Piano piece -- north - silver - night (winter) (1991)
| Japanese | ピアノ曲−北・銀・夜（冬） |
|---|---|
| German | Klavierstück Nord - Silber - Nacht (Winter) |
| Opus | 093 |
| Year | 1991 |
| Category | Solo |
| Duration | 6 min. |
| Instruments | pf |
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About this Work
«Physical direction and musical order have traditionally been closely related in Japanese music. The principles underlying this relationship are expounded in Kangen-Ongi (Principles of Instrumental Music), a musical treatise dating from the Kamakura period (1185-1333). The subtitle of the present work, "Nord-Silber-Nacht (Winter)" and the japanese mode "Banshikichō", which I use as the scale for the work, are metonyms for the direction "north". The pitches D, S (Es), B-flat (B), E, A, C, and H (B) are taken from the German readings of the subtitle. They constitute an important motif within the work. This work combines motivic writing in Western style with aggregates of accumulations of sound which dilute the sense of temporal direction characteristic of Western music. I have striven after a new sense of musical order and harmony in the sound world presented by the combination of Western techniques and East Asian concepts.»
Maki Ishii
Physical direction according to old Asian cosmology and musical order have traditionally been closely related in Japanese music. The principles underlying this relationship are expounded in Kangen Ongi (Principles of Instrumental Music), a musical treatise dating from the Kamakura period (1185-1333).
The subtitle of the present work, "Nord-Silber-Nacht (Winter)" (i.e., North-Silver-Night(Winter)) and the Japanese mode "Banshikichō", which I used as the scale for the work, are metonyms for the direction North. The pitches D, S (Es), B-flat (B), E, A, C, and H (B) are taken from the German readings of the subtitle (NORD-SILBER-NACHT). They constitute an important motif within the work.
This work combines motivic writing in Western style with the old East Asian musical concept of accumulation of sounds, i.e. musical time with extremely slow rhythm, slow accelerandi, continuous use of the pedal etc., thus sublimating the Western sense of time. Herein culminating oints rsulting from Western crecendi are punctually interwoven.
In this short piece I have striven – in a simple form – after a new sound world presented by the combination of Western techniques and East Asian concepts, i.e. concepts out of two different worlds.
Maki Ishii