edo no hana
- Year: 2004
- Instrumentation: Tenor Yamaha Recorded with c#
- Duration: 14'
- with the contribution of Japan Foundation Tokyo, Uchida Fellowship 2004
nine pieces for tenor recorder on Basho's haiku verses
Speaking about the Japan culture I am interested in its complex simplicity
in conceiving the form as dynamic balance between a participation of quality
of moments and length. A peculiarity that in its several applications (music,
poetry, art, spirituality, martial arts…) generated precious and unmistakable
contributions to our life path. More in detail I am interested in its ability
to include extremes that are apparently so incompatible: brevity and length,
lightness and intensity, uniqueness and repetition, expression and detachment,
fullness and void, permanence and impermanence… In the attempt to communicate
the possible continuity between conflict and solution, decision and necessity,
art and nature.
The context in this case is a musical instrument, the tenor recorder: I
tried to listen to it closer and farther from usual repertory, looking for
its specific qualities and for the qualities of "all" ancient flutes without
keys, shakuhachi enclosed, looking for to become the breath into an always
changing holed pipe and to sing those ways.
It is a cycle of nine short pieces divided in three triptics: 1, 2, 3 -
4, 5, 6 - 7, 8, 9.
This subdivision of three in three and the whole metrical/rythmical structure,
becomes for successive transformation of the original haiku structure, 5
7 5 syllables. From level to level, from the general durations of each triptic,
of each piece in the triptic, of the parts in each piece and so on until
each instant, the inner relations become more and more complex as in the
surface they could be seemed totally free and if you feel that I am happy...
I wasn't looking for a structuralist way of making something but for the
way to leave a structure live.
Each title comes from a Basho's haiku verse and you can find here below the whole haiku for every quoted verse.
| I | yukima yori | spazio nella neve | |
| 1) | usumurasaki no | viola pallido sboccia | |
| meudo kana | l'aralia | ||
| kami haete | stagione delle piogge | ||
| yogan aoshi | i miei capelli di nuovo | ||
| 2) | satsuki ame | intorno al chiaro viso | |
| 3) | kitsu tsuki mo | nella macchia estiva | |
| io wa yaburazu | anche il picchio rispetterà | ||
| natsu kodachi | questo capanno d'eremita | ||
| II | 4) | ishiyama no | più bianco delle pietre |
| ishi yori shiroshi | del Monte delle pietre | ||
| aki no kaze | il vento dell'autunno | ||
| natsukusa ya | erba estiva | ||
| 5) | tsuwamono domo ga | per molti guerrieri | |
| yume no ato | la fine di un sogno | ||
| kono aki wa | in quest'autunno | ||
| nan de toshi yoru | perché sono così vecchio? | ||
| 6) | kumo no tori | tra le nuvole un uccello | |
| III | 7) | haranaka ya | in mezzo al campo |
| mono ni mo tsukazu | il canto libero | ||
| naku hibari | dell'allodola | ||
| kana kiete | sera: | ||
| 8) | hana no ka wa tsuku | tra i fiori si spegne (spengono) | |
| yube kana | rintocchi di campana | ||
| uyu no hi ya | giorno d'inverno | ||
| bajo ni koru | gelata sul cavallo | ||
| 9) | kagebosh | la mia ombra | |
You can read the titles of each triptic as an other haiku, that resounds in an other way the three originals; you can also read the three triptics as a more extended resonance in which Basho vision, my listening and the instrument qualities try to become only one thing.
It is requested a plastic tenor Yamaha recorder with the C#
It is a cycle of nine short pieces divided in three triptics: 1, 2, 3 -
4, 5, 6 - 7, 8, 9.
In the concert there will be three stands: on the stage right for the first,
on the stage middle for the second, on the stage left for the third triptic.