Akatsuki

"Akatsuki" means "dawn". These are memories from my childhood. I had a difficult childhood. This suite is something special. First, there are no dynamic indications. Secondly, the last piece is to be played without breathing if possible (about 30 seconds long). (The listeners should also hold their breath, but only if it is possible). And then at the end take a deep breath (feel freedom).

I believe that as soon as a piece passes from the hands of the composer into the hands of the musician, the performer takes the piece from there. Ideally, there should be no volume or other dynamic indications. I think that through a free perception of the score, the sensitivity and individuality of the performer can be emphasized. Musicians become even more creative and imaginative as a result. Perhaps a solo piece or a quintet becomes more lively this way than playing everything exactly as the composer prescribed!

In the absence of dynamic instructions, the same piece will increasingly be played in different colours by different performers.

It may be similar, or it may be a surprisingly different performance. The audience will be curious to see how this performer will play the piece. Isn't that a wonderful thing?

"It's often said that a piece should be played the way the composer intended it to be played," but even if the composer himself absolutely wanted the piece to be played that way, I think it's very possible that the composer will be moved by a surprising performance that he didn't expect.

Musicians can better show their musical talent. For example, in a trio: discussing together, building music together. I want the performer to play my music the way he feels it. It used to bother me when the notes said forte, piano. Now I compose myself. When I think about dynamics, there are so many different possibilities. So I decided not to prescribe anything this time. I usually wrote out the forte and the piano in my other works because I wanted it to be played that way. But I don't think that's the only way. I think it is more important to keep to the tempo that I feel, but even there, if the musician feels that slower or faster is better, then I also agree with that. This time I tried a new approach with the work "Akatsuki". I am sure that the musicians will feel stimulated in their talent and sensitivity. I think there is a lot to disagree with. However, what has been done in the world so far (it is natural that there are strong and weak symbols) is not everything and is not necessarily correct. It could be that I get criticism from people: " play without breathing is unthinkable!!!" But I want to. I think it's important to try things out and to be adventurous.

Contents: (with Japanese pronunciation)

1. The White World - (shiroi sekai)

2. Hunted Stone - (owareru ishi)

3. Swirling Sand - (uzumaku suna)

4. Where am i? Who am I? - (watashiwa doko? watashiwa dare?)

5. To the indifferent Sky - (mukanshin na sorani)

6. A dark path with no end in sight - (owarino mienai kurai michi)

7. With The Wind - (kazeto isshoni)

8. Screaming Blue - (sakebu ao)

9. A Dragon With a Heart - (kokoro-o motta ryu)

10. Wailing Cactus - (guchiru saboten)

11. Lonely Tree - (hitoribochino ki)

12. In the Storm - (arashino nakade)

13. Beyond Despair - (zetsubouno kanata)

14. The World That Is Breathless - (liberation -- ikimo dekinai sekai - kaihou)