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Keiki Harada’s music does not have to do with loudly articulated superficialities, but with a kind of communication achieved without words. This process is at the center of her work, and listeners can directly participate by opening themselves to the resulting sound.
The composition “midstream+” for trombone and accordion (2004/2008) – like almost all the other works on this CD – is an example of Harada’s attempt to form a sense of musical commonality between two instruments with strikingly different sound qualities. Harada carefully develops situations for the collision of individual musical spaces.
Working with Harada’s scores requires from the performers not only enormous technical mastery, but also a completely open, concentrated, and communicative awareness of the performing partner. It also requires a high degree of self-awareness, which relates to the body’s awareness of sound. Because the composer emphasizes that her work demands from the players – and one might add, from the listener as well – love and respect towards music.
First Recordings
Co-production: Radio Bremen
The composition “midstream+” for trombone and accordion (2004/2008) – like almost all the other works on this CD – is an example of Harada’s attempt to form a sense of musical commonality between two instruments with strikingly different sound qualities. Harada carefully develops situations for the collision of individual musical spaces.
Working with Harada’s scores requires from the performers not only enormous technical mastery, but also a completely open, concentrated, and communicative awareness of the performing partner. It also requires a high degree of self-awareness, which relates to the body’s awareness of sound. Because the composer emphasizes that her work demands from the players – and one might add, from the listener as well – love and respect towards music.
First Recordings
Co-production: Radio Bremen
| Contenu du texte: | Zero Hour for alto/bass flute and 13- & 17-strings Japanese koto (2005/08/10) The 5th Season for guitar and accordion (2008-12) midstream+ for trombone and accordion (2004/08) In for bass flute and piano (2000) Third Ear Deaf II-b’ for flute and accordion (2003) Devil Fire Tarantella – Devil Fire Tango for accordion and piano (2014-16) |
|---|---|
| Durée de la performance: | 63'18" |
| EAN: | 4010228735420 |
| Maison d'édition: | Wergo |
Keiki Harada’s music does not have to do with loudly articulated superficialities, but with a kind of communication achieved without words. This process is at the center of her work, and listeners can directly participate by opening themselves to the resulting sound.
The composition “midstream+” for trombone and accordion (2004/2008) – like almost all the other works on this CD – is an example of Harada’s attempt to form a sense of musical commonality between two instruments with strikingly different sound qualities. Harada carefully develops situations for the collision of individual musical spaces.
Working with Harada’s scores requires from the performers not only enormous technical mastery, but also a completely open, concentrated, and communicative awareness of the performing partner. It also requires a high degree of self-awareness, which relates to the body’s awareness of sound. Because the composer emphasizes that her work demands from the players – and one might add, from the listener as well – love and respect towards music.
First Recordings
Co-production: Radio Bremen
The composition “midstream+” for trombone and accordion (2004/2008) – like almost all the other works on this CD – is an example of Harada’s attempt to form a sense of musical commonality between two instruments with strikingly different sound qualities. Harada carefully develops situations for the collision of individual musical spaces.
Working with Harada’s scores requires from the performers not only enormous technical mastery, but also a completely open, concentrated, and communicative awareness of the performing partner. It also requires a high degree of self-awareness, which relates to the body’s awareness of sound. Because the composer emphasizes that her work demands from the players – and one might add, from the listener as well – love and respect towards music.
First Recordings
Co-production: Radio Bremen
| Contenu du texte: | Zero Hour for alto/bass flute and 13- & 17-strings Japanese koto (2005/08/10) The 5th Season for guitar and accordion (2008-12) midstream+ for trombone and accordion (2004/08) In for bass flute and piano (2000) Third Ear Deaf II-b’ for flute and accordion (2003) Devil Fire Tarantella – Devil Fire Tango for accordion and piano (2014-16) |
|---|---|
| Durée de la performance: | 63'18" |
| EAN: | 4010228735420 |
| Maison d'édition: | Wergo |
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