Daï Fujikura (1977-)
Time unlocked (2007), pour hautbois, clarinette, basson, piano, violon et alto
Vanishing Point (2004-2006), pour flûte, hautbois, clarinette, basson, cor, trompette, violon, alto, violoncelle et contrebasse
Fifth station (2003-2008), pour flûte alto, clarinette basse, trompette, cor, trombone, violon, alto, violoncelle et contrebasse
Grasping (2011), pour cordes
Calling (2011), pour basson seul

Prague Modern
Pascal Gallois, direction

From the introduction bt Pascal Gallois: [...] Commitment and reluctance to compromise are the guiding lines of my musical activity. It seems to me that nowadays, conductors are a bit too often slaves to tradition whereas the past teaches us that it is rejection of academism that made music history. This project involves exploring and the study of the composer's work, which in this case is Daï Fujikura. Taking the instrument as the starting point, this expands to include the orchestra. We will be going into his music in depth, especially the music he has written for the orchestra. It was my privilege to have known the composer when he was just beginning his career. This is important, because everything becomes clearer when you have the “big picture”. Unusually for this beginning of the 21st century Fujikura is attracted to an instrumental attitude more typical of the romantic period. He gives great importance to the what I would call the “ardent sound” of the instrument, which of course involves the romantic vibrato. This doesn't stop him using avant-garde instrumental techniques of which his precise use of wind multiphonics (in the manner of the organ) is an example, although he tends to avoid the bruitages and non-musical sound-effects unlike some other composers present- day composers. By the same token, his use of percussion instruments requires expressive playing which paradoxically seems to hark back to Japanese musical tradition. Emotion and feeling are everywhere present in his music.