Works in ProgressGz II (2017-18) for accordion duo
a work for Duo Jeux d’Anches (Marko Sevarlic, Nikola Kerkez)
Future ProjectsA new work (2017) for viola solo
For Anna Pelczer, part of Les six aspects du néant cycle
a work for the Manchester-based ensemble Distractfold Ensemble
a work for the Swiss contemporary ensemble UMS n’ JIP‘s Japan Project
Les Six Aspects du Néant (the six aspects of nothingness), is a cycle of six pieces written for string quartet or its subsets. At the moment of this writing (May 2018), it is a work-in-progress. Once completed, they will form a concert length cycle for string quartet, in which all four players play in three out of the six pieces.
The following is the current status of the cycle:
Piece I: Parti…, for Violin solo (2012~14, rev. 2015)
Piece II: [a work for two violins] (not yet written)
Piece III: Culs-de-sac (en passacaille), for string quartet (2009, rev. 2010)
Piece IV: Betwixt-times, for viola solo (2018)
Piece V: Envoi II, for string trio (2016)
Piece VI: Tr (épilogue), for violoncello solo (2012)
Some preliminary thoughts:
(1a) I once tried to play the guitar. But I gave it up quickly. My hand wasn’t big enough (I was still in the middle school), and I couldn’t press down the fingerboard strong enough, and the chords did not come out correctly. I wanted to hear the clean, resonant vibrations of the strings with the changing colors through different chords. Instead, all I could play was some series of muffled sound. Being around some other people who could play the guitar better than me, I used to be depressed by this.
(1b) My mother had an ukulele. She still does, but it is in an awful state because of my fault. The size of the ukulele being smaller than the guitar, I thought I could play it. But still, all I get was some muffled sound. Feeling that it was unfair that I could not get what I wanted, I decided that I should use a ruler to pluck the strings, and insert some pencils between strings and the fingerboard. After watching a televised violin recital, I looked around something to bow the ukulele with. I did not have horse hairs or a rosin, so I tried to use a comb. But I ruined the comb very quickly. All these “abuses” caused the nylon strings to break, but I didn’t give up; I stole some fishing wires from my father’s toolbox and still played around with it. I was eventually led to believe that this is the only way I could make some decent sound with ukulele, or maybe even with guitar.
(2) I once wrote a piece that had a guitar part in it. This was back when I was in high school. I was quite proud of it. During my second year at college I showed the work to a colleague of mine, who was a guitarist/composer. Five seconds later, he started to laugh so hard, claiming that the series of chords I wrote in the piece were completely unplayable. He even showed it to me on his guitar how it was impossible to play. A part of my inner world shattered then. I have since then developed some sorts of phobia of writing for guitar.
. . . When Kobe asked me for a piece for guitar, I was slightly hesitant. But I thought I should put the phobia to an end.