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Jo Kondo : Musique de chambre. Ensemble l'Art pour l'Art.
Diapason from March 2017
Review de Pierre Rigaudière
Page No. 90
Format : 1 CD
Total Time : 01:16:33

Recording : 01/01/2003
Location : Francfort-sur-le-Main
Country : Allemagne
Sound : Stereo

Label : Wergo
Catalog No. : WER7342
EAN : 4010228734225
Price Code : DM021A

Publishing Year : 2016
Release Date : 25/11/2016

Genre : Classical
Jo Kondo (1947-)
Bonjin, pour voix de femme, flûte alto et contrebasse
Pergola, pour flûte et piano
Lotus dam, pour mezzo-soprano et violon
Calamintha, pour guitare
Six poèmes de Mokichi Saito, pour mezzo-soprano et piano
Dithyramb, pour flûte et guitare
Strands III, pour violon et piano
Twayn, pour flûte et percusion
Three songs of the elderberry tree, pour violon et percussion

Ensemble l'Art pour l'Art

What happens if the composer and the listener are the same person? This is exactly what Jo Kondo’s way of composing implies. If the composer is to be nothing but a curious listener, he must be able to surprise himself. He must rid himself of all prior knowledge or intention. Born in Tokyo in 1947, Jo Kondo was influenced throughout his entire education almost exclusively by traditional Western art music. Like so many of his Western colleagues, he feels this to be both a limitation and the greatest challenge to the creative process. “The music one grows up with is like a cage one has to break out of.” The type of improvisation that Jo Kondo employs is only loosely related to improvisation as it is commonly understood. Kondo does not improvise using an instrument, but with music paper, note by note. “I write down the first note, which can be anything, and then I try to listen to it again and again in my head until the second note appears. Then I write it down, and then I listen to these two notes again and again until the third note comes up. And then, repeating this process, I always go back to the top of the music to find the next note. That means that when I have 150 notes already in succession on my paper, I find number 151 by going back to the top of the piece and listening through from the top to the 150th note to find the next note. That’s what I mean by improvisation.” (Jo Kondo) All of Jo Kondo’s pieces have been written using this method. The result is a completely linear music that avoids any kind of obvious phrasing, melody, or motivic development, permitting the individual note to retain “its own entity of life”. Since even a musical line can endanger this fragile autonomy, Kondo distributes the notes among the various instrumental parts. This “hocket” technique, which has been used since the thirteenth century, demands enormous rhythmic virtuosity from the performers to avoid disrupting the organic unity of the extremely fragmented line. Thus, there is space left for the listener to create his own phrasing out of it.

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