2005年10月9日（日） 香港シティホール 20:00
ムジカラマフェスティバル 2005 ブラス・エクストリーム・トウキョウ コンサート
出 演
ブラス エクストリーム トウキョウ
曽我部 清典（トランペット）、 上田 仁（トランペット）、 堂山 敦史（ホルン）、村田 厚生（トロンボーン）、橋本 晋哉（テューバ）
プログラム
Changwon Park (Korea) / Spur.. (2003)
Ho Shan-shan (China) / Space - Colour (2005)
Luciano Berio / Sequenza V for trombone solo (1966)
藤井 喬梓 (Japan) / 天体舞踊説 (2005)
Fiona Chung 鐘 雅研 (China) / Fanfare for the Mongolians (2005)
Christopher Coleman (USA) / Politics, Money, Music (2005)
Bernard Cavanna (France) / Pompes et pistons (avec lèvres) (2005)
Tang Man-ngai (China) / Requiem for Brass Quintet - In Memory of Pope John
Paul II (2005)
 
プログラムノート＆プロフィール
Changwon Park / Spur… for Brass Quintet (2003)
 Spur
consists of seven little pieces of components. Each component has different
motivic movements, which represent acoustic vestiges of brass quintet in
various spaces. The last parts of the components vanish with the resonating
sounding of vestiges of micro-tones.
****
Changwon Park(b.1967)
He graduated from Yonsei University(B.A), Mannheim-Heidelberg Muiskhochschule
(K.A) and Karlsruhe Musikhochschule(K.E), studying Composition with Chanhae
Lee, Inyong La, P.M Braun, U. Leyendecker, W.Rihm, Heiner Goebbels. In 1989,
he won the Jung-Ang Competition, and Yonsei Cultur Award in 1990. His works
have been performed at Karlsruhe, Stuttgart, Frankfurt, Madrid, Tongyoung
and Daegue, Contemporary Music Festival, ACL in Korea and the 21st Century
Music Society and ect… Currently, he is teaching at Yonsei University and
also a music director & conductor of the Contemporary Music Ensemble
SORI. (www.ensemblesori.com)
Ho Shan-shan / Space - Colour (2005)
 This
piece is divided into two movements. The first movement is called Space.
The composer arranges the alternative appearance of a rapid, rhythmic pattern
and a long, sustained chromatic pattern. An even chromatic figure on the
trombone and horn introduces the second half, fast section. This figure
modifies and tightens the music to suggest the climax at the end.
The second movement is called Colour. This is a slow movement with more
chromatic harmony treatment. The music suggests a slow flowing motion.
****
Ho Shan-shan (b.1983)
is now in her second year of degree programme at the Hong Kong Academy for
Performing Arts, studying composition under Clarence Mak, and composition
and electronic music with Lo Hau-man.Ho was interested in music at an early
age, and started the piano as a young child. Her recent compositional project
was a part arrangement in the Chinese Cantonese opera Heaven Shaking Bow
- Celebrating the Academy’s 20th Anniversary.
藤井 喬梓 / 天体舞踊説 (2005)
 東洋の舞踊によく見られるゆっくり旋回するような動き、それは大自然のサイクルを反映しているように見える。私たちの日常の動作が自然のサイクルと共振したとき、私たちの内部で舞踊が始る。心と身体がゆっくりと旋回し始める。一回、二回、三回、だんだん速く、耐えられないほど速く・・ぐるぐるぐる。その時人は、宇宙が天体の舞踊で満ちていることに気付くだろう。
2005年夏、Brass Extreme Tokyoの委嘱により作曲。
****
藤井喬梓 （ふじい・たかし） (b.1959)
国立音楽大学卒業後、フライブルク国立音楽大学卒業、E.Nunes氏らに師事。作品は日本国内、ヨーロッパ、アジア各地で演奏されている。1994年、ダルムシュタット夏期現代音楽講習会に招かれ委嘱作を初演。1992年より障害を持つ人たちと共に数多くの創作ワークショップを行ってきた。1992年「福井ハープ作曲特別賞」、1995年「朝日作曲賞」受賞。2004年「ISCM世界音楽の日々」スイス大会入選。いくつかの作品がドイツのTre
Media社、音楽之友社、カワイ楽譜などから出版されている。日本現代音楽協会会員。国立音楽大学講師。東京在住。
Fiona Chung / Fanfare for the Mongolians
 古代から現代までの闘争を経て急速に発展するモンゴルをテーマにした曲である。モンゴルの民俗音楽を西洋音楽の要素のである「ファンファーレ」に取り入れ、モンゴルの果てしない大草原とモンゴル民族の堅忍不抜な精神を賛美している。
****
Fiona Chung 鐘 雅研 (b.1980)
香港大学音楽学部博士課程在籍、作曲専攻。陳 錦標教授のアシスタントを努める。、ドラマや短編小説、詩集を執筆しYuan Yangに自作の詩が掲載された。香港大学でイギリス研究と比較文学を専攻し文学士資格を得る。1999年香港ユナイテッド・ワールド・カレッジ卒業。国際学士号証書取得。
Christopher Coleman / Politics, Money, Music (2005)
 It
has often been my habit to compose works in pairs, putting similar materials
and techniques to contrasting gestures. Having just completed a large work
for band that in spite of its title, A Jazz Funeral, is an optimistic celebration
of life, I turned to this commission for Extreme Brass Tokyo from the Hong
Kong Composers’ Guild. Inspired by the group’s name, I took the jazzy rhythms
and inflections from the previous work and put them to darker and quite
a bit more virtuosic use. Frustrated and angered by what I perceive as broken
promises, outright lies, and other evil machinations by my government in
the US, the government here in Hong Kong and China, and even within my profession,
I gave vent to my feelings in this, my darkest piece yet. Politics, Money,
Music develops a twisting chromatic figure throughout its nine-minute length,
obsessively reorganizing the pitches repeatedly, beginning with melodic
bursts and sequences that are brutally cut short by stabbing syncopations,
and finally works its way to a quieter but still unsettled conclusion.
****
Christopher Coleman (b.1958)
composer, conductor and trombonist, is currently Composition Coordinator
of the Hong Kong Baptist University Department of Music and Fine Arts. He
has also taught at the University of Chicago, DePaul University, Columbia
College, and in the Interlochen Center for the Arts summer programme. He
earned his Ph. D. from the University of Chicago where he studied composition
with Ralph Shapey and Shulamit Ran. While at the University of Pennsylvania,
where he earned the M.A. in composition, he studied with George Crumb, George
Rochberg and Richard Wernick, among others. While most of Coleman’s works
are scored for traditional forces, recent efforts at Hong Kong Baptist University
have resulted in two large scale multi-media/improvisation pieces: September
Variations and Prophecies for a New Millennium. He has received commissions
from the Hong Kong Bach Choir and Orchestra, the Hong Kong Composers’ Guild,
the DuPage Symphony Orchestra, the Chicago-area chapter of the American
String Teachers’ Association, and the University of Georgia Trombone Choir,
among others. He has been awarded first place in the Percussive Arts Society
Percussion Ensemble Composition Contest and the ASUC/SESAC Composition Contest.
Following in the path of his father, visual artist Oliver M. Coleman, Jr.,
Christopher Coleman has recently begun working in sculpture and computer
graphics.
Tang Man-ngai / Requiem- In Memory of Pope John
Paul II (2005) for two trumpets in C, French horn, trombone and tuba
 Requiem
is written in memory of Pope John Paul II whom the composer respects highly
of his fervent belief in peace and high standard of morality. An interlocking
texture that gently pushes the music forward supports the dense harmonic
rhythm that contributes to the heavy atmosphere at the beginning of the
piece. A duet leads into the second section which then develops into animated
exchanges within the ensemble. In the last section a merger of themes
from previous sections builds up the climax. A chorale-like codetta concludes
the music.
****
Tang Man-ngai (b.1972)
studied composition and electronic music with Law Wing-fai and Clarence
Mak at the Hong Kong Academy for Performing Arts and graduated in 1998.
Tang was then awarded the Composers and Authors Society Scholarship for
Overseas Studies to study with Richard Mills and Brenton Broadstock at
the University of Melbourne. Tang received a Master of Music from the
University of Melbourne in 2001. Tang has written solo, chamber, vocal,
electronic, multi-media and orchestral works. His compositions have been
performed in Hong Kong, Taiwan, Japan, Australia and Switzerland.
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