...as I am...

I wanted to use large ensemble for this but also wanted to work with voice. So I decided to write for Lore Lixenberg - a fantastic musician - and large ensemble. All of my pieces for voice are written using an interesting methodology, where the words are written in tandem with the music by my usual collaborator, Harry Ross. This is the fourth piece we have collaborated on.

Sometimes I write the music before the words, sometimes the words are written before the music. I’m aware that my music should completely relate to the accent or vowel sounds of the words for this to happen. So, for instance, I tell Harry to write with this or that emotion in a particular section, but he has to choose a word that starts with a consonant because I have an accent there. And I want vowel sounds where I have no accent.

The piece has five continuous sections, and Lore sings from five different positions on the stage. I used different composition techniques for each section - which reflects the woman’s various thoughts. A text always has a subtext, but we discussed the aural framework before either of us knew what the piece was going to be about. The structure came before the notes and words. The five sections reflect the different emotions of the character. At the root of the music and the text is an enquiry about what happens to sound when particles of meaning – movement, words, ideas - are enmeshed within a sonic framework. I’d like to think that the result, the audience’s experience, has a strength and solidity which is as definite and weightless as the structure of a particle or an atom.

Edited by Harry Ross from Dai Fujikura's conversation with Harry Ross

as I am プログラム・ノート

言葉より先に僕が音楽を書くこともあれば、言葉のほうが音楽より先に書かれることもあります。僕は英語の「発音」にとても興味があります(詩の内容ももちろんですが)。例えば歌手がマイクを通して「ささやく」声で歌う時に子音(特にs, k, p, t)の多い言葉だとその発音に近い楽器(例えばピアニッシモのシンバル+金管の息の音+弦のハーモニックス)などを使い、声と楽器の融合を、そして詩は意味のある言葉にするのが目標でした。歌手ロレ・ルクセンブルグはいくつも違うタイプの声を持っている人で、その声の種類にあった発音の詩+楽器編成で曲は進行していきます(声の種類は明細に楽譜に指示が書かれています)。


この作品は切れ目なく演奏される5つのセクションからなり、歌手は舞台を移動して別々の5つの場所から歌う。歌手の立ち位置とその周りの楽器が彼女の歌を伴奏し、歌手の一番離れた位置の楽器は声に反した素材を演奏し、彼女の立ち位置が変われば声と楽器の関係も変わって行きます。 5つのセクションは作中人物の5つの感情を映し出していて、音楽とテキストの根底には、 動き、言葉、観念が音響的枠組みの網目のなかに組み込まれたとき、どのような響きが生成されてくるかというのがとても僕にとって大切なことです。


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