Psappha

Shiniti Ueno - Psappha: 20th Century Solo Percussion Masterpieces Vol. 1

Shiniti Ueno, a multi-percussionist and founder and leader of Phonix Reflexion, started studying marimba and piano at the age of three. He was a percussionist for the Orchestre Philharmonique de Strasbourg and then was principal percussionist and timpanist for the Orchestre National du Capitole de Toulouse. . . . As a solo performer, he has given many Japanese and world premieres of contemporary composers. Currently living in Tokyo, Ueno is on the faculty of Kunitachi College of Music.

About the music:

Pieces for Timpani composed by Elliott Carter

These are part of the eight pieces for Timpani composed between 1950 and 1966. They are significant in that they changed the very concept of Timpani sound by adding sounds of rim shots, explosions, and death sounds. It is not too much to say that many of the timpani techniques used in contemporary music first appeared in these pieces. Carter's unique approach to rhythmic aspect of music can be seen in his mathematical representations of tempo and rhythm in his music. Each of the pieces is dedicated to a renouned American timpanist: "Recitative" is dedicated to Morris Lang; "March" to Saul Goodman; "Moto Perpetuo" and "Improvisation" to Paul Price. (Shiniti Ueno)

Zyklus composed by Karlheinz Stockhausen

This piece was first performed in Darmstadt in 1959 by Christoph Caskel. The title means "circle," and the music, which consists of 16 pages, does not proceed in the traditional fashion of from beginning to end, but allows the performer to start from any page and proceed in any direction. Each page gives directions of how to perform the piece by way of figures and signs, and the piece is played once through in accordance with the directions given, beginning at the performer's chosen location and ending with the first note that was played at the beginning. This freedom of the performer, however, is limited within the composer's calculated order. The performer nonetheless is allowed to try various combinations and choices, making the performance his or her own. This kind of music is a challenge to the performer's musical sensitivity and his or her ability to bring out the best in the music, which can be very rewarding if successful. I first heard the performance of this piece when I was still in high school. It was performed by Gualda at Ueno Bunka-Kaikan in Tokyo. During my studies abroad, I was also very fortunate to have had a chance to study with Gualda and Caskel, and this experience has remained invaluable to me. (Shiniti Ueno)

Optical Time for Timpani Solo composed by Isao Matsushita

I composed "Optical Time" in 1987, commissioned by Mr. Ueno, who premiered it in his recital in the same year, and it has since been performed on various occasions. The central concept is to create spaceoptical time by using only 5 timpanis rather than creating musical space using various instruments. At the beginning of the piece, the musical line starts from far away, and individual sounds gradually mass together, and radiate into the wider space. This "Optical Time" also features pedaling which controls timpani tones and creates a spectacular display of spaceoptical time. (Isao Matsushita)

Ground for Solo Percussion composed by Norio Fukushi

Commissioned by Sumire Yoshihara, I composed "Ground" in 1976. Performed at international musical competitions in Geneva and Munich in the 90s, "Ground" has since been boldly played at college graduations. It requires high technical skill in that multiple instruments must be played simultaneously. For this reason, for the first ten years, no one except for Ms. Yoshihara included this piece in her or his repertoire. Aside from Ms. Yoshihara, Mr. Shiniti Ueno is the only exception that I know of thus far. I admire wholeheartedly his power to challenge the frontier of percussive art from different angles, and am very excited with this new recording. Its structure consists of five parts: wood, metal, leather, metal, and wood. The background of the whole is sustained by the combination of the static rhythm and the delicate organic rhythms that repeatedly increase and decrease. (Norio Fukushi)

Psappha composed by Iannis Xenakis

"Psappha" is an archaic form of Sappho, the ancient Greek woman poet. Her poems are characterized by their "Sapphic" rhythm, which gives this piece its rhythmic inspiration. "Psappha" was first performed by my teacher Silvio Gualda in London, while I was studying in france. Inspired by all of the invaluable advice I recieved from both Professor Gualda and composer Mr. Xenakis this has become a memorable repertoire. (Shiniti Ueno)

Tracklisting:

1. Pieces for Timpani: Recitative {3:17}

2. Pieces for Timpani: March {2:54}

3. Pieces for Timpani: Moto Perpetuo {2:08}

4. Pieces for Timpani: Improvisation {2:45}

5. Zyklus {16:04}

6. Optical Time for Timpani Solo {15:22}

7. Ground for Solo Percussion {15:33}

8. Psappha {13:11}

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