Jo Kondo - Bonjin: Chamber Music
£13.25
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Label: Wergo
Cat No: WER73422
Format: CD
Number of Discs: 1
Genre: Chamber
Release Date: 30th September 2016
Contents
Works
Bonjin for female voice, alto flute and double bassCalamintha for guitar
Dithyramb for flute and guitar
Lotus Dam for mezzo-soprano and violin
Pergola for flute and piano
Poems of Mokichi Saito (6) for mezzo-soprano and piano
Songs of the Elderberry Tree (3) for violin and percussion
Strands III for violin and piano
Twayn for flute and percussion
Artists
Ensemble l’Art pour l’ArtWorks
Bonjin for female voice, alto flute and double bassCalamintha for guitar
Dithyramb for flute and guitar
Lotus Dam for mezzo-soprano and violin
Pergola for flute and piano
Poems of Mokichi Saito (6) for mezzo-soprano and piano
Songs of the Elderberry Tree (3) for violin and percussion
Strands III for violin and piano
Twayn for flute and percussion
Artists
Ensemble l’Art pour l’ArtAbout
The type of improvisation that Jō Kondō employs is only loosely related to improvisation as it is commonly understood. Kondō does not improvise using an instrument, but with music paper, note by note. “I write down the first note, which can be anything, and then I try to listen to it again and again in my head until the second note appears. Then I write it down, and then I listen to these two notes again and again until the third note comes up. And then, repeating this process, I always go back to the top of the music to find the next note. That means that when I have 150 notes already in succession on my paper, I find number 151 by going back to the top of the piece and listening through from the top to the 150th note to find the next note. That’s what I mean by improvisation.”
All of Jō Kondō’s pieces have been written using this method. The result is a completely linear music that avoids any kind of obvious phrasing, melody, or motivic development, permitting the individual note to retain “its own entity of life”. Since even a musical line can endanger this fragile autonomy, Kondō distributes the notes among the various instrumental parts. This “hocket” technique, which has been used since the thirteenth century, demands enormous rhythmic virtuosity from the performers to avoid disrupting the organic unity of the extremely fragmented line. Thus, there is space left for the listener to create his own phrasing out of it.
Ensemble l’Art pour l’Art:
- Norma Enns (soprano)
- Astrid Schmeling (flute)
- Ariadne Daskalakis (violin)
- Stefan Schäfer (double bass)
- Hartmut Leistritz (piano)
- Michael Schröder (guitar)
- Matthias Kaul (percussion)
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