Robert Black
夢枯記041 Robert Black (Giacinto Scelsi) ｜ The Works for Double Bass
16 11. 14 08:59
contrabass, cello, harp & tam-tam／cd／mode records／2007
http://www.robertblack.org
【Yumegareki 041】
"Utsukushii" music. From the darkness, a monk’s voice can be hard. Dewdrops of the mist that illuminate particles of a light imply the holy mountain peak. The evening sun is dazzling my ears. My skin is trembling. My reflection on the window is vague, melting me down. An intense light from the setting sun pierces into my eyes, whereas the silence enfolds and holds the faint playfulness of a light wave and the granulation of a sound stream. In a vivid but subtle movement of a sound, phonetic atoms are collapsing and converging, allowing the origin itself to become blur. Without realizing it, the air has changed. Just like the way the autumn is about to pass away, the time has already started to tick. A faint light created within a buried self-emitting light begins to change the color. It's a journey of light, swirling within the sound and breaking away from it. It's a music of a path created by the changing light.
Scelsi’s music is far more poetic than a pursuit of the tone of sound. Scelsi exists in the darkness of the world. If someone's voice, which depicts the moments of mutation, change and transition, is the invisible history to be heard, rather than the one expressed as a culmination of wisdom or political sediments, then, the music should live the moment within the time of history through sound, connecting directly to the origin itself. It appears that Scelsi tries to be the existence of time in another dimension, detaching himself from the visualized history. This is how Scelsi seems to sense an intense light in the sound. His music glows as if it had existed in time even before the sound started, gradually and abruptly falling down into the blackhall-like darkness.
I wonder if it is possible to express or define an amazing music with a single word, although it is impossible for a music made of simple words to shake me. When an experience of feeling a light, which exists neither within nor outside of me, suddenly comes to me, puts me in a total darkness and touches my skin to arouse a sense of fear, I am urged to express my feeling with a word, "Utsukushii." For Scelsi, music might have been a process of exploring a word of his own. His work appears to be a time-consuming impromptu rather than a music of the present-moment. It also seems like a record of occasional and natural memory of the musician. Throughout the album, Robert's performance remains outstanding. The most impressive part is the last piece, Mantram, a short bass solo music. It doesn't say when it was written, but it is different from the preceding ones in expressing the poetry of Scelsi. Although it appears simple, "Utsukushi-sa" of this piece and performance is something almost beyond description.
秋から冬への時期。一息ついてきた感もあって、まわりの光にうながされるようにこのアルバムを久しぶりにきいた。うつくしい音楽。僧侶の声がする。光の粒までを照らす霧の露は山頂の華厳を暗示し、西日の閃光に耳が眩まされる。皮膚は震え、窓にうつされた朧げな私が溶けだす。強烈な斜陽がこの目に差し込んで、静寂が光の波の微かな戯れと音の気流の粒立ちを支えている。一つの音の強烈で微細な運動のなかで、音原子が崩壊し合わさりながら、始原が滲んでくる。いつの間にか空気が変化しすでに秋が過ぎ去ろうとしている、このいまのように、時間はもうはじまっている。光の旅。ビックバン。埋もれた自明の光のうちに生じた微光が、徐々に色を変えながら、音のなかに渦巻いては立ち去っていく…
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http://www.robertblack.org
【Yumegareki 041】
"Utsukushii" music. From the darkness, a monk’s voice can be hard. Dewdrops of the mist that illuminate particles of a light imply the holy mountain peak. The evening sun is dazzling my ears. My skin is trembling. My reflection on the window is vague, melting me down. An intense light from the setting sun pierces into my eyes, whereas the silence enfolds and holds the faint playfulness of a light wave and the granulation of a sound stream. In a vivid but subtle movement of a sound, phonetic atoms are collapsing and converging, allowing the origin itself to become blur. Without realizing it, the air has changed. Just like the way the autumn is about to pass away, the time has already started to tick. A faint light created within a buried self-emitting light begins to change the color. It's a journey of light, swirling within the sound and breaking away from it. It's a music of a path created by the changing light.
Scelsi’s music is far more poetic than a pursuit of the tone of sound. Scelsi exists in the darkness of the world. If someone's voice, which depicts the moments of mutation, change and transition, is the invisible history to be heard, rather than the one expressed as a culmination of wisdom or political sediments, then, the music should live the moment within the time of history through sound, connecting directly to the origin itself. It appears that Scelsi tries to be the existence of time in another dimension, detaching himself from the visualized history. This is how Scelsi seems to sense an intense light in the sound. His music glows as if it had existed in time even before the sound started, gradually and abruptly falling down into the blackhall-like darkness.
I wonder if it is possible to express or define an amazing music with a single word, although it is impossible for a music made of simple words to shake me. When an experience of feeling a light, which exists neither within nor outside of me, suddenly comes to me, puts me in a total darkness and touches my skin to arouse a sense of fear, I am urged to express my feeling with a word, "Utsukushii." For Scelsi, music might have been a process of exploring a word of his own. His work appears to be a time-consuming impromptu rather than a music of the present-moment. It also seems like a record of occasional and natural memory of the musician. Throughout the album, Robert's performance remains outstanding. The most impressive part is the last piece, Mantram, a short bass solo music. It doesn't say when it was written, but it is different from the preceding ones in expressing the poetry of Scelsi. Although it appears simple, "Utsukushi-sa" of this piece and performance is something almost beyond description.
秋から冬への時期。一息ついてきた感もあって、まわりの光にうながされるようにこのアルバムを久しぶりにきいた。うつくしい音楽。僧侶の声がする。光の粒までを照らす霧の露は山頂の華厳を暗示し、西日の閃光に耳が眩まされる。皮膚は震え、窓にうつされた朧げな私が溶けだす。強烈な斜陽がこの目に差し込んで、静寂が光の波の微かな戯れと音の気流の粒立ちを支えている。一つの音の強烈で微細な運動のなかで、音原子が崩壊し合わさりながら、始原が滲んでくる。いつの間にか空気が変化しすでに秋が過ぎ去ろうとしている、このいまのように、時間はもうはじまっている。光の旅。ビックバン。埋もれた自明の光のうちに生じた微光が、徐々に色を変えながら、音のなかに渦巻いては立ち去っていく…
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