Tracklist
1-3. Delimiter (2021) for piano
4. Duo (2021) for guitar and piano, with video-score
5. Canon (2021) for guitar, with video-score with embedded soundtrack
6-8. Trio (2021) with video-score
2021年5月24日、Ftarriにて録音
録音・マスタリング・装画・作文：池田拓実
Design and translation by Cathy Fishman
This CD documents a series of works that I call “Musical Procedure.” In composers’ usual works, the sounds to be performed are written in a score; but in these pieces the procedures (which could also be called programs, algorithms or specification sheets) for shaping music, such as performance methods and the general ideas of the works, are written as concisely as possible, and the type of sound to be produced is left largely to the performers.
The score is merely an arrangement of tools for creating music, and the musicians are always the subjects who produce the music. They are expected not just to execute what is written down, but to use what is written to create their own music. The result can be likened to an ants’ nest or a beehive constructed in a procedural way without a blueprint.
Fumi Endo: uplight piano
Kokichi Yanagisawa: electric guitar
Takumi Ikeda: electric percussion, drain hose, etc.
All compositions by Takumi Ikeda
Recorded at Ftarri without an audience, May 24, 2021
Recorded, mixed, and mastered by Takumi Ikeda
Artwork and notes by Takumi Ikeda
Design and translation by Cathy Fishman
ftarricl-663 (Ftarri Classical)
Released February 27, 2022
The two works on this album, “Drop E” and “descending”, are instrumental works with electronics objectively, but they did not intended to playing in a concert in the first place. The idea of writing several scores for the solo instrument for recording only, recording them, and using recordings to make electro-acoustic pieces has probably been around for a few years.
It should noted that this work conceived from the beginning as a “recording art” rather than a reproduction of already existing musical work. Just as a photograph is not a painting and a play is not a film, this is something different from the music played in a concert, even though it based on instrumental music. For example, the physical modelling of a piano is not a pastiche of real piano, but must be set up to be hard to apply to a real piano. Free from the constraints of live performance, the concept gained more freedom.
Takumi Ikeda, composition & electronics
Tomoki Tai, violoncello* & viola da gamba**
Sous les pieds la terRemixed / V.A. Headphonica collected works of over 80 artists, that contributed their tracks to the “Sous les pieds, la terRemixed”.
