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Tokyo to New York
東京 と ニューヨーク "Moments In This Time" Benefit Concert Covid-19 Musicians Relief |
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paypal.me/MomentsInThisTime
Donations will be accepted during the concert premiere broadcast. Donations will continue to be accepted after the broadcast by making the concert available on Youtube, Facebook, Instagram, and other other broadcast portals. All donations are tax-deductible and 100% goes directly to composers and performers affected by the covid-19 pandemic. The Donate button takes you to a PayPal donation page at the non-profit 501(c)(3) sponsor, the Sunset Park School of Music. In coordination with the following organizations that have supported "Tokyo to New York" concerts (New York State Council on the Arts, NYC Department of Cultural Affairs, Lower Manhattan Cultural Council, NewMusicUSA, and the Sunset Park School of Music), all funds will be donated to organizations aiding musicians including NewMusicUSA, Gabriela Lena Frank Creative Academy of Music, and the Japan Foundation.
寄付情報
初演の放送の間では、寄付はいただきます。放送を終わった後にも、youtube, facebook, instagramからもなど寄付もいただきます。全ての寄付は、新型コロナウイルスの影響を与えた演奏者や作曲家へ直接に渡します。寄付ボタン（Donation Button）を押すと、Sunset Park School of Music (NPO)のPayPalページに行きます。全ての寄付は、演奏者を応募する関係団体（NewMusicUSA, Gabriela Lena Frank Creative Academy of Musicと及び国際交流基金を含み）に渡します。
寄付情報
初演の放送の間では、寄付はいただきます。放送を終わった後にも、youtube, facebook, instagramからもなど寄付もいただきます。全ての寄付は、新型コロナウイルスの影響を与えた演奏者や作曲家へ直接に渡します。寄付ボタン（Donation Button）を押すと、Sunset Park School of Music (NPO)のPayPalページに行きます。全ての寄付は、演奏者を応募する関係団体（NewMusicUSA, Gabriela Lena Frank Creative Academy of Musicと及び国際交流基金を含み）に渡します。
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"Moments in This Time"
Concert Review from JapanCulture-NYC
www.japanculture-nyc.com/benefit-concert-to-examine-composers-musical-responses-to-the-pandemic
Concert Review from JapanCulture-NYC
www.japanculture-nyc.com/benefit-concert-to-examine-composers-musical-responses-to-the-pandemic
Thomas Piercy, the Artistic Director, clarinetist, and hichiriki player of "Tokyo to New York" was in Japan for concerts scheduled for February, March, and April 2020, including the "Tokyo to New York Festival 2020". Unfortunately, these concerts and festival were cancelled or postponed due to the covid-19 pandemic and restrictions placed on live concerts in Japan. Due to travel restrictions put in place between Japan and USA, Mr. Piercy was not able to return to his NYC home until mid-August, 2020.
Mr. Piercy received permission from Tokyo Concerts Lab to give a "no audience" concert at their hall in July. He decided he would use this opportunity to perform a benefit concert to aid fellow musicians affected by the covid-19 pandemic. In June, he asked composers he had previously worked with if they would be interested in writing a new work, a short musical moment in this time, to be performed and recorded as part of this benefit concert. Over 40 composers sent him their short musical moments. Piercy and six of his colleagues came together in Tokyo, Japan on July 28th to record "Moments In This Time" - a "Tokyo to New York" benefit concert. Under the artistic direction of Mr. Piercy, the concert of new music features the premieres of music by a wide variety of composers (from young composers aged 10, 13, and 17 to award-winning composers that have had their music performed by international soloists and ensembles, and orchestras including the Chicago Symphony, the New York Philharmonic, Dresden Sinfonietta, BBC Proms, and the Boston Symphony Orchestra.
The "Moments in This Time" concert video will be broadcast free of charge so there is no financial barrier for anyone that wants to see and hear this new music. There is a Donate Button for people to use if they choose to do so. The video will be made available for viewing on YouTube and the “Tokyo to New York” site after the initial broadcast. We feel it important that each of us, if in a position to do so, do what we can to help our fellow musicians during this difficult time. The composers, performers, audio/video recording staff and many others involved in this concert have donated their time and music to bring this benefit concert to life.
Mr. Piercy received permission from Tokyo Concerts Lab to give a "no audience" concert at their hall in July. He decided he would use this opportunity to perform a benefit concert to aid fellow musicians affected by the covid-19 pandemic. In June, he asked composers he had previously worked with if they would be interested in writing a new work, a short musical moment in this time, to be performed and recorded as part of this benefit concert. Over 40 composers sent him their short musical moments. Piercy and six of his colleagues came together in Tokyo, Japan on July 28th to record "Moments In This Time" - a "Tokyo to New York" benefit concert. Under the artistic direction of Mr. Piercy, the concert of new music features the premieres of music by a wide variety of composers (from young composers aged 10, 13, and 17 to award-winning composers that have had their music performed by international soloists and ensembles, and orchestras including the Chicago Symphony, the New York Philharmonic, Dresden Sinfonietta, BBC Proms, and the Boston Symphony Orchestra.
The "Moments in This Time" concert video will be broadcast free of charge so there is no financial barrier for anyone that wants to see and hear this new music. There is a Donate Button for people to use if they choose to do so. The video will be made available for viewing on YouTube and the “Tokyo to New York” site after the initial broadcast. We feel it important that each of us, if in a position to do so, do what we can to help our fellow musicians during this difficult time. The composers, performers, audio/video recording staff and many others involved in this concert have donated their time and music to bring this benefit concert to life.
"Moments In This Time"
Thomas Piercy, Artistic Director, clarinet & hichiriki トーマス・ピアシー（クラリネットと篳篥）
Shoichiro Tanaka, piano 田中翔一朗（ピアノ)
Go Mochizuki, mandolin 望月豪 (マンドリン)
Colleen Schmuckal, shamisen コリーン・シュムコー（三味線)
Hideyuki Tsuchiya, shakuhachi 土屋 英之 (尺八)
Ryuta Iwase, bass clarinet 岩瀬龍太 (バスクラリネット)
Thomas Piercy, Artistic Director, clarinet & hichiriki トーマス・ピアシー（クラリネットと篳篥）
Shoichiro Tanaka, piano 田中翔一朗（ピアノ)
Go Mochizuki, mandolin 望月豪 (マンドリン)
Colleen Schmuckal, shamisen コリーン・シュムコー（三味線)
Hideyuki Tsuchiya, shakuhachi 土屋 英之 (尺八)
Ryuta Iwase, bass clarinet 岩瀬龍太 (バスクラリネット)
41 Composers. 41 Premieres.
41作曲家 41初演、
This concert lasts two hours. These compositions, composed for Thomas Piercy during the Covid-19 pandemic, were generously donated by the following composers for the "Moments In This Time" benefit concert.
Premieres by:
ALYSSA ASKA “in/finite” for hichiriki
JEAN-PATRICK BESINGRAND “Au fond des flots repose une perle blanche” for clarinet and piano
SETH BOUSTEAD “It’s Complicated” for clarinet and piano
SETH DAVID “Socially Sexually Distant Encounters” for clarinet and piano
DAVID FETHEROLF “DULSATORY FUGUEISHNESS DURING THE COVID” for clarinet and piano
REIKO FUETING “Sonne.Ohne.Leben.” for clarinet and piano
DAI FUJIKURA “Sandpiper” for clarinet (premiere, clarinet version)
GILBERT GALINDO “HYMN A Nod to Hildegard” for mandolin and clarinet
LYUDMILA GERMAN “breathing into twilight” for clarinet
MASATORA GOYA “Conversation” for clarinet and mandolin
JINHEE HAN “I, Just Tell You the Truth” from “We Cry” for clarinet
ZHIHUA HU “Flower Guardian” for clarinet and piano
JUSTIN HUNG “Serenade for the Last Time” for clarinet and mandolin
MATTHEW KENNEDY “CX. Tokyo, Japan” from “Miniatures for One” for clarinet
MIGAKU KITSUKAWA "花鎮め鎮魂・祈りの時 Hana-Shizume” - Requiem, a prayer for peace for clarinet and piano
YU KUWABARA “Mirror rim” for clarinet and mandolin
RACHEL LIN “Running with accidents” for clarinet
JAMES LOUGHERY “as winged branches adrift, apart” for clarinet and piano
PIYAWAT LOUILARPPRASERT “Summoning” for hichiriki
MATT A. MASON “Victor Frankenstein in the Arctic” for clarinet
PAUL MORIN “A Different Road Through the Mountains” for clarinet and piano
ALON NECHUSHTAN “VITALS” for clarinet and piano
GENE PRITSKER “The Tyranny of Choice” for clarinet
SHION SAHARA ”Party of the Japanese Ghost” for clarinet and piano
MIHO SASAKI “a little time in the alley looking at blue sky” for clarinet
MICHAEL SCHELLE “Stasis at Warp Speed” for clarinet and piano
COLLEEN SCHMUCKAL “Calling the Sunrise” for clarinet and shamisen
COLLEEN SCHMUCKAL “Who's In The Moon” for shamisen
MATT SIMON “Miniature” for clarinet
NINA SINIAKOVA “Lamento of our time” for clarinet
DORIAN TABB “Exploration” for clarinet
SHOICHIRO TANAKA “Interlude” for clarinet and piano
EMILIO TEUBAL “Children of MMXX” for clarinet and piano
MINAKO TOKUYAMA “Farewell to Teacher O” for clarinet and piano
IPPO TSUBOI “Raining, 3:50 a.m.” for clarinet and mandolin
NAGOMI WADA “妖精の遊び” “The play of the fairy" for clarinet and piano
DALIT WARSHAW “Furtive Aurora Peeks Out the Window” for clarinet
IGNACY ZALEWSKI “A Short Tribute to Uncertainty” for for clarinet and piano
Tokyo to New York “Festival 2020” postponed premieres.
The following pieces were scheduled for the "Tokyo to New York" Festival 2020. We are very excited to be able to bring these pieces to life to benefit our fellow musicians in New York City and Tokyo.
JEAN-PATRICK BESINGRAND “La cage sombre des lucioles” for shakuhachi and clarinet (世界初演 World Premiere)
CHEN YIHAN “Contemplation on Purity” for hichiriki and piano (日本初演 Japan Premiere)
KYOKO HIRAI “Daydream” for clarinet and piano (日本初演 Japan Premiere)
TOMO HIRAYAMA “Lockin’ TKTN” for clarinet, bass clarinet, piano (世界初演 World Premiere)
YURI UMEMOTO “Silent Excitement” for clarinet (世界初演 World Premiere)
All compositions composed for Thomas Piercy.
Premieres by:
ALYSSA ASKA “in/finite” for hichiriki
JEAN-PATRICK BESINGRAND “Au fond des flots repose une perle blanche” for clarinet and piano
SETH BOUSTEAD “It’s Complicated” for clarinet and piano
SETH DAVID “Socially Sexually Distant Encounters” for clarinet and piano
DAVID FETHEROLF “DULSATORY FUGUEISHNESS DURING THE COVID” for clarinet and piano
REIKO FUETING “Sonne.Ohne.Leben.” for clarinet and piano
DAI FUJIKURA “Sandpiper” for clarinet (premiere, clarinet version)
GILBERT GALINDO “HYMN A Nod to Hildegard” for mandolin and clarinet
LYUDMILA GERMAN “breathing into twilight” for clarinet
MASATORA GOYA “Conversation” for clarinet and mandolin
JINHEE HAN “I, Just Tell You the Truth” from “We Cry” for clarinet
ZHIHUA HU “Flower Guardian” for clarinet and piano
JUSTIN HUNG “Serenade for the Last Time” for clarinet and mandolin
MATTHEW KENNEDY “CX. Tokyo, Japan” from “Miniatures for One” for clarinet
MIGAKU KITSUKAWA "花鎮め鎮魂・祈りの時 Hana-Shizume” - Requiem, a prayer for peace for clarinet and piano
YU KUWABARA “Mirror rim” for clarinet and mandolin
RACHEL LIN “Running with accidents” for clarinet
JAMES LOUGHERY “as winged branches adrift, apart” for clarinet and piano
PIYAWAT LOUILARPPRASERT “Summoning” for hichiriki
MATT A. MASON “Victor Frankenstein in the Arctic” for clarinet
PAUL MORIN “A Different Road Through the Mountains” for clarinet and piano
ALON NECHUSHTAN “VITALS” for clarinet and piano
GENE PRITSKER “The Tyranny of Choice” for clarinet
SHION SAHARA ”Party of the Japanese Ghost” for clarinet and piano
MIHO SASAKI “a little time in the alley looking at blue sky” for clarinet
MICHAEL SCHELLE “Stasis at Warp Speed” for clarinet and piano
COLLEEN SCHMUCKAL “Calling the Sunrise” for clarinet and shamisen
COLLEEN SCHMUCKAL “Who's In The Moon” for shamisen
MATT SIMON “Miniature” for clarinet
NINA SINIAKOVA “Lamento of our time” for clarinet
DORIAN TABB “Exploration” for clarinet
SHOICHIRO TANAKA “Interlude” for clarinet and piano
EMILIO TEUBAL “Children of MMXX” for clarinet and piano
MINAKO TOKUYAMA “Farewell to Teacher O” for clarinet and piano
IPPO TSUBOI “Raining, 3:50 a.m.” for clarinet and mandolin
NAGOMI WADA “妖精の遊び” “The play of the fairy" for clarinet and piano
DALIT WARSHAW “Furtive Aurora Peeks Out the Window” for clarinet
IGNACY ZALEWSKI “A Short Tribute to Uncertainty” for for clarinet and piano
Tokyo to New York “Festival 2020” postponed premieres.
The following pieces were scheduled for the "Tokyo to New York" Festival 2020. We are very excited to be able to bring these pieces to life to benefit our fellow musicians in New York City and Tokyo.
JEAN-PATRICK BESINGRAND “La cage sombre des lucioles” for shakuhachi and clarinet (世界初演 World Premiere)
CHEN YIHAN “Contemplation on Purity” for hichiriki and piano (日本初演 Japan Premiere)
KYOKO HIRAI “Daydream” for clarinet and piano (日本初演 Japan Premiere)
TOMO HIRAYAMA “Lockin’ TKTN” for clarinet, bass clarinet, piano (世界初演 World Premiere)
YURI UMEMOTO “Silent Excitement” for clarinet (世界初演 World Premiere)
All compositions composed for Thomas Piercy.
BIOS | PROGRAM NOTES
(Program notes by the composers)
(Program notes by the composers)
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Thomas Piercy, Artistic Director, clarinet & hichiriki
トーマス・ピアシー（クラリネットと篳篥） Thomas Piercy is a critically acclaimed musician with orchestral, concerto, recital and chamber music appearances throughout the Americas, Europe and Asia. He has been described by The New York Times as “Brilliant...playing with refinement and flair…evoking a panache in the contemporary works.” A versatile artist defying categorization – performing on the Emmy Award-winning Juno Baby CDs and DVDs; performing with pianist Earl Wild and Frederica von Stade; working with Leonard Bernstein; appearing in a KRS-ONE music video; playing hichiriki in Japan; recording with members of Maroon 5; premiering over 200 works composed for him; performing on Broadway and Off-Broadway, television, radio, and commercial recordings. Studied at the Juilliard School and Mannes School of Music. Clarinet studies with Gervase De Peyer, Dr. Stephen Johnston, Leon Russianoff, and Kalmen Opperman; hichiriki studies with Hitomi Nakamura. Recordings for Albany, Capstone, DGI, Changing Tones, NJST, Tonada Records and more. http://www.thomaspiercy.com/ |
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ALYSSA ASKA
“in/finite” for hichiriki (世界初演 World Premiere) infinite 1: extending indefinitely : ENDLESS 2 : immeasurably or inconceivably great or extensive : INEXHAUSTIBLE 3 : subject to no limitation or external determination finite 1 a: having definite or definable limits b: having a limited nature or existence 2 : completely determinable in theory or in fact by counting, measurement, or thought http://www.alyssa-aska.com/ |
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JEAN-PATRICK BESINGRAND
“Au fond des flots repose une perle blanche” for clarinet and piano (世界初演 World Premiere) “La cage sombre des lucioles” for shakuhachi and clarinet (世界初演 World Premiere) Au fond des flots repose une perle blanche is a miniature written for Thomas Piercy. This piece was written during the quarantine due to the Covid-19 pandemic. The inspiration comes from a series of photos taken by Thomas during the pandemic in Tokyo. A feeling of serenity emerges from these pictures. In this piece I strive to transcribe the positivity and hope in Thomas’ photos, captured through the lens of his personality and the urgence and gravity of the situation. This dichotomy is symbolized in the opposition of the interactions between the piano and clarinet throughout the piece. La cage sombre des lucioles is taken from the French translation of Takako Hashimoto's haïku. The clarinet and shakuhachi represent the contradiction between the darkness of a closed space and the freedom and light of the "lucioles" (fireflies). They emancipate themselves from being enclosed in a register and fixed set of pitches through reserved microtonality and bursts of light. The piece is warmly dedicated to Thomas Piercy and Hideyuki Tsuchiya. https://jeanpatrickbesingrand.com |
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SETH BOUSTEAD
“It’s Complicated” for clarinet and piano (世界初演 World Premiere) In the old days of Facebook if you chose to reveal your relationship status you could say that you were single, in a relationship or "it's complicated" which probably sums up most human interactions. Of course these days it also sums up life in general. This short piece is a kind of universe in miniature capturing some of the conflicting feelings that are the hallmark of the reality we find ourselves in. http://sethboustead.com/ |
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SETH DAVID
“Socially Sexually Distant Encounters” for clarinet and piano (世界初演 World Premiere) Socially Sexually Distant Encounters is a piece that lightly explores the most intimate part of human behavior: namely, sex. Though the work contains elements of humor, at its core SSDE is about frustration, isolation and loss of intimacy. The general conceit of the piece is the tired sentiment of “you can look, but you can’t touch”. Though human beings should never be objectified, there is always an underpinning of carnal nature that bobs and weaves its way through our brains. During a global pandemic, these little sins were taken away from us. This music is an aural reimagining of what feeling thoughts of desire might sound like. Seth David is a composer, pianist and music educator. His music often explores the human condition through a tongue-in-cheek sensibility, drawing inspiration from cultural environments, personal experience and expectations of what is considered “art”. Currently pursuing his M.M in Composition from Butler University under the tutelage of Dr. Michael Schelle and Frank Felice. Seth was the recipient of an ERASMUS+ grant and was studying at the Academy of Music in Kraków when the COVID-19 global pandemic ensued. During this time Seth ventured into a deep exploration of electronic music and assimilation of pop media in an effort to combat isolation and social frustration. |
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DAVID FETHEROLF
“DULSATORY FUGUEISHNESS DURING THE COVID” for clarinet and piano (世界初演 World Premiere) des·ul·to·ry /ˈdesəlˌtôrē/ adjective: lacking a plan, purpose, or enthusiasm. also: occurring randomly or occasionally. There was a plan; then there wasn’t. Several months ago, I started a piece scored for Pierrot Ensemble called “Intercessory Petitions” for the 9th Queens New Music Festival. It was to be in celebration of the passing of the 19th amendment. I chose texts from several abolitionist writers to set, and decided on a structure of fugues based on three chants from female Saint days, taken from my copy of the Liber Usualis, to act as interstitial music between the song settings. For the opening, I translated an Ad Missam from S. Bibianae Virginis et Martyris’ feast day into modern notation. I do a lot of planning and writing in my head before putting pen to paper, so early this year, as the pandemic hit New York and all our plans went out the window, I had barely started, and I stopped. When Tom approached me to write a short piece for the Tokyo to New York concert I decided to go ahead with my fugue idea and, since he asked for a short work, I wrote just a randomly meandering opening episode, without a plan to finish. Hence the name. nmbx.newmusicusa.org/author/david-fetherolf/ |
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REIKO FUETING
“Sonne.Ohne.Leben.” for clarinet and piano (世界初演 World Premiere) Sonne ohne Leben = Sun without life: Climate = Crisis Sonne ohne Leben = SOL Sol = The pitch G: The g minor triad Sol = Solidarity, which is what I believe can result in meaningful social change I am grateful for Tom Piercy to initiate this meaningful project, and I am honored to be part of it. https://www.reikofueting.com/ |
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DAI FUJIKURA 藤倉大
“Sandpiper” for clarinet (Clarinet version 世界初演 World Premiere) A bird runs around. So does the clarinetist. The original version was written for flutist Claire Chase and performed on a charity concert during the Covid-19 pandemic lockdown. https://www.daifujikura.com/ |
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GILBERT GALINDO
“HYMN A Nod to Hildegard” for mandolin and clarinet (世界初演 World Premiere) "Written for Go Mochizuki and Thomas Piercy in June 2020, this is a musical response to the brilliant mystic, Saint Hildegard von Bingen." www.gilbertgalindo.com |
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LYUDMILA GERMAN
“breathing into twilight” for clarinet (世界初演 World Premiere) breathing into twilight is dedicated to all who did not survive the pandemic. The music is broken, punctuated by breaths. It starts and stops. I was thinking of people struggling to breathe, sick from the virus. I have always had a fear of suffocation, so this is a vivid and nightmarish imagery for me, which the music can only struggle to portray. www.sourcesongfestival.org/lyudmilla-german |
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MASATORA GOYA 合屋正虎
“Conversation” for clarinet and mandolin (世界初演 World Premiere) In the time when people seem to live in multi-realities, conversation would be the only way to communicate. Yet, how impossible it is when nobody is listening to each other. https://www.masatoragoya.com/ |
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JINHEE HAN
“I, Just Tell You the Truth” from “We Cry” for clarinet (世界初演 World Premiere) 'We cry' for solo clarinet is one of the series from War Cry, which presents human rights, racism, and gender equality, and expresses my heart aching condolence to George Floyd who died in Powderhorn, a neighborhood south of downtown Minneapolis, Minnesota. To symbolize diverse perspective and views, each movement contains different textures and timbre by various executions, and is built on certain patterns of phrasing, and eventually a twelve tone on E is heard as a shape of segmentation at the end of the piece as a statement, which infers that commonness has the power of our lives to be independent and we keep blooming from the root, our foundations. www.jinheehan.com |
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ZHIHUA HU
“Flower Guardian” for clarinet and piano (世界初演 World Premiere) The original idea of “Flower Guardian” was inspired one day in a NYC subway from an intuitive melody, similar to an Aria. This idea drove me into composing a chamber musical that tells a story about the silent guard and dedication to something or somebody that is precious to people. www.zhihuahu.website/ |
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JUSTIN HUNG
“Serenade for the Last Time” for clarinet and mandolin (世界初演 World Premiere) The system that has exacerbated the Coronavirus pandemic and continues the disease of racism relies on the illusion of peace. The system’s justification to commit violence on anti-racist protesters and people of color relies on the unfounded belief that peace can coexist with injustice. This piece does not fully summarize the continuing efforts of protesters throughout the world, but attempts to illustrate the true colors of the system that they continue to change to this day. |
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MATTHEW KENNEDY
“CX. Tokyo, Japan” from “Miniatures for One” for clarinet (世界初演 World Premiere) Miniatures for One developed out of a communal need for interaction and a personal need for process. I gave myself sixty minutes to write and engrave one 20-40 second miniature for solo performer each day, later moving to two per day. The works are loosely based around the performer’s favorite dessert, drink, animal, or color, with that influence ranging from tangential reference to the central elements of the work’s form and text. The self-imposed time and duration restrictions necessitated putting aside my eccentricities and fixations, letting go of the things I cannot immediately resolve or control, and asking myself to create within an imperfect environment. www.justatheorypress.com/miniatures-for-one www.kennedycomposer.com/ |
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MIGAKU KITSUKAWA 橘川琢
"花鎮め鎮魂・祈りの時 Hana-Shizume” "Requiem, a prayer for peace, Op. 111" for clarinet and piano (世界初演 World Premiere) This short piece is a wish for the prevention and early cessation of the epidemic diseases that plague the world, and a requiem for the victims. The festival of 鎮花祭 (Hanashizume no matsuri) is a solemn festival for the plague gods to disperse when the spring petals fall. A ceremonial festival held to suppress the ritual of the gods. It has been going on since the time of the Taiho Ritsuryo (AD.701) and is still held today at the Oomiwa Shrine and Sai Shrine (both in Sakurai City, Nara Prefecture). www.migaku-k.net/profile.html |
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YU KUWABARA 桑原ゆう
“Mirror rim” for clarinet and mandolin (世界初演 World Premiere) Since this spring, I have been teaching a course on “Compositional Techniques of the 20th Century” at the Senzoku Gakuen College of Music. As the class name indicates, the course is about the compositional techniques invented by our predecessors in creating new music. The first semester covers the twelve-tone technique and total serialism. Due to the effects of the corona pandemic, our class started online in May. We have learned works by Schoenberg, Berg, and Webern. When I look at their scores again, I am faced with brand-new discoveries and questions one after another. It’s also a rewarding process to put together a video for commentary for the weekly class. We have been studying online for a while, and I have only met my students through the screen yet. But it seems we are getting to know each other little by little, and it is fun to talk about the works and music. In addition to the analysis, I have asked the students to actually write a new piece of music using the twelve-tone technique. Tracing the process of our predecessors’ inventions is an essential part of discovering our own musical vocabulary. As a more familiar example for them, I also had been trying to compose a new piece using the twelve-tone technique for the first time since I used it when I was a university student. Just as I was thinking about it, Tom approached me about a new piece for his benefit concert; I decided to take it. As the title "Mirror rim" suggests, I followed the idea of a palindrome to create a tone row, rhythm, and structure in this piece. 3shimai.com/yu/index_Eng.html |
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RACHEL LIN
“Running with accidents” for clarinet (世界初演 World Premiere) "Running with Accidents" is composed for solo clarinet in B-flat. It is inspired by Stravinsky’s "Three Pieces" for solo Clarinet (1919). It utilizes only sixteenth notes throughout the piece, but aurally there are longer notes. Originally from Jiangxi China, Rachel Lin grew up in Dongguan, China, and is now a high school student at Vanke Meisha Academy in Shenzhen, China. In the realm of composition, her intended major, Rachel has so far studied with Colin Wang and Colton Francis, and is now studying with professor Reiko, Fueting from the Manhattan School of Music. She is currently preparing for applying to colleges to study composition in the United States. |
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PIYAWAT LOUILARPPRASERT
“Summoning” for hichiriki (世界初演 World Premiere) Summoning is a piece I especially wrote for Thomas Piercy. The piece is constructed by Hichiriki's sound qualities such as flexibility of pitches, tones, vibration of timbres, and sound oscillation. With these sounds, the piece tends to portray the scene of ritual. The glissandi-like melody and vibrato technique refers to the human voices and spells for the summoning. According to the pandemic situation, the piece also tends to summon all people to come back to work and live with strong mind and soul. http://www.piyawatmusic.com/ |
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JAMES LOUGHERY
“as winged branches adrift, apart” for clarinet and piano (世界初演 World Premiere) As its title suggests, winged branches aims to give rise to deeply rooted material while it reaches further into a parallel universe. A sense of hopeful longing accompanied the writing of this piece and is reflected in imploring gestures and ambiguous harmonies. https://jimloughery.com/home |
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MATT A. MASON
“Victor Frankenstein in the Arctic” for clarinet (世界初演 World Premiere) To me, the being created by Victor Frankenstein is not a monster. He is a haunting visage: a constant reminder of the danger of irresponsibility, the tragedy of vanity, and the persistent, wonderful, and mysterious nature of life. https://www.matt-masonmusic.com/ |
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PAUL MORIN
“A Different Road Through the Mountains” for clarinet and piano (世界初演 World Premiere) In Memory of Rosendo Escobar “A Different Road Through the Mountains” was written and conceptualized from March 2020-July 2020. Its inspiration comes from memories imprinted in my mind from trips and roads through the Andes Mountains in Ecuador. In loving memory of Rosendo Escobar, the chief of the family, and the man who brought us through those paths. paulbmorin.com/ |
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ALON NECHUSHTAN
“VITALS” for clarinet and piano (世界初演 World Premiere) "Vitals" is a short duo exploring various dynamics within the 4 vitals signs: body temperature, blood pressure, pulse (heart rate), and breathing rate (respiratory rate), often notated as BT, BP, HR, and RR, as the Clarinet and Piano counterpart are simulating different scenarios in these pulsating drama, mimicking at times a crisis, returning to normal at others. musicalon.com/ |
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GENE PRITSKER
“The Tyranny of Choice” for clarinet (世界初演 World Premiere) The title comes from a poem by my friend Robert C. Ford "Any Flavor So Long As It’s Vanilla" Lawn sprinkler dance contests, Fireflies flashing in Mason jars But nothing captures, Childhood summer exuberance, Like the Pavlovian jingle, Of the ice cream truck Vanilla, chocolate, Strawberry, cookies and cream, Mint chocolate chip, bubble gum Sea salt caramel or green tea? An executive decision, But wait, There’s more to contemplate Waffle cone or bowl? Large, extra-large, Or banana barge? If you dare Do you play it safe? Stick with the tested, The trusted, Satisfied hitting singles in life Do you embrace risk? No fear of failure, For a potential, Grand slam Batter up! Reggie Jackson hit 563 home runs, But struck out 2,597 times The tyranny of choice, The more options, The less focus, In the end all is lost Just ask any Tinder user, Why they are still single By the way, Now that the kids are asleep, Do you prefer whipped cream, Or chocolate sauce? www.genepritsker.com/ |
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SHION SAHARA 佐原詩音
”Party of the Japanese Ghost”"妖怪嬉戯" for clarinet and piano (世界初演 World Premiere) (performed with the composer at the piano) I composed ”Party of the Japanese Ghost” "妖怪嬉戯" for clarinetist Thomas Piercy in July, 2020 to be included in the "Moments in This Time" benefit concert. https://siyyon7.wixsite.com/mysite |
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MIHO SASAKI 佐々木みほ
“a little peace in the alley looking at blue sky” for clarinet (世界初演 World Premiere) For this piece, I thought of Tom Piercy living in both Japan and USA which he loves both. Hope you feel the little bit of Japanese and American flavor in the piece. Tom's covid-era photos, again like my previous piece Drift Ice, inspired me to write a special piece for him. We are far away yet connected under the blue sky and little black dots. sasakimusic.com/2.html |
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MICHAEL SCHELLE
“Stasis at Warp Speed” for clarinet and piano (世界初演 World Premiere) "Stasis at Warp Speed" was composed in June, 2020 for clarinetist Thomas Piercy and the "Moments in This Time" benefit concert. http://www.schellemusic.com/1.html |
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COLLEEN SCHMUCKAL
“Calling the Sunrise” for clarinet and shamisen (世界初演 World Premiere) “Who’s In the Moon” for shamisen (世界初演 World Premiere) In the book, The Zuni Enigma, Nancy Yaw Davis reveals some unexpected cultural parallels between Japan and the Native American Nation Zuni. These parallels include a Zuni belief that, 1,000 years ago, Japanese priests visited them seeking the center of the earth, a shared religious belief in being descendants from the Sun deity, and cultural and linguistic commonalities. Paying homage to historical themes of Japan and the Zuni Nation while analyzing the essence of each other's instrumental and musical theory, “Calling the Sunrise” attempts to both explore and experience musical parallels through focusing on traditional compositions embodying the religious and spiritual meaning of morning's light; the Zuni Nation’s, "Call to Sunrise" for Native American Flute (here played on the clarinet) and Akita Prefecture, Japan’s Hanawa-Bayashi Festival’s, "Kiri Bayashi" for futazao shamisen (here played on prepared hosozao shamisen). Shared instrumental "storytelling" techniques: contrasting tone colors, improvisation, nuanced expression of "time", and sound effects: as well as a focus on a naturally occurring element found throughout the world: the sunrise: will hopefully demonstrate the importance that understanding not only similarities but also differences in "the other's" can help to educate as well as expand on one's own musical tradition more effectively. Who is in the Moon? 月を見む毎に思ひ出づべし. Lyrics: No matter how long, no matter how far, my journey continues, the Moon’s face greets me there. Yet, who is that, looking at me, from the Moon? A Native American Tribe in Washington State tells me a story about a sister and Raven. The Buddhist monks of Japan tell me of a story about a hare and the Moon Spirit. And what do you see in the moon? http://colleenschmuckal.blogspot.com/ |
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MATT SIMON
“Miniature” for clarinet (世界初演 World Premiere) In this time, I have been struggling to compose and be creative. I have been trying to do at least one creative thing a day though, regardless of how small. In thinking about writing this piece, I wanted to represent this in music somehow. I decided to focus on using just one note, articulating it in different ways throughout the piece. There is also a bit of an anxious or frantic feeling for me in the piece (and in this time) which I try to contrast with the high quiet notes and the breath, which I see as these moments of clarity that pierce through. These moments eventually open up the piece and expand the pitch space it uses. www.mattsimoncomposer.com/ |
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NINA SINIAKOVA
“Lamento of our time” for clarinet (世界初演 World Premiere) I do not belong to politically and socially proactive people. As a working mother of four children I have don't have much time to follow the news and events. Especially in my case, being a composer is a luxury gift that enables me to pick up certain signs and moods coming from people around me, even when I am on the bus commuting from my house to my work. I think this is how I know what’s going on. My piece is a moaning about our time. While composing I had an image of a hurt, dying wild animal. All it can do is lament- in solitude and pain. One episode of «out of tune» playing was coming from an imaginary woman, who lost everything. In my mind she was walking through the tropical forest not knowing anymore who she as and what the world was about. By the way I wrote this piece during my «time off» — on a commuter bus. https://www.ninasiniakova.com/ |
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DORIAN TABB
“Exploration” for clarinet (世界初演 World Premiere) Exploration was a piece I decided to write when my mother had the Coronavirus. It is in four sections. The first section is about starting the mission, and going through the ocean. The second section is about going over the ocean and what it’s like. You still haven’t found anything out yet. But in the third section, you start getting closer to solving the mystery, and in the fourth section, you have finally found what you’re looking for. Born in 2010, composer and pianist Dorian Tabb began his piano studies at age four, and composing formally one year later. A frequent performer of his own compositions and improvisations, his first work for solo clarinet, The Spy at Work, was commissioned and premiered by Thomas Piercy and Random Access Music in February 2020. Currently a student of Lora Tchekoratova at Mannes Prep, previous teachers have included Avner Arad and Max Grafe at the Lucy Moses School, and pianist Marc Peloquin. Dorian is also an avid writer of novels, poems and screenplays. |
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SHOICHIRO TANAKA 田中 翔一朗
“Interlude” for clarinet and piano (世界初演 World Premiere) This piece is written as an “ Interlude” of this concert, “Moments in this time.” I dedicate this piece to wonderful clarinetist Thomas Piercy, and in memory of those who passed away from covid-19. shoichirotanaka.amebaownd.com/ |
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EMILIO TEUBAL
“Children of MMXX" for clarinet and piano (世界初演 World Premiere) To the kids of the pandemia and those parent, victims of homeschooling. www.emilioteubal.com/ |
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MINAKO TOKUYAMA 徳山美奈子
“Farewell to Teacher O” for clarinet and piano (世界初演 World Premiere) "Farewell to Teacher O" is the music for my dear former student. He passed away recently. He loved my harmony lessons in the style of the Paris conservatoire and I composed this memory for him. minakotokuyama.sakura.ne.jp/ |
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IPPO TSUBOI 壺井 一歩
“Raining, 3:50 a.m.” for clarinet and mandolin (世界初演 World Premiere) Dedicated to Thomas Piercy, this piece for clarinet and mandolin was composed for the "Moments in This Time" benefit concert. ippotsuboi.kumogakure.com/ |
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NAGOMI WADA
“妖精の遊び” “The play of the fairy" for clarinet and piano (世界初演 World Premiere) In the spring of 2020, I became a junior high school student. This music became the 6th work after starting composition lesson for one month. One day, on seeing the small bird which I keep, I think of it as a fairy seeming to dance. I made this piece in the image of a dancing fairy. |
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DALIT WARSHAW
“Furtive Aurora Peeks Out the Window” for clarinet (世界初演 World Premiere) During the first three weeks of April 2020, I found myself in the highly surreal predicament of being quarantined away from my family, as I recovered from the Coronavirus. While I was self- isolating at a separate location, the quarters were near enough that my husband and son could take daily walks to visit, calling up to me beneath my window so that we could view each other unmasked. As I pondered how to approach Thomas Piercy’s request for a compositional response to our current experience, my instinct was to veer toward the light-hearted and hopeful. I remembered one summer dawn last July, while I was in residency at the Yaddo artist colony, when I was greeted awake by an insistent and stalwart morning bird, and realized that I finally found the right place for its chirps. The title occurred to me in one split second, and without much analysis, although it is perhaps not so random: perhaps we are all awaiting, furtively or not, a dramatic exodus from wherever we are currently confined. dalitwarshaw.com/ |
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IGNACY ZALEWSKI
“A Short Tribute to Uncertainty” for clarinet and piano (世界初演 World Premiere) Here is my a short tribute to uncertainty. This piece is entirely new but I used very (maybe even radically) traditional material I also based my recent Viola Sonata on -- which was cancelled due to COVID. This mellow harmonic/chromatic progression with as-simple-as-possible chromatic melody going up or down is something that obsessively comes to my mind for some time during these strange times. en.ignacy-zalewski.com/ (A Concerto for Clarinet was composed for Thomas Piercy by Mr. Zalewsky in 2020. The premiere was postponed due to the coronavirus pandemic.) |
Tokyo to New York “Festival 2020” postponed premieres.
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CHEN YIHAN
“Contemplation on Purity” for hichiriki and piano (日本初演 Japan Premiere) When my wife and I were taking a walk for leisure in Ukyō-ku, Kyoto, Japan, we stumbled upon a beautiful Buddhist temple named Seiryō-ji 清凉寺. The name struck me at once, for there is a Buddhist temple in my hometown, Changzhou 常州, with exactly the same name. 清凉 is pronounced as “seiryō” in Japanese and “qīngliáng” in Mandarin Chinese. Originally, it probably referred to the sensation of feeling cool or refreshed, but here in a Buddhist context it probably refers more to the state of being that is free from desires, hence the translation “purity” in the title. www.yihanmusic.com/ |
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KYOKO HIRAI 平井 京子
“Daydream" for clarinet and piano (日本初演 Japan Premiere) "Daydream" was composed for clarinetist Thomas Piercy. The world premiere was in New York City in 2019. The Japan premiere was to have been presented in April on the Tokyo to New York Festival 2020. However, the festival was postponed due to the covid-19 pandemic. Now, the "Daydream" can be heard throughout the world. kyokohirai.com/Home.html |
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TOMO HIRAYAMA 平山 智
“Lockin’ TKTN” for clarinet, bass clarinet, piano (世界初演 World Premiere) Where is the good beat ? Where is the musical groove ? I think contemporary music has left them somewhere. But, beat and groove are very important parts of music. They give the vitality of life to us. That's what we need, now. Don't think. Just feel and enjoy it ! Even in the corona disaster, our mind is free. When I wrote this piece, I was inspired by my younger brother, Kay. He is a good Lockin' dancer. I really respect him. tomosartoffice.sakura.ne.jp/index_en.html |
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YURI UMEMOTO 梅本佑利
“Silent Excitement” for clarinet (世界初演 World Premiere) Rhythmic motives emerge from the silence and appear impulsively to gradually form a pulse that expands and explodes. "Silent Excitement" depicts the impulses, dances, rhythms, and excitement that can exist in silence, as if you are in a quiet place, not able to endure silence, wanting to move your body. "Silent Excitement" was composed for clarinetist Thomas Piercy. The world premiere was to have been presented in April on the Tokyo to New York Festival 2020. However, the festival was postponed due to the covid-19 pandemic. www.yuriumemoto.com/ |
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Shoichiro Tanaka, piano 田中翔一朗（ピアノ)
Shoichiro Tanaka is active as a pianist, composer and arranger. As a composer, he has composed a wide range of works, including solo instrumental, chamber pieces, orchestral music, and electronic music. His music has been performed in Japan and also the United States, Germany, and Austria. Nis music is published by Kawai Publishing. As a pianist, he is active in the fields of solo, chamber music, vocal and choral music, and has performed the premiere of many new works. He has performed Ligeti's piano concerto with the New Japan Philharmonic Orchestra, Geidai Philharmonia Orchestra, and other orchestras under the direction of Ken Takaseki, Yoichi Sugiyama, and Larslow Tihani. He graduated from Tokyo University of the Arts as a piano and composition major. More information at shoichirotanaka.amebaownd.com/ |
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Ryuta Iwase, bass clarinet 岩瀬龍太 (バスクラリネット)
Born in Tokyo. After graduating from the Faculty of Music at Kirito Gakuen University he went to Europe and studied at the Royal Academy of Music in Antwerp and the Royal Academy of Music in Belgium. He has appeared in numerous music festivals throughout the world and performed many world premieres. He has studied clarinet under Yoshiaki Suzuki, Yasuo Inoue, Masato Naka, Century Shido, Walter Buikens, and Ronald van Spandonk. Currently, the clarinetetist of Phidias Trio Tokyo, green room players, and Ensemble Platypus (Vienna). More information at: ryutaiwase.com/ |
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Go Mochizuki, mandolin 望月豪 (マンドリン)
Go Mochizuki is the mandolinist and Artistic Director of the Tokyo-based “Liberté” Mandolin Orchestra as well as the mandolinist in the contemporary music & pops fusion band “Music KART.” Mochizuki has won several competitions including the 1st prize at the “Osaka International Mandolin Competition”, Audience Award at "Kyogaku XI” and also 1st prize with the Best Conductor Prize at “Musica Mandolino Ensemble” competition. He has performed frequently throughout Japan, as well as in Europe and Asia. His discography includes “Tzigane - Go Mochizuki Mandolin Recital”, “Four Seasons (Mandolin Soloist & Conductor)”, and “Ma Mère l’Oye (Mandolin Soloist/Concert Master) “. Go Mochizuki is also active in contemporary music and has premiered over 80 compositions. He has also premiered numerous works with Thomas Piercy as they develop new repertoire for mandolin and clarinet. www.youtube.com/user/mandolinist100/videos www.mochizuki-mandolin.com/ |
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Colleen Schmuckal, shamisen コリーン・シュムコー（三味線)
A blog about Shamisen and Myself, including performances, workshops, compositions for shamisen, random adventures in Japan, and the photographs I take along the way 私の三味線のための作曲、演奏、ワークショップなどについてお知らせ、また日本の生活や写真などもあります。colleenschmuckal.blogspot.com/ |
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Hideyuki Tsuchiya, shakuhachi 土屋 英之 (尺八)
Hideyuki Tsuchiya is a shakuhachi performer and also a maker of shakuhachi. He has appeared throughout Japan performing both traditional Japanese music as well as contemporary music, and is the teacher and shakuhachi maker at コムソーコヤ "com SO Koya", a shakuhachi "dojo" in Yanaka, Tokyo. roots-shakuhachi.weebly.com/ |
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Tokyo to New York
東京 と ニューヨーク "Moments In This Time" Benefit Concert for Covid-19 Musicians Relief |
All donations are tax-deductible and 100% goes directly to composers and performers affected by the covid-19 pandemic. The DONATE button takes you to a PayPal donation page at the non-profit 501(c)(3) sponsor, the Sunset Park School of Music. The school will distribute 100% of the DONATED funds to organizations aiding musicians including NewMusicUSA, the Gabriela Lena Frank Creative Academy of Music, and the Japan Foundation.
寄付情報
初演の放送の間では、寄付はいただきます。放送を終わった後にも、youtube, facebook, instagramからもなど寄付もいただきます。全ての寄付は、新型コロナウイルスの影響を与えた演奏者や作曲家へ直接に渡します。寄付ボタン（Donation Button）を押すと、Sunset Park School of Music (NPO)のPayPalページに行きます。全ての寄付は、演奏者を応募する関係団体（NewMusicUSA, Gabriela Lena Frank Creative Academy of Musicと及び国際交流基金を含み）に渡します。
寄付情報
初演の放送の間では、寄付はいただきます。放送を終わった後にも、youtube, facebook, instagramからもなど寄付もいただきます。全ての寄付は、新型コロナウイルスの影響を与えた演奏者や作曲家へ直接に渡します。寄付ボタン（Donation Button）を押すと、Sunset Park School of Music (NPO)のPayPalページに行きます。全ての寄付は、演奏者を応募する関係団体（NewMusicUSA, Gabriela Lena Frank Creative Academy of Musicと及び国際交流基金を含み）に渡します。
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