, interacts with it and leaves it. It makes you aware of the room you are sitting in, yet your sense of inner space has expanded limitlessly. For Onishi, “…it lingers to the territory of the unknown…” and for him, this piece “is, in a sense, an attempt to circumscribe this metaphysical space using the sound that is developed over time.” His work is also informed in part from the philosophical discussion of “self” that is put in the context of the world as a space by Japanese philosopher Shizuteru Ueda in his “Two-Fold Being-in-the-World.”

Tramespace I was commissioned by Gaudeamus Muziekweek as a result of receiving the Gaudeamus Prize in 2011. Tramespace II, still a work in progress, is commissioned by Ensemble Intercontemporain in Paris.

Tramespace I and II can be played separately, although playing them together forms a coherent whole as a diptych.

– Program notes by Michelle Lou

Tramespace, un extrait pour le Projet Tremplin (2012)
for 24 players divided in 2 groups

Information

Formation: 24 players

Instrumentation: Group A: 1(d/picc.).1.2(2 d/ bs.cl&cbs.cl.).0 – 1.1.0.1 – 1perc.,pno. – 1.1.1.0
Group B: 1(d/ al.fl.).1(d/ e.h.).1(d/ bs.cl.).0 – 1.1.1.0 – 1perc., hp. – 1.1.1.1

Composed in: 2012

Duration: 5 minutes

Commissioned by: IRCAM and Ensemble Intercontemporain in the context of the commissioning project Le Projet Tremplin

Première (Reading Session)

April 14, 2012

Ensemble Intercontemporain

Susanna Mälkki, cond.

Salle de Projection, IRCAM, Paris, France

Listen
Ensemble Intercontemporain
Susanna Mälkki, cond.
April 14, 2012

Additional Information

This work was written as a part of the Phase 2 of the commissioning project Projet Tremplin by IRCAM and Ensemble Intercontemporain. The work was read and recorded in the morning of April 14, 2012 in Salle de Projection at IRCAM in Paris, France.

Palinody (2010)
for 14 players in 7 groups

Information

Formation: 14 players in 7 groups

Instrumentation: 1(d/al.fl.&picc.).1.1(d/bs.cl.).0.tsax – 1.1.1.0 – 2perc., Piano(d/elec.keyboard) – 1.1.1.1

Composed in: 2010

Duration: 12 minutes

Commissioned by: n/a

Première

December 11, 2010

Wet Ink Ensemble

Yoshiaki Onishi, cond.

St. Peter’s Church Chelsea, New York, NY

Listen
Wet Ink Ensemble
Yoshiaki Onishi, cond.
December 11, 2010

Additional Information

Palinody is a now rare word, derived from the Middle French word, palinodie. The Oxford English Dictionary defines palinody as: “An ode or song in which the author retracts a view or sentiment expressed in a former poem.” Here, the former “composition” refers to my 2008 piece entitled Wound Sky (i.e., past participle of the verb “to wind”), which was a work that I wrote just before coming to New York to start my residency at Columbia.

“Whenever we hear sounds, we are changed. We are no longer the same after hearing certain sounds,” was the maxim that German composer Karlheinz Stockhausen once declared. As my life seems to have changed in these past two years, what I thought I aptly expressed two years ago no longer appeared valid to me. I found it necessary and inevitable, therefore, to destroy the work entirely. I took little of what was salvageable from my Wound Sky, disintegrated it into pieces, and I wrote a new piece over them. In this way, the original context of Wound Sky is lost. In this piece, the destruction of Wound Sky is not represented by the absence of the work, but rather by a collection of subconscious memories whose origins are obscure. However, in this present piece Palinody, the spectators ultimately assimilate those “nomadic” memories in their own terms.

With the apparition of Palinody, the work Wound Sky is hereby withdrawn from my catalogue of works.

Written in the autumn of 2010 for the musicians of the Wet Ink Ensemble, this piece is dedicated to them.

 

Watch

Marche du Supplice (2007)
for 12 high school percussionists

Information

Formation: Percussion Ensemble (12 players)

Instrumentation: 4 Timpani, Crotales, Chappa, Cymbal, Triangle, Bass Drum

Composed in: 2007

Duration: 12 minutes

Commissioned by: Nishi High School Wind Orchestra, Ryota Narita, dir.

Première

August 9, 2007

Nishi H.S. Wind Orchestra Percussion Ensemble

Yoshiaki Onishi, cond.

Hakodate Art Hall (Hakodate, Japan)

Listen
Recording unavailable.

Additional Information

This is the second commission project with Nishi High School in Hakodate, Japan. Each timpano is surrounded by three percussionists, playing various parts of the instrument or in combination with other small percussion instruments.

Vague I (2007)
for 13 players

Information

Formation: 13 players

Instrumentation: 1(d/picc.).1.2.0 – 1.0.0.1 – piano, hpsc. – 2.1.1.1

Composed in: 2007

Duration: 2.5 minutes

Commissioned by: n/a

Première

April 24, 2007

Academy Manson Ensemble

Simon Bainbridge, cond.

Duke’s Hall – Royal Academy of Music (London)

Listen
Recording unavailable.

Additional Information

Written for the joint project of Yale School of Music and Royal Academy of Music.

First of the two parts withdrawn, only the second part is extant.


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