Birds Fragments III

Birds Fragments IIIBirds Fragments III
Toshio Hosokawa erhielt seine Ausbildung in Tokyo und in Deutschland (u. a. bei bei Isang Yun).
Bei der Münchener Biennale 1998 wurde seine erste Oper ‚Vision of Lear‘ uraufgeführt und als ‚ein Werk, inspiriert durch die Begegnung von Ost und West, das eine neue musikalische Welt erschlossen hat‘ hoch gelobt. Diese Verbindung zwischen Ost und West ist ein charakteristisches Merkmal seiner Kompositionen und findet besonders in der Wahl der Instrumente seinen Niederschlag. ‚Bird Fragments III‘ verwendet neben Sho (einer japanischen Mundorgel) Bassflöte und Piccolo (ein Spieler) und ist Toru Takemitsu gewidmet.

Akkordeon und Querflöte Partitur und Stimmen
Toshio Hosokawa Gemischtes Ensemble Sho (Akkordeon) und Flöte (Bass-Flöte und Piccolo)
Verlag: Schott Japan MDS-SJ1146

Looping Busker Music

Looping Busker MusicLooping Busker Music
This work was commissioned by Plus-Minus Ensemble and first performed by them at King’s Place, London, on the 18th March 2013. Duration: 13 minutes.

Violine, Klarinette in A, Akkordeon, Gitarre und Tonband Noten
James Weeks Gemischtes Ensemble for Violin, Clarinet in A, Accordion, Acoustic Guitar (all amplified) and tape (A3 – Four Performing Scores)
Verlag: University Of York Music Press M570364510

Alliage I

Alliage IAlliage I
Programme note: Alloy I for Tenor Saxophone and Classical Accordion. The two instuments of this duo have some common features, i.e. is the tone in both cases produced by air. The air is activated by the lungs of the saxophone player and by the bellow of the accordion. The stream of air makes a blade of respectively wood and metal vibrate. Both instruments are also associated with the popular musical tradition. But nevertheless the differences regarding the sound are more prominent than the similarities, and contrary to the monophonic saxophone (a ‚melody‘ instrument), the accordion is a polyphonic instrument, which can produce several simultanious melodic lines and chords. At first glance this might call for a music, which distributes distinct, even contrasting, musical roles to the two instruments, such as melody versus accompaniment. But I refrain from this obvious ‚casting‘, since I have always been fascinated by the less evident, by transitions and gradual displacement, by the intangible places between one and the other. I search for this ‚terrain vague‘ of fruitfull incertainty and permanent genesis. To arrive here, I have in this piece written a music, which makes the possible relations and sonorous pathscome forward between the sound worlds of the two instruments. Bringing together the musical substances, I look for an ‚air-driven‘ musical organism with a glossy and shining appearance. The lively and bright sound world I associate to alloys, in particular the silvery amalgamations of mercury. Niels Rosing-Schow

Tenorsaxophon und Akkordeon Spielpartitur(en)
Niels Rosing-Schow Gemischtes Ensemble
Verlag: Edition Wilhelm Hansen WH31161

Noten → Alliage I