59:01.68 by Seijiro Murayama / Kazushige Kinoshita

3 Types of Silence (Seijiro Murayama)

Kinoshita (violin), Murayama (percussion), and Oshiro (recording engineer for this CD),
each of them inserted several moments of silence (timing and duration) in a framework of "composition for improvisation (11 min x 5)" so as to give it a time structure (the idea came from Murayama).

but eachone did not know what was decided by the other two.

the duration of the recording was chosen as the titre of the CD.
the recordings were done only once ( in particular, a pair of microphones were put outside).
without any mixing, during or after the recording.

Oshiro's silence: he put the recording level to zero.
the musicians' silence: they didn't make any sounds following the composition (but also they sometimes made silence during their improvisation).
the silence heard in these recordings has 3 different types of backgrounds:
silence generated by only one "intention" (of impro, or of the compo), or by two intentions (doubled or superposed silence), or by three (tripled by everyone).
though the sonic apprearences of each silence does not seem so different, its contents are not exactly the same.
of course, the most important thing was how this piece was interpreted or played by the musicians.

i would like to evoque, by these 3 types of silence, another serie of silence:
that of John Cage (4:33), then that of the experience of "sudden death" in the earthquake-tsunami-Fukushima catastrophy in Japan (3/11, 2011), and in the end, that of today's "our silence."
i think these are the 3 types of silence we could live actually in improvisation.

長らくフランスに滞在し、欧州各地で精力的に演奏活動を続ける即興演奏家 / パーカッショニストの村山政二朗が、しばしドイツ、ベルリンに居を移していた時期に発表したアルバム。ジョン・ケージの「4:33」と、2011年、日本を襲った「3:11」に思いを巡らせて作曲した作品。どれも11分の5曲構成。村山のアイデアに基づき、村山自身のパーカッションと木下和重のヴァイオリンによって演奏され、録音を担当した大城真も含めて3者の共同作業から生み出された。2011年12月の録音。