I am currently spending a few days as an observer at the International Musicological Society’s 20th Annual Congress (19th–23rd March) in Tokyo, partly to provide company to my partner, who is giving a paper on Thursday, partly because there are so many interesting topics being discussed, many of which relate to contemporary music. It has so far been a lot of fun, if a little bewildering—the programme is so packed that many papers occur at the same time, often of things you would like to attend. We are also based in Chigasaki, some way from the centre of Tokyo. This makes getting to the morning sessions tricky.
As well as the lectures, there have been a couple of concerts organised as part of the event. The first was the performance of Gagaku, held before a sake-fuelled opening reception on Sunday night. It was my first live experience of this elegant and ancient art form. We were treated to both traditional Gagaku works, and a modern piece by Sano Kōji. This latter was clearly respectful of its roots though it made me wonder what might be achieved by taking a rather freer approach.
Last night there was a concert of contemporary music. It provided a superb showcase for graduates of the Tokyo University of the Arts (which is hosting the conference), almost all of the performers having attended the institution. Of the works, Regis Campo’s witty and well-heard Pop Art (2001–2) and Grisey’s more substantial Talea stood out. Kenji Sakai was in the audience to hear his Monopolyphonie/Défuguration for solo cello, a work that effectively explored the possibility (or not) of writing polyphonically for the instrument. Boulez’s Derive I left me rather cold; dating from 1984 it feels rather less substantial than some of his more cerebral early efforts. Most bewildering, however, was Wolfgang Rihm’s Fremde Szene II for piano trio. It was easy enough to hear the work as a kind of dialogue between Rihm and Schumann, much of the figuration and even the harmonic writing deriving from the latter, but there was a heaviness to the writing with problems of balance that did not derive from the performance.
I would write more, but finish this in haste. Hope to catch the keynote lecture by Toshio Hosokawa this afternoon, as well as a session on twentieth century French music….
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