
Paul Griffiths describes the internal processes of Hosokawa’s music
in the liner notes: “The interplay of shô and strings, and in particular
their mutual imitation, is the driving force – or perhaps one should
say ‘drifting force’, given that the music carries itself so lightly.
These two central components moving in tandem suggest the confluence
of vapour and light of which clouds are made. (…) Almost everything is
centred in the shô and its world of far-off harmonies, soft yet
scintillating – harmonies as impalpable and ever-changing as clouds.
Like clouds, Hosokawa’s music is constantly in motion yet constantly the
same. As the piece continues, its effect is of observing clouds in a
largely peaceful sky, clouds that are mostly white but occasionally show
shadows and briefly stir into more turbulent action.”
Landscapes is ECM’s second reckoning with Hosowaka: his music was previously featured on the critically acclaimed Yun/Bach/Hosokawa album of Thomas Demenga (ECM 1782), issued a decade ago. Since then, the composer’s music has been heard with increasing frequency in Europe. In July of this year, Hosakawa’s opera “Matsukaze”, with choreography by Sascha Waltz, was premiered at the Berlin Staatsoper and received much positive media attention including a full page in the NY Times. (ECM Records)
Landscapes is ECM’s second reckoning with Hosowaka: his music was previously featured on the critically acclaimed Yun/Bach/Hosokawa album of Thomas Demenga (ECM 1782), issued a decade ago. Since then, the composer’s music has been heard with increasing frequency in Europe. In July of this year, Hosakawa’s opera “Matsukaze”, with choreography by Sascha Waltz, was premiered at the Berlin Staatsoper and received much positive media attention including a full page in the NY Times. (ECM Records)
Comentarios
Publicar un comentario