Brass Extreme Tokyo
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contemporary brass music


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Stages
  Senzoku 8.12.2013
  Seoul 1.11.2011
  Tokyo 24.10.2011
  Tokyo 25.11.2008
  Seoul 26.10.2006
  Kanagawa 23.10.2006
  Hong Kong 09.10.2005
  Tokyo 03.10.2005
  Tokyo 09.07.2004
  Seoul 31.10.2003

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Brass Extreme Tokyo Lecture
23. October, Senzoku University of Music 18:00

Performer
    Brass Extreme Tokyo
    Kiyonori Sokabe (tp), Jin Ueda (tp), Shinji Kobuna (hn), Kousei Murata (trb), Mitsuhiro Ozaki (tu)
Program
    Christopher Coleman (Hong-Kong) / "Politics, Money, Music" for Brass Quintet (2005)
    Yoko Oba / "cobweb IV" for Trumpet & Tuba (2006)
    Tomoko Fukui / "Ansatz" crescendi al niente for Brass Quintet (2006 commissioned by Brass Extreme Tokyo)
    In-Sun Cho / "White Shadow III" for Horn, Trumpet, Trombone and Tuba (2006)
    Yasunoshin Morita / "mutes meet beats" for Two Trumpets (2005 revised in 2006)
    Iannis Xenakis / "linaia-agon" for Horn, Trombone and Tuba (1972)
    Yong-Won Sung / Brass Quintet no.II (2006)
Program Notes & Profiles
    In-Sun Cho / "White Shadow III" for Horn, Trumpet, Trombone and Tuba (2006)
    Not only in the clear and transparent light, an object casts a reflection.
    As there is limpid air in the darkness, there are projected sounds and paintings from the shadow.

    The river putting the sky in it, the clouds above it,, and the waves,
    The prayer song from a monastery, bell sounds...

    The wind talks on the lake reflecting the sky and the clouds, and on the waves sparkling on the river.
    On the endless Silk Road, on the river having the sky.
    On the tree where the light draws...
    The wind fades away as hanging down the white shadow.

    Looking at the shining light in our inner side and the white shadow of our lives, I depict the sparkling sound with the brass instruments
    ****
    In-Sun Cho
    graduated from Seoul National University and the Graduate School of Seoul National University. She received a diploma in composition from Staatliche Hochschule fuer Musik in Koeln and also studied musicology and philosophy at Koeln University in Germany. She has been invited to the first International Woman Composer's Conference in Berlin and Die Hoege in Germany as artist-in-residence. She was awarded for her composition from Dong-A Music Competition and Mannheim International Competition in Germany. Her works have been presented at various international music festivals, such as Festival e Symposium Internazionale Fiuggi Citta in Italy. Composition's Festival of Asian composer's League in Mannila and Wellington and Musik aus Ost in Muenster. Her works have been performed in Seoul, Berlin, Freiburg, Hamburg, Bonn, Moscow, Budapest, Hoege, and Fiuggi. Currently, she is professor of composition at Chung-Ang University and a member of Contemporary Music Society in Seoul, Asian Composer's league, Korean Society of Woman Composers and ISCM.

    Yong-Won Sung / Brass Quintet no.II (2006)
    I wrote this piece for the same instrumentation as I did it six years ago, which is a brass quintet called "Pandragon."
    ****
    Yong-Won Sung
    Diplom in Music Theory and Composition at Karlsruhe Music University, Germany
    Diplom in Composition at Duesseldorf Robert Schumann University, Germany
    The Member of ISCM, The Korean society of the 21st Century Music
    Lecturer at Mokwon University and Dongduk Women University
    Editorial Committee Member of the Journal of Music magazine.

    Tomoko Fukui / "Ansatz" crescendi al niente for Brass Quintet (2006 commissioned by Brass Extreme Tokyo)
    This piece is the one of the series of <crescendo al niente~for cl, vn,vc> which was composed 2 years ago. In this series, I treated only “crescendo” limitedly and thought how to express various kinds of “crescendo” about every sound. But it is not only the sonority itself but also the moment of the end of the sound or just after the sound.
    And more I wanted to have an experience to listen to the condition of just before sound also in this piece.
    ****
    Tomoko Fukui
    Born in Kyoto. Won the“Scholarship Prize”of International Summer Course of New Music in Darmstadt in 1992. “Akiyoshidai International Composition Prize”in 1994.The Third Prize of Japan Music Competition in 1999 and some other prizes in Japan. T
    he piece for Arditti String Quartet was performed in Darmstadt in 1996. This quartet was selected as the Recommended piece of the Irino International Composition Prize in 1997. Selected for ISCM World Music Days-Hong Kong 2002, ISCM World Music Days-Zagreb 2004. Invited by "La Biennale di Venezia 2002", Daegu music festival (2004), Takefu music festival(2005), International Summer Courseof New Music in Darmstadt(2006),etc.
    Organizing the Ensemble "next mushroom promotion" which plays contemporary music mainly. This Ensemble got Saji-Keizo prize(Suntory Music foundation) 2005. This prize are given to the Ensemble which are the most interesting and challenging concert in a year.Instructor of Osaka College of Music and Kanseigakuin Univ. Living in Tokyo.

    Yasunoshin Morita / "mutes meet beats" for Two Trumpets (2005 revised in 2006)

    A trumpet mute is used to change the tone of the instrument, but what if the act of attaching and detaching it became part of the music?This piece is one of my experiments with this fascinating idea. As the work progresses, the attachment and detachment of the mutes will gradually synchronize with the beat. artistic and study curriculum:
    ****
    Yasunoshin Morita
    Studied composition under Yori-aki Matsudaira and Hisayoshi Ando. Won the first prize in the composition competition of JSCM (Japan Society for Contemporary Music), in the Valentino Bucchi International Composition Competition, and the Excellency Award in the Composition Competition of Japan Symphony Foundation in 2003, and in the 5th Henri Dutilleux competition in 2004. Now working with the ensemble “next mushroom promotion” in Kyoto and Osaka.

    Yoko Oba / "cobweb IV" for Trumpet & Tuba (2006)
    I had been imagining the huge cobweb in a land encircled by
    mountains, while I composed this piece.

    First of all, one thread is spun between the tops of the mountains, and several threads are spun radially from its center.
    And moreover, the new threads are spun spirally.
    We, living things that is caught by the huge cobweb live on that, and emit each sound(voice).
    And their sounds are mixed little by little, they will become 'one music in the mountains' in the end.


    I wanted to compose such a music.
    ****
    Yoko Oba
    Born in 1975. Received her master's degree from the Graduate School at the Tokyo National University of Fine Arts and Music. Awarded prizes including the First Prize and Yasuda Award in the 67th Japan Music Competition (Orchestral Section) in 1998, an award in the 4th Tokyo International Competition for Chamber Music Composition in 1999, the Composition Award in the 4th Japanese Music Exhibition in 2000, the Second Prize in the Japan Federation of Composers Composition Award (chamber orchestra) in 2003, etc. Participated in the Royaumont Seminar as an exchange composer from the Takefu International Music Festival 2005. Her works have also been performed in international music festivals such as the PAN Music Festival in Korea, the Takefu International Music Festival in Japan and the Odessa festival "Two Days and Two Nights" in Ukraine.
    Her recent interest in combination of dissimilar instruments made her organize and compose for concerts "Yoi Yoi Kaikyou (with tabla, marimba and Thai Gong) in 2004 and "Ayanari (with violin, flute, 25-string koto, and gamelan)" in 2005. Plans to participate as a composer in the "Synchronization of Sound and Color (Tokyo & Paris)", an event made up by artists and pianists in 2006 _ 2007.

    Christopher Coleman / "Politics, Money, Music" for Brass Quintet (2005)
    It has often been my habit to composer works in pairs, putting similar materials and techniques to contrasting gestures. Having just completed a large work for symphonic 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 virtuostic 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 where I now reside, and even within my profession and university; I gave vent to my feelings in this, my darkest and most sardonic work yet. Politics, Money, Music develops a twisting chromatic figure throughout its nine-minute length, obsessively reordering the pitches repeatedly in static melodic statements that suddenly burst into movement, only to be cut short by stabbing syncopations. The central section expands the compressed chromatic idea into a sarcastic blues, which in turn works its way to a quieter but still unsettled conclusion. Shortly after the piece was completed, Hurricane Katrina devastated the southern United States. In sympathy with those who have suffered from its passage and from the subsequent governmental ineptitude I have dedicated this piece to its victims.
    Politics, Money, Music was premiered October 3, 2005, by Brass Extreme Tokyo in Tokyo, Japan.
    ****
    Christopher Coleman (b. 1958, Atlanta, GA)
    composer, conductor, 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 program. 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. While most of Coleman's works are scored for traditional forces, recent efforts at Hong Kong Baptist University have resulted in two large scale multimedia/improvisation pieces: September Variations and Prophecies for a New Millennium . He has received commissions from the Hong Kong Wind Philharmonia, 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. His music is published by Theodore Presser, Ensemble Publications, C. Alan Publications and Crown Music Press.

    Iannis Xenakis / "linaia-agon" for Horn, Trombone and Tuba (1972)
    According to the legend, Linos, the celebrated musician, provokes Apollo,who strikes him down. Here the legend is incarnated by a musical game between two adversaries Linos=the trombone, Apollo=the French horn or the tuba. Contrary to the legend, this game gives a chance to extricate himself. This actual chance is mathematically provided by decision matrices. To throw the gauntlet to the gods is not blasphemy but to surpass them by surpassing oneself.
    ****
    Iannis Xenakis
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