TAKEHISA KOSUGI+TAKEMITSU MUSIC NOW FOR HARP LP FLUXUS

$

195

TAKEHISA KOSUGI / TORU TAKEMITSU / KATSUHIRO TSUBONO

 MUSIC NOW FOR HARP LP

Denon Japan

Legendary japanese avant-garde release with contributions from Takehisa Kosugi, Toru Takemitsu and Katsuhiro Tsubono. Rare as hen's teeth.

Some info on the release:  Very rare and highly recommended release on the japanese Denon label with Ayako Shinozaki on harp performing pieces from Takehisa Kosugi, Toru Takemitsu and Katsuhiro Tsubono. Highest recommendation and rarely seen for sale. 

Takehisa Kosugi is without doubt one of the most important and influential figures of the Japanese avant-garde still performing into the 21st Century. Over the years he has worked with everyone from John Cage to Sonic Youth as well as being an active member of the Fluxus group and starting his own performance units Group Ongaku and the Taj Mahal Travellers. Known also for collaborations with Akio Suzuki, Steve Lacy, Takashi Kazamaki, Peter Kowald, Yuji Takahashi, Masahiko Sato, East Bionic Symphonia, David Tudor and David Behrman.   

Takehisa Kosugi  is a Japanese composer and violinist associated with the Fluxus movement. Kosugi is probably best known for the extraordinary experimental music that he created between 1960-75, first in the early 1960s with the Tokyo-based seven member ensemble Group Ongaku ('music group') and thereafter as a solo artist and with itinerant octet Taj Mahal Travelers (1969-75). Kosugi's primary instrument is the violin, which he sends through various echo-chambers and effects to create a bizarre, jolting music quite at odds with the drones of other more well-known Fluxus artists, such as Tony Conrad, John Cale, La Monte Young, Yoshi Wada and Henry Flynt. In 1963 Takehisa Kosugi composed for Fluxus 1 a musical piece called Theatre Music in the form of a rectangle of cardstock that bore the trace of a spiral of moving feet. This was paired with the instructions: "Keep walking intently". Since 1978, Kosugi has served as music director for the Merce Cunningham Dance Company, and lives in New York. 

In 1951 Takemitsu was one of the founding members of the anti-academic Jikken K?b? ("experimental workshop"): an artistic group established for multidisciplinary collaboration on mixed-media projects, who sought to avoid Japanese artistic tradition. The performances and works undertaken by the group introduced several contemporary Western composers to Japanese audiences. During this period he wrote Saegirarenai Ky?soku I ("Uninterrupted Rest I", 1952: a piano work, without a regular rhythmic pulse or barlines); and by 1955 Takemitsu had begun to use electronic tape-recording techniques in such works as Relief Statique (1955) and Vocalism A·I (1956) (as pioneered during this period by Pierre Schaeffer and Karlheinz Stockhausen; see Musique concrète). During his time with Jikken K?b?, Takemitsu had already come into some contact with the experimental work of John Cage; but when the composer Toshi Ichiyanagi returned from his studies in America in 1961, he gave the first Japanese performance of Cage's Concert for Piano and Orchestra. This left a "deep impression" on Takemitsu: he recalled the impact of hearing the work when writing an obituary for Cage, thirty-one years later.This encouraged Takemitsu in his use of indeterminate procedures and graphic-score notation, for example in the graphic scores of Ring (1961), Corona for pianist(s) and Corona II for string(s) (both 1962). In these works each performer is presented with cards printed with coloured circular patterns which are freely arranged by the performer to create "the score". Takemitsu was in the forefront of the japanese avant-garde movement together with Toshiro Mayuzumi, organized the Experimental Laboratory with the aim of combining traditional japanese music with modern serial techniques. Highly influenced from composers like John Cage, Roger Reynolds, Iannis Xenakis, Toshi Ichiyanagi. Takemitsu was contemporary with japanese composers as Somei Satoh, Jo Kondo, Takehisa Kosugi, Taj Mahal Travellers, Akio Suzuki, Maki Ishii and Michio Mamiya, Toshiya Sukegawa, Yuji Takahashi and Masahiko Sato, Toshi Tsuchitori, Joji Yuasa and Toshiro Mayuzumi.  

Condition: Vinyl lies in mint condition, looks crystal clear and plays perfectly, while cover lies in excellent condition, with the slightest storage wear. Keeper's copy.

Tracklist

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