In Adversity

A long time ago, when I listened to an album called ‘Répons’ by Pierre Boulez, I thought, "I've never heard this kind of music, and this music is amazing!", And this time, I remembered that. Of course, This album is completely different, so for those who know Pierre Boulez, they might feel "Why, where is Boulez?”

And then, I decided to make a musical score and play it instead of improvising. However, I have never written the melody of such a song, and I do not know how to make it, so it is difficult for me to play as much as possible using the scales that were in their melody of Eric Satie, Ravel and Bach’s scores in my room. And I made my own musical scores so as not to be a melody as much as possible.

As a result, this album’s sounds and performances are like someone practicing in the next room, and I thought that I wanted to make something like this! 

Bach was the most interesting in musical score research, disassembly, and in performance.

Ueno Takashi

Music, Recording by Ueno in Nov, 2020

Matering by Makoto Inada

Painting by Ueno Takashi

Design by Motokazu Furukawa

昔、ブーレーズのレポンというアルバムを聴いた時に、「こんな音楽は聴いたことがないし、内容もすごい！」って思ってて、今回はその記憶がきっかけです。もちろん全然違うので、知ってる人からすれば、「なんで、どこが？」かもしれない。

それで、一応インプロではなく譜面を作って演奏しよう、と。しかし、そういう曲の譜面なんて書いたことないし、どうやったらいいかも分からないので、家にあったサティとラヴェルとバッハのピアノ譜にあった音階を利用して、なるべく自分には演奏が難しくて、なるべくメロディにならないように自分なりに譜面を作成しました。

結果、隣の部屋で誰かが練習してるような音、演奏になっていますが、実はこういう感じのものが作りたかった、と後出しで思いました。譜面研究、分解、そして演奏はバッハが1番面白かったです。

植野隆司