002VOICES
Professional Review
We received some reviews about the world premiere from a professional point of view.
Yoshitaka Mori
Sociologist,
Professor,
Graduate School of International Art and Design,
Tokyo University of the Arts
Completely New Musical Experience Based on New Principles
After the "performance" was over, I felt my hands sweating. I felt the excitement of having been there, of having shared the same time, place, and "tension" with the players. This experience couldn’t be expressed with words like "it was good" or "it was wonderful" that I would usually use as a typical audience member. I felt as if I understood once again that music is not something to be "listened to" but to be "experienced." What was this feeling?
A part of it might have been the meticulously designed venue setting. The players surrounded the conductor, Shuta Hasunuma. Furthermore, the audience surrounded the players as if to "watch over" them. The audience members could see Shuta at the same eye level as the players, and then shift their gaze to the players who was follow Shuta’s direction. Looking back and forth between Shuta and the players, the audience could share the same sense of tension as the players.
Of course, there were different kinds of tension. The 28 players, ranging in age from their teens to their 60s, were diverse not only in age, but also in gender and experience. Some were internationally active professional performers, while others have only just begun to play an instrument. Some were seeking their own form of expression while dealing with disabilities, while others were amateurs who genuinely enjoy music. There was only one rehearsal -- on the day of the performance. Instead of creating music through numerous rehearsals, players who met there for the first time play music together for the first and only time in their lives. It was designed that way so that those who cannot take enough time to rehearse (for various reasons such as housework, childcare, nursing care, or work) can participate as well. Even though the music sheet was shared in advance, the result was undeniably interwoven with elements of jazz and experimental music improvisation. What was impressive was that each player was attentive to other players in his or her own way, which created a sense of collective tension, and that this tension formed the basis for a sense of trust. The players carefully connected the sounds, just as track and field athletes pass the baton to each other. Even if the "passing of the baton" was a little disrupted at times, the sound and music were magically connected through mutual care.
It has been a long time since the word "diversity" became popular and became the theme of affirming a wide variety of lifestyles. However, in the cultural realm of music, values such as "talent" and "good/bad" still remain firmly in place. Only a few privileged performers are allowed to perform professionally, while others can only continue to perform as amateurs or are otherwise confined to the framework of an audience that only "listens" to music. However, this last remaining "myth" may soon be busted.
The "Earth ∞ Pieces vol.1 World Premiere" offered a glimpse of new musical possibilities based on a completely different set of principles. Each player used their own abilities to produce a different sound, all of them completely dissimilar. This may sound utterly chaotic, but the "Ode to Joy (No.9)" did echo through this new chaotic sound. There, music was not merely something to be "heard," but an "experience" to be embraced with the whole body. What kind of evolution will this project, which will continue until 2030, bring? I hope to share this thrilling "experience" with as many people as possible going forward.
profile
Dr. Yoshitaka Mōri is Professor at Graduate School of Global Arts and Director of Center for Creative Inheritance for the Future at Tokyo University of the Arts. His research interests are postmodern culture, media, art, the city and transnationalism. His publications include Street no Shiso (The Philosophy in the Streets) NHK Publications, 2009 and Popyurā Myūjikku to Shihonshugi (Popular Music and Capitalism) Serica Shobō, 2005/2012 (in Japanese) and "J-Pop Goes the World: A New Global Fandom in the Age of Digital Media" Made in Japan: Studies in Popular Music, T. Mitsui (Ed), Routledge, 2014, and "New Collectivism, Participation and Politics after the East Japan Great Earthquake", World Art, Routledge/Taylor & Francis, 5/2, 2015 (in English).
Tomoharu Matsuda
Planner, poet
"Anyways, let it begin."
That's what the gathering was like.
ZOU-NO-HANA Terrace was ready for the occasion
And ready to take care of
The guests and players
And above all, the creation.
It was all experimental
And I could feel that intention.
The meal was delicious
In fact, a little too much?
They probably did that
Not to disappoint us.
We waited for the performance to begin.
When Kris walked in
Hesitation disappeared from the room.
The music began.
Lonesome sounds and
Encouraging sounds
Spoke to each other.
The atmosphere of the afternoon rehearsal could be felt.
It wasn’t the sound made by strangers.
The atmosphere rattled
The audience rattled.
It felt like a special sound
But also felt like a usual sound.
I wished Beethoven could hear it --
The sound of the beginning of the night.
I was watching the performer's movements
In a full circle.
Each sound
Sounded fresh.
I imagined it spread
Around the world.
What kind of technology and staff will it require?
The humming from the audience joined in.
I'd rather listen than sing
Wish I could have rehearsed it
Or was the rehearsal the real performance?
Instead of a finale
It concluded
More like a beginning.
What began?
Cheering Squad for Humanity
Only there on that day and place
That seemed to eventually become humanity itself.
profile
Tomoharu Matsuda. Tomoharu was born in Tokyo in 1964. He has been involved in a wide range of planning and direction. His projects include the "Rendez-Vous Project," a collaboration between companies and creators; "Dialogue in the Dark Towel," which was developed by a visually impaired person; "Dogo Onsenart (2014 and 21-23)," an art festival in Dogo Onsen; and the "Typical Project," a joint brand with an excellent Japanese factory. He was a member of the jury for the Good Design Award (2013-15). Currently, he is part-time lecturer at Tama Art University and Tokyo University of Science, senior planner of Spiral, and planning director at Tokyu Design Consultant. He has authored "Workshop" (co-authored by Sendenkaigi), "Diary of the Air" (Sho-Shu-kanbo), "My Dog Exterminator" (Shinpusha), "Aerial" (Poem Peace), and others. He is the manager of the poetry collective "oblaat."
Impression
We collected the voices of those who participated in the world premiere in various capacities.
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It was an event where the meaning of the word "diversity" was felt from the bottom of one's heart. All of the participants had demonstrated their individual potential to the fullest and had completed the most exquisite "Ode to Joy". I am still filled with a sense of accomplishment different from the one I usually feel after a concert -- a type of accomplishment I have never felt before. I still cannot shake off the excitement. Thank you from the bottom of my heart for the enjoyable time we had.
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It was the most exciting experience in my life to be able to perform unrehearsed in a beautiful situation with such wonderful people, and under the guidance of professional staff. I am not physically handicapped and perform live music regularly, but I don't get a chance to talk with the para-performers. I hope to get to know them better and potentially have them join our gigs.
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I had never experienced such a good mixture of sounds from the first day that we met, so I was just amazed and amazed at the possibility of being able to accomplish such a thing. It was more fun than I thought it would be, and I enjoyed the performance even more than the rehearsal. I wasn't nervous at all, and I enjoyed the entire time!
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I felt as if I had stepped out of the world of amateur music, where it is usually only my friends who come to perform and listen. It was a particularly shocking experience for my son, who attended the concert with me. I believe that many things about music will begin to change in him. I think it was very meaningful from an educational standpoint as well!
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It was difficult to match the sound as there were many people and parts, I didn’t have a monitor to hear other sounds as I usually would in a band, and I could only make eye contact with those who were nearby. In such an environment, the moment the sound fit perfectly gave me the shivers. Since I did not have a specific music sheet or sound source, I was anxious about what to play and what was expected of me. Therefore, I prepared a variety of patterns. It gave me an opportunity to study music for the first time in a long time. Because it was a one-day event, I was able to spend a meaningful and fruitful time.
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It was a lot of fun! I had never been to a performance where I was so anxious until after the final rehearsal, but I realized that there was a participant next to me who was even more anxious about performing than I was, and I found myself wondering how I could make her feel comfortable. The music staff gave us clear cues to enter the room, and we were able to discuss this with her mother, so we were able to support her in the same spirit. Because it was a one-day completion, I felt like I could let the adrenaline take over and not lose my mind and run out of steam. I was able to introduce myself online beforehand, so I was able to talk smoothly with people I had never met before. I would like to invite my music friends who don't usually have the opportunity to perform next time, such as my college choir friends and friends who graduated from music school but are now full-time housewives!
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"I was nervous and anxious, but it was fun. I want to participate again next year." That is what my daughter said. My daughter has autism, which causes her to have anxiety about not knowing what to expect and to be averse to change. Just being there was already a big challenge for her, and after the performance, she was so moved by her own hard work that she burst into tears. But we were so happy to hear the audience who had been watching us from the rehearsal crying and saying how moved they were as well. I hope that more and more people will warmly look after parents and children like our daughter, and that our society will become a little easier place to live in for people with the same characteristics as our daughter. I hope that school teachers and the Board of Education will also take a look at this film.
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I am usually behind the scenes at work, planning and managing events and exhibitions, so I was happy to experience being a player for the first time. I was happy to be able to interact with the players, but I also enjoyed interacting with the parents and caregivers as well. Because it was a one-day event, the pace of creating a piece of music was quite different from the usual "practice to ensemble," which was refreshing.
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It was great to be able to participate in a variety of instruments and singing styles, without being limited to the classical genre. Also, I usually cannot talk proactively to other performers when attending such events, but this time I was able to talk proactively to the performers and ask to take pictures together. I would recommend this event to anyone who wants to contribute to society through music!
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Beethoven's "Ode to Joy" was wonderful. I felt sick, but it turned out to be OK. I was happy to be able to perform the last part. I worked very hard at the rehearsal. I was also happy to see my friend smiling at the end, who I saw was crying at the beginning.
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The Ninth was so profound and miraculous that it was hard to believe that it was being performed with people I had never met before! I was surprised when the music sheet specifically prepared for my daughter arrived in our mail box! I like was “Wow, it's even written in katakana（Japanese characters）?” How much they prepared for each individual was astonishing. During the performance, each player was given a chance to show off their talents. We had the support of many people, including Mr. Hasunuma who conducted next to my confused daughter, Mr. K who played along with my daughter who was out of rhythm, and the staff who cued her to start the music. I was so moved to think that my daughter's pianica was included in that magnificent and beautiful performance! All of the support was there as a matter of course, and not as a matter of "I'm doing this for you." This is what made the one-day concert, which brought together a diverse group of people, a great success!
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Players, staff, supporters, and the audience were all connected by very nice feelings, and I was very happy to be involved as a player in a place where everyone played together. There were people who had difficulty communicating verbally, and at one point I wondered if I had spoken too quickly. But then I felt that we were able to enjoy the performance together as we played our instruments. I got the impression that the time spent interacting with each other outside of the performance was just as important as the performance itself.
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The "music" in everyone's mind was diverse, regardless of whether one had a disability or not. It was very exciting to bring these diverse ideas together, and edit and output them in one day, within a time limit that made it difficult to understand everything. Through communicating with each other, we had established a way of signalling to those with visual impairments, and a way to help those with specific characteristics get to their positions at a given time. I think that what I learned about accessibility today can be applied going forward, and I would like to share this opportunity to anyone who is looking for a one-day-only stage event.
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I was strongly moved by the feeling that I had encountered a moment where the impossible was made possible. I was told that "this music can only be heard here" and that was exactly what it was. The fact that it was a one-day event and could only be heard once made this a very valuable experience. This event made me want to learn more about each participant's story and background. I would love to see a second one!
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I was reminded of the power of music, the power of the Ninth, and the very joy of life. It was a clear demonstration that one does not need to be a 'para' to create a free and happy world overflowing with imagination and compassion. After the performance, a madam bowed to us in a friendly manner and said with a big smile, "I made that tie myself." This was another small but very happy encounter. I would like to recommend this program to urban developers. This would be a great fit to be held at commercial buildings, where people can easily gather and communicate, and where a culture of tolerance can be fostered by increasing the number of people who share their experiences. At the same time, diversity can be instilled within the company itself by employees who have experienced this program.
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I am sure some of the players had their own difficulties, but it was great to see that the players really tried to make something good with their hearts together. I think the performance of the variation on the main theme of the Ninth played with various instruments, sounds, and people from different walks of life was a very colourful and message-filled performance. A place like this does not exist very often. I was also able to learn about the thoughts of the people involved in the stage design, common bow tie, food, etc. through the online study sessions. It was also good that the audience could participate in the music. I think the feeling of living with others makes it possible to realize that no one is left behind in the process of creating music, and this process moves the hearts of those watching.
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I wondered how the one-day concert would turn out with the different instruments, but I was surprised at how well it came together. It was fun to hear the Ninth in a variety of moods, making the most of the different instruments. I also visually enjoyed the fact that tap dancing was also a part of the music! I have an impression that children must attend lessons and practice many times at home before they can participate in a concert. However, children today are busy with homework and other lessons. Even if they want to learn music, they are at over capacity. In such a situation, I think it is a great opportunity for them to be exposed to real music in a casual way, and I would like to see my kids participate in the next one as players.
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I had certainly never heard the Ninth like this, or classical music like this, purely as music. The variety of percussion and rhythmic changes were interesting and very enjoyable. I was moved to see the man playing the violin raise his fist high in the air emotionally when the music reached its climax. When was the last time we showed such an honest body language? I feel as if we have put a lid on our feelings, stopped listening to the voices of our hearts that want to challenge us, and stopped facing something head-on. It was an accidental event, but it left a powerful and beautiful impression on me. What are the SDGs in the true sense of the word? It is difficult to say...but I am sure that the music completely united the audience. Although my children are still young, I would like to see the next event with my family and children because I think it will be an opportunity for them to experience a world with diverse people and think about the unanswerable question, "How should I 'be'?"
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At the concert, I was able to experience a "place" where I could feel the passion of everyone involved. By being there, I was able to experience firsthand the gradual harmonization of the players' individual performances, and at the end of the concert, I was able to join the chorus and share in their enthusiasm to the fullest. I felt as if I had received as a souvenir a "sense of fulfilment" that is hard to find in everyday life. I think this is a new approach to art, not only in terms of music, but also in terms of the venue decorations, bow ties, and other stories related to the event. It would be great fun if we could experience such a passionate event together with people with any kind of disability!
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Kris, the artistic director, and I often talked about how improving accessibility and environmental sustainability are deeply connected at the root, and that either one alone will not lead to the realization of a good society. For this world premiere, we designed and produced a space decoration produced from sustainable methods. With this experience, I feel that we were able to take a step forward in practicing the connection between the two. On the day of the performance, I was able to participate as a member of the audience. It was a wonderful time, not only for those who actually participated in the performance, but also for me, who watched the concert and felt like a member of this music that was played. The melody of the Ninth and the passion of the performers for the music filled the entire venue with a sense of elation, making it an overwhelming audience experience.
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This was the first time for me to witness the experience of rehearsing and performing a concert of this scale on a one-day-only basis with only a few members present. Some of the participants (and perhaps some of the staff members as well) looked anxious when we assembled, but once the rehearsal began, the dots were connected at once, and a wonderful harmony with strong power was born. It was a very precious time for me to experience up close the concentration, the warm communication, and the overlapping of individual sounds during the performance.
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"Earth ∞ Pieces vol.1" was an unprecedented attempt to perform as much as possible without being restricted by the participants or the instruments used. This was a challenge to express diversity as a whole by removing as much as possible the common standards of the world. While a performance by a machine or a skilled performer is impressive in itself, that impression is mainly derived from the quality of music and the accuracy of the performance. "Earth ∞ Pieces vol.1" is an experiment that truly embodies the "magic of collaboration.” Through this project, we believe we were able to demonstrate new possibilities that the power of diversity and collaboration brings.