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Secret Forest for ensemble

Secret Forest for ensemble,  ()

(. 1977)

Secret Forest for ensemble

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secret forest

Just before I composed this work, I wrote a short viola piece called flux, and with
this work, I focused on the bowing of the instrument the players right arm, because I
had used a lot of plucking string techniques (like pizzicati and also playing with a
guitar plectrum) in the past. I began with composing the rhythm of the bowing, and then I
wrote notes (using another way to organize pitches) having no relation to the bowing.
After hearing this solo viola piece, it was quite a cool and unnatural sound. Then I
imagined what would happen if a whole string section play like this (unnatural bowing). So
I began composing secret forest. The bowing rhythm of the string section is almost
always unison.

I have an image that there are ropes between the tip of the conductors fingers and bows
of string players. Furthermore, I imagine marionette, players resembling puppets.
Another thing I want to try is to express the process of changing texture: how melodic
material changes to energetic marcato, and vice versa. This idea originated from the
experience of working in the electronics studio, spending many hours listening, and
shaping the tiny sound you just created. I think it is interesting when the conductor
increases and decreases the tempo dramatically (one beat of the conductor equals one
bowing,) and I put this idea into the work to show the change.
In addition to the marionette, there are woodwinds and brass in the auditorium, and
their role is completely different from the ones on stage (strings). In my previous
spatial works, I have tried to produce an effect of feeling as if instruments which are
located separately in a hall played together on the stage, using monitors. On the
contrary, in this piece I have an image of strings that reach from the top of the
conductors finger and baton to woodwinds and brass beyond the audience. In my mind, these
woodwinds and brass are forest, and the bassoon located in the middle of them is a man
who walks into the forest.
When I go to a forest, my nose is blocked and get itchy because of an allergy. Birds sing
(if you can call that singing!) annoyingly and insects make terrible noise. This insects
sound may be thought to be beautiful in Japanese culture, but I want to say Could you
make little more beautiful sound? Maybe vary a little? Therefore, Id rather see
beautiful pictures of nature in the National Geographic. This secret forest is an
imaginary forest where birds and insects make only my favourite sounds and my nose gets
never blocked. I feel really comfortable there. I have composed this piece in my house in
a tiny, noisy London flat, that is the exact opposite of the secret forest.

Dai Fujikura`


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