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Takahashi Matsudaira - Extended Voices CD 26511
[Omega Point]

Takahashi Matsudaira - Extended Voices CD 26511
Toshi Ichiyanagi - Extended Voices Versions 1 and 2, John Cage - Ryoanji, Takashi Matsudaira - Shiroi Shojo, Shigeru Matsui - Partial. All pieces realised by Takahashi Matsudaira.

Toshi Ichiyanagi Extended Voices (new version #1)
Toshi Ichiyanagi Extended Voices (new version #2)
Although the whereabouts of the original score of the piece is unknown, this recording is the result of my endeavors to “restore” the performance intended by the composer, based on the sound source recorded in the LP and the information in the liner notes written by Alvin Lucier.
From the information in the liner notes, I learned that the original score contained glissandos and sustained tones of various curves. Therefore, I determined 36 types of glissandos by using random numbers and created a performance score with them aligned in a reticular pattern. I controlled the density of sounds by performing this score in every direction in a free order while interpreting some events as rests. Because the liner notes also read that the voice range and timbre are to be expanded by means of auxiliary musical instruments and electronic modulation, I sought to create my own expression through trial and error while referring to the ambience of the performance recorded in the album. New version #1 was created through the layering of two voices to which I applied strong electronic modulation. New version #2 was made by the layering of three voices to which I only applied pitch modulation so as to conserve an impression quite close to that of a raw voice.

John Cage Ryoanji
This is the only vocal version in the series which has multiple versions for various musical instruments. The score resembles the rock garden at Ryoan-ji Temple, Kyoto―with a curve in a rectangular frame. In the vocal version, this figure is converted into singing similar to shomyo or chanting of Buddhist hymns. (Although not stipulated in the score,) the vocal version is designed to be performed in a low-pitched female voice which corresponds to the tenor range when played by a male, but it would damage the characteristics of shomyo-like ambience if straightly played by a tenor. So, to sustain the intended ambience, I performed the whole piece octave-down in the bass range for this performance (as is common in normal vocal music). For this recording, I not only performed the vocal parts consisting of the maximum of four voices, but also played the percussions and mixed the sounds. While conducting such work, I tried to make the most of the “dryness”, subtle fluctuation and squeaking of sounds as implied in the score.

Takashi Matsudaira Shiroi Shojo
The title of this work is taken from a poem in ALBUM, a poetry anthology released by Yukio Haruyama in 1929. This poem has an idiosyncratic structure entirely composed of six repetitions of 14 lines of the phrase, “Shiroi Shojo (a girl in white)”, which also gives a strong visual impact. The minimum set-up of this piece, where I solely applied a delay to a looped sound source reciting Shiroi Shojo is a musicalization of the repeated structure of the poem. Crossed with another simple set-up, the repeated structure as such is nullified in the course of performance.

Shigeru Matsui ★ [partial] (realization by Takashi Matsudaira)
★ is the title of an anthology of tanka, a Japanese poetry format with 31 syllables. All the character strings of the tanka included in ★ are composed of one (一), two (二) and three (三) of Chinese numerals; there, these three kinds of Chinese numerals are applied to the standard tanka syllables of 5, 7, 5, 7 and 7 according to an algorithm. In this realization, I selected 21 out of 50 tanka included in the anthology and played them with the percussion instruments by converting one (一), two (二) and three (三) into three types of pitches of low (一), middle (二), and high (三) . The sound localization shifts from the left to the center and to the right depending on the tanka; I contrived this shifting based on the structures of multiple tanka. For reference, the tanka selected for this piece are written on an inside page of the album sleeve.
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