Klarinet Archive - Posting 000325.txt from 1997/09

From: <emrichards@-----.com>
Subj: NYC recital
Date: Sun, 7 Sep 1997 19:31:55 -0400

Just a brief announcement about a recital that I will play with pianist
Kazuko Tanosaki in NYC on September 27 - the program should hold some
interest since it include 2 premieres, as well as 2 other works written
for us by prominent Asian and Asian-American composers during the last 10
years.

If anyone would like further information, please let me know!

- E. Michael Richards
Associate Professor of Music
Hamilton College
Clinton, NY 13323
emrichards@-----.com

----------------------------

Tanosaki-Richards Duo

E. Michael Richards - clarinet
Kazuko Tanosaki - piano

*ASIAN VOICES*

Bruno Walter Auditorium
New York Public Library of the Performing Arts at Lincoln Center
111 Amsterdam Ave. at 65th Street
New York, NY

Saturday, September 27, 1997
3 PM

PROGRAM:

Junction III* Masao Honma
(1990) (b.1930)

Kochi II for solo clarinet Isao Matsushita
(1989) (b.1951)

My Language** P.Q. Phan
(1997) (b.1962)
+PREMIERE+

***INTERMISSION***

Cosmos Haptic II Joji Yuasa
(1989) (b.1929)

Lament* David Macbride
(1996)
+PREMIERE+

Sakuran* Masataka Matsuo
(1987) (b.1959)

* = commissioned by, and written for the Tanosaki-Richards Duo
** = commissioned by and dedicated to the Tanosaki-Richards Duo

no admission charge
-------------------------------------------

The program will include works by two Japanese composers who are
internationally recognized and with whom Richards and Tanosaki have
worked - Joji Yuasa's *Cosmos Haptic II" for solo piano, and the American
premiere of Isao Matsushita's *Kochi II* for solo clarinet. Also on the
program are four works written for the Tanosaki-Richards Duo, of which
two will receive a first performance - *My Language* by P.Q. Phan
(Vietnam/US), *Lament* by David Macbride (Chinese American), and
*Junction III* [1990] by Masao Honma (Japan), and *Sakuran* [1987] by
Masataka Matsuo (Japan).

Yuasa has received a number of international awards since the 1950's
(Koussevizky, IRCAM, West Germany DAAD, Italia, etc.). *Cosmos Haptic
II* contains some reflection of Noh music in respect to the spacing and
timing of sounds. Matsushita was a composition student of Isang Yun in
Berlin and has won awards from international competitions in Munich and
Tokyo. *Kochi II* ("East Wind") utilizes Japanese shakuhachi (bamboo
flute) techniques of subtle color transformations, transferred to and
interpreted by the solo clarinet.

Born in Vietnam, P.Q. Phan immigrated to the US in 1982. He has received
numerous commissions (including three by the Kronos Quartet) and awards
(1997-8 Rome Prize), and is currently an Assistant Professor at the
University of Illinois. [Phan has accepted a commission to write a new
work for the Hamilton College Orchestra in 1999] *My Language*
integrates musical aesthetics of Southeast-Asia and the West (especially
jazz and rock rhythms). David Macbride, born in Berkeley, California, is
on the faculty of the Hartt School of Music. His numerous works have won
prizes from the George Enesco International Competition, and Leo Snyder
Memorial Competition, among others. *Lament* contains chromatic
lyricism, long, mournful clarinet lines and a deliberately spare, almost
hollow, piano accompaniment.

Masao Honma was born in Aomori Prefecture (northern Japan). The musical
language of
*Junction III* is made up of multi-linear structures where the lines are
derived from Japanese folk melodies and the Tsugaru dialect of northern
Japan. His juxtapositions remind one of Charles Ives, although the
melodic material is generally more fragmented and uses modes from
traditional Japanese music. The work was premiered by the
Tanosaki-Richards Duo at the Tokyo American Center. Masataka Matsuo,
from Tokyo, has been recognized by a number of awards for contemporary
composition. *Sakuran* (Distraction) was premiered by the
Tanosaki-Richards Duo in New Orleans - it subsequently won Matsuo First
Prize at the Asian Composers Leauge in Hong Kong (1988). The work
explores new color possibilities (microtones, multiphonics) of the
clarinet, non-chordal piano writing, and special uses of piano
resonances.