• par C.EM
  • juin 27, 2014

 An Interview with Mr Keiichiro Shibuya

Keiichiro Shibuya, Interview, Tokyo, Paris, photo credit Kenshu Shintsubo

Paris-Tokyo, June23rd 2014, (by E-mail).

C : Could you please explain your process of work on this “Concert-Projection” for the opening of the exhibition of Mr Hiroshi Sugimoto at the Palais de Tokyo, in Paris?

Keiichiro Shibuya : Mr Sugimoto first created the video for the theatre and then I composed on the images of the video. I converted Mov data of the video into a sort of noises or sounds and made it basso continuo resounded through the entire music.
A few chords have been taken from Quatuor pour la Fin du Temps by Olivier Messiaen in Mr Sugimoto’s idea.

C : What did you learn from your work with Mr Hiroshi Sugimoto?

K.S. : He is clear to what he focuses on and he is very stern to make sure about to whom and how his work is transmitted. Simultaneously he thoroughly pursued to reach the completion of the work as a craftwork.
I was influenced by his attitude with bird’s eye view of the balance of these two sides.

C : Technology is more and more present. How do you use it in your personal work?

K.S. : I put technology to practical use in all, such as making sounds, composing, editing songs. The impact of making the sound on the computer influences even when I play the piano.

C : What is the balance between « classic music » with instruments and technology when you start a project? And how does it evolve?

I don’t think the balance is always necessary.
I know for sure which media such as a computer or instruments, I will use for a new project, when some music come to my mind. I personally think to mix the computer and the piano is very difficult and this separation is my style now.
I expect to show the most evolved form, in a solo concert, at the Théâtre du Châtelet, in Paris, in October 2014.

C : Because of technology the link between music, design and contemporary art is more obvious. What do you think of it and how do you define it in your personal work?

I think the link you mean in the question is so called miniaturization of technology, that is a personal technology, but it is not a new concept.
However those who are not musicians but artists such as illustrators or painters have begun making music based on not a musical but a visual principle. This tendency has become common and it is a great transformation.
I also create installation, but the sound has become a source of ideas and concepts setting aside from the presence or absence of actual sound.
So I see a visual from sounds, from hearing, and then I conceive of my idea. And I consciously compose the environment.
Not so many artists create visuals with the sense of composition. As this is also a feature of me, I feel the strongest awareness that I AM a musician in artistic activities.

C : Is your opera, “The End” (2013), the most representative work that associate these fields?

The first concept of that work is what will happen if we make an opera with no human beings in it. So I did not particularly had conscious of a modern artistic approach.
The opus was rigidly created as music. However, the harmony has become infinitely simple and the layers of tone have become as complex as possible in the classical sense.
Also there is no paper score in that opera. It’s all begun to programming the computer from the beginning.
In that sense I think it was the opera that could not be with no technology.

His music label : atak

A special thank you, to Mrs Yukiko Takahashi, for her help with the translation Japanese-English.

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