YOJI YUASA (b.1929): Cosmos Haptic, TORU TAKEMITSU (1930-1996): Les yeux clos II, AKIRA MIYOSHI (b.1933): Pour le piano I and II, ICHIRO NODAIRA (b.1953): Pas de résonance, TOSHIO HOSOKAWA (b.1955): "Haiku" for Pierre Boulez, KEIKO HARADA (b.1968): no title #1, SACHIYO TSURUMI (b.1930): Toy2 for Piano and Electronics, DAI FUJIKURA (b.1977): moromoro for Piano and Tape.
Catalogue Number: 10K101
Description: Yuasa's piece is based on combinations of modes, and these harmonious but not quite tonal scales and an emphasis on coloristic harmony impart a suggestion of Messiaen to the writing. The Takemitsu is characteristically impressionistic in texture in a tonally ambiguous haze of piano texture. Both of Miyoshi's pieces and Nodaïra's work emphasize resonance and sonorous effects, with bell-like sonorities built up using ingenious pedal techniques. Hosokawa's brief tribute to Boulez (for his 75th birthday) presents abrupt, harsh brush-strokes, a hard-edged calligraphy of sound. Harada's work, the longest on the disc, aims to investigate the nature of pure composition, abstract music-making. With sections in open intervals and others consisting of fragmentary, unconnected gestures, it suggests a glimpse into the composer's workshop, implying possibilities far beyond the parameters of the actual piece. The Tsurumi sets piano gestures against a stream of imitative electronically processed sound, interactively derived from the material played by the pianist. Fujikura also makes use of electronics, in an elaborate tape part (the work also has a video component when performed live). The work has a toccata-like feel, with the tape acting as a kind of virtual ensemble in the background. Hiroaki Takenouchi (piano).