toshi ichiyanagi: sapporo
why is it, that this piece is so mysteriously fascinating?
why is it so different from everything else i know and yet so intimately familiar? why is it so obvious, that this music is "good for us"?
what is it, that makes us experience glissandi so differently in this piece, as if our whole environment is tilting and we have to readjust our orientation, as if we are not just observing the shift, but are part of kind of non-directional dissolution,
some kind of sonic vertigo, pleasantly, though, giving relief rather than anxiety?
what is it, that makes the atmosphere of this piece so promising, so truly generous, peaceful and trustingly attentive?
how does it "not make the air it is in any heavier than it already was"?
(quotes in italics are from john cage's comments on the music of toshi ichiyanagi)
audio excerpt: ► sapporo (15:00)
EYE MUSIC is a seattle based ensemble specializing in the interpretation of graphic and text scores. the group was begun in 2006 with the aim of playing a student composition by sune smedeby and since then have expan- ded their repertoire to include pieces by cornelius cardew, david toop, michael parsons, clifford burke, bob cobbing, michael shannon, steve peters, malcolm goldstein, boguslaw schaeffer, mieko shiomi, christian wolff, george brecht, alison knowles, earle brown, stuart dempster, stephen o'malley, william hellerman, takehisa kosugi and jeph jerman. the openness of these compositions allows EYE MUSIC to draw its membership from a wide range of musical backgrounds, instrumentation, and musical skill. the ensemble has worked with guest artists keith rowe, jeph jerman, richard lerman and clifford burke. members of the ensemble not on this recor- ding are amy denio and susie kozawa.
dean moore (air pressure tom, prepared snare, cymbal tree, shakers),
jay hamilton (cello) , carl lierman (analog synthesizer),
mike shannon (dilruba, erhu, harmonium),
dave knott (korg DS-10, monochord, rocks, voice, kitchen faucets),
david stanford (electric guitar, e-bow), jonathan way (khaen, yueqin, autoharp),
robert j kirkpatrick (prepared wire-strung harp, iphone oscillator),
stuart dempster (trombone), eric lanzillotta (acoustic guitar, uncut nail,
contact microphone, psaltery bow, ring modulator, singing bowl, telephone bells,
light bulb, spring, umeboshi pit, shell, resin, glass, marble, button, glass fuses),
esther sugai (flute, two fue: japanese bamboo flutes)