December 2013
夢枯記031 Peter Herbert | Bassooka (Music for 1 to 16 Basses)
23 12. 13 11:49 夢枯記 Yumegareki | Peter Herbert
contrabass solo ／cd／aziza records／2001
http://www.azizamusic.com
【Yumegareki 031】
This music seems to be created to remind us that we have a body that continuously transforms itself as we live. I can feel animalistic sensory perceptions of smelling and hearing deep inside the music. It is a structured modern multi-track recording, but its clear sounds and mode naturally cohere to the body, emitting an aroma of the ancient philosophy. In this modern world, this attempt can be a challenge to the listeners.
This album is not the imagination of the vast universe lying far from human beings. Rather, it invites me to the micro world inside or an imagination of the microcosmos. Sounds pass through the organ, called “ears,” where the frictions are filtered. It also seems to filter sounds to materialize words out of the music.
In this manner, music can act like an animal, revealing itself in a blink of time, invoking an instinct from the listeners, and then gradually crystallizing a shadowy apparition of the performer. It is a form of the Western sounds or a contemplated mode of performance. But I can also hear refined carnal sounds, created to perceive a fugacious nature of bare behaviors. Because of these sounds, it strikes a similarity with the prominent philosophy of the East which emphasizes a concentration of Qi, the vital energy. The apparition itself is a culmination of Qi in a physical form.
This album compels me to consider the future of people and the earth with depth and width. It is a potential of soft but harsh words that can help us communicate with animals through Qi on a cell level, detaching ourselves from the political ones.
僕はいま、たとえば政治的な言葉とは対照的であるような動物的な言葉を聴くことができたのかもしれない。動物の言葉、動物レベルの人間の言葉の洗練があったように感じて、その残響に確かな共感を、ある動物的感覚において抱いたようだ。このアルバムを聴き終え、この静かな夜、なぜか書きながらヴァイオリニスト、カール・ズスケのバッハ無伴奏バイオリンを聴きたくなって静かな音で聴きだしているのだけれど、あの饒舌なシャコンヌでさえ密やかな動物の吐息のように聴こえてくる。
言葉の信憑性と言葉への責任が問われる政治。しかし言葉の誠実性が一般的にも急速に失われてほぼ完全に解体しかかって、言葉というものが政治から剥離し失墜して離散していく。政治が自分自身の基盤であるはずの言葉の力や意味をなし崩し的に失う、いや言葉を虚飾しながら利用するだけで、もとより政治の言葉の創造すらなされていないだけでなく…もっと読む... Read more...
http://www.azizamusic.com
【Yumegareki 031】
This music seems to be created to remind us that we have a body that continuously transforms itself as we live. I can feel animalistic sensory perceptions of smelling and hearing deep inside the music. It is a structured modern multi-track recording, but its clear sounds and mode naturally cohere to the body, emitting an aroma of the ancient philosophy. In this modern world, this attempt can be a challenge to the listeners.
This album is not the imagination of the vast universe lying far from human beings. Rather, it invites me to the micro world inside or an imagination of the microcosmos. Sounds pass through the organ, called “ears,” where the frictions are filtered. It also seems to filter sounds to materialize words out of the music.
In this manner, music can act like an animal, revealing itself in a blink of time, invoking an instinct from the listeners, and then gradually crystallizing a shadowy apparition of the performer. It is a form of the Western sounds or a contemplated mode of performance. But I can also hear refined carnal sounds, created to perceive a fugacious nature of bare behaviors. Because of these sounds, it strikes a similarity with the prominent philosophy of the East which emphasizes a concentration of Qi, the vital energy. The apparition itself is a culmination of Qi in a physical form.
This album compels me to consider the future of people and the earth with depth and width. It is a potential of soft but harsh words that can help us communicate with animals through Qi on a cell level, detaching ourselves from the political ones.
僕はいま、たとえば政治的な言葉とは対照的であるような動物的な言葉を聴くことができたのかもしれない。動物の言葉、動物レベルの人間の言葉の洗練があったように感じて、その残響に確かな共感を、ある動物的感覚において抱いたようだ。このアルバムを聴き終え、この静かな夜、なぜか書きながらヴァイオリニスト、カール・ズスケのバッハ無伴奏バイオリンを聴きたくなって静かな音で聴きだしているのだけれど、あの饒舌なシャコンヌでさえ密やかな動物の吐息のように聴こえてくる。
言葉の信憑性と言葉への責任が問われる政治。しかし言葉の誠実性が一般的にも急速に失われてほぼ完全に解体しかかって、言葉というものが政治から剥離し失墜して離散していく。政治が自分自身の基盤であるはずの言葉の力や意味をなし崩し的に失う、いや言葉を虚飾しながら利用するだけで、もとより政治の言葉の創造すらなされていないだけでなく…もっと読む... Read more...
夢枯記030 Gary Peacock | December Poems
08 12. 13 02:57 夢枯記 Yumegareki | Gary Peacock
contrabass solo & duo with saxophones／cd／ecm records／1979
【Yumegareki 030】
Winter moon stands out in sharp contract against the sky, invoking my feeling spontaneously. While the moon maintains a certain distance from the earth, it has a great impact on the earth. Just like that, natural threats are absolutely silent and indifferent to our feelings, but still, they are a distinct mode of nature and strong enough to influence us.
Sounds pierce a freezing winter air, with the bass sound quality and technique crushing my feeling. At the same time, the natural threats are insinuated somewhere behind the sounds. I feel a certain distance from the nature in the sounds as they drift between the nature, which maintains the permanent moon-and-earth relationship, and our natural feeling stimulated by the moon.
The earth’s climate and natural environment are changing. A huge earthquake hit Japan several years ago. I heard that Ginkakuji, Silver Pavilion, built in the late 15 century in Japan, was designed considering the movement of the moon. While listening to the music, I have developed a desire to create silence focusing on the moon, as the natural threats have nonchalantly stroke their fangs into us now more than ever before.
先月、夕方ころ東京へ行くとき新幹線からみえる地上すれすれの見事な白色の満月を一瞬みた。地上すれすれは三日月しかみえないと思いこんでいたのでとても意外だった。月の満ち欠けに深い情を抱きつつもその恒久的な動きの冷徹さには時々はっとしてうちのめされる。時空を反転するように太陽を崇め奉った古代人の気持ちを連想した。それからどうしてかいまだにわからないけれど、防空壕で泣く我が子の口を塞いで殺してしまった母親の気持ちを想像しながらだぶらせていた。今年も冬がきたのだと思った。師走に入った。今年ももうすぐ終わる。地球の気象も大きく変わって来たし、近い世間の雰囲気もただならなぬ空気に変わってきてしまった。複雑な心を捨てきれないまま聴いた、言わずと知れたGary Peacock、「December Poems」を手に取った。これをかけながら僕は多分、もはや音楽を聴く時、楽音やスタイルをほとんど追ってはいない、そういうことに気づく。…もっと読む... Read more...
【Yumegareki 030】
Winter moon stands out in sharp contract against the sky, invoking my feeling spontaneously. While the moon maintains a certain distance from the earth, it has a great impact on the earth. Just like that, natural threats are absolutely silent and indifferent to our feelings, but still, they are a distinct mode of nature and strong enough to influence us.
Sounds pierce a freezing winter air, with the bass sound quality and technique crushing my feeling. At the same time, the natural threats are insinuated somewhere behind the sounds. I feel a certain distance from the nature in the sounds as they drift between the nature, which maintains the permanent moon-and-earth relationship, and our natural feeling stimulated by the moon.
The earth’s climate and natural environment are changing. A huge earthquake hit Japan several years ago. I heard that Ginkakuji, Silver Pavilion, built in the late 15 century in Japan, was designed considering the movement of the moon. While listening to the music, I have developed a desire to create silence focusing on the moon, as the natural threats have nonchalantly stroke their fangs into us now more than ever before.
先月、夕方ころ東京へ行くとき新幹線からみえる地上すれすれの見事な白色の満月を一瞬みた。地上すれすれは三日月しかみえないと思いこんでいたのでとても意外だった。月の満ち欠けに深い情を抱きつつもその恒久的な動きの冷徹さには時々はっとしてうちのめされる。時空を反転するように太陽を崇め奉った古代人の気持ちを連想した。それからどうしてかいまだにわからないけれど、防空壕で泣く我が子の口を塞いで殺してしまった母親の気持ちを想像しながらだぶらせていた。今年も冬がきたのだと思った。師走に入った。今年ももうすぐ終わる。地球の気象も大きく変わって来たし、近い世間の雰囲気もただならなぬ空気に変わってきてしまった。複雑な心を捨てきれないまま聴いた、言わずと知れたGary Peacock、「December Poems」を手に取った。これをかけながら僕は多分、もはや音楽を聴く時、楽音やスタイルをほとんど追ってはいない、そういうことに気づく。…もっと読む... Read more...