il vento

Overflowing sounds of "il vento"

A year before, I created the music "Preludes for Shin-On '97" for the artist Shuhei Matsuyama's "Shin-On" exhibition. Having achieved some success in it, I adopted the same compositional method for "il vento", so these two pieces of music were born like sisters. However, just as paintings differ from artist to artist, the music that accompanies them will naturally change as well. While the colors of the "Shin-On" works differ greatly, the "il vento" works use colors that give a sense of unity. Or, while the "Shin-On"s are generally static works, the two main works of "il vento (the wind)" has a big movement as the title suggests. As a result, even though they used the same method, “il vento” sounded quite different from the previous, and these two became contrasting music.
In actual production process, it was a big problem, “It would be better for the music to be moving in order to respond to the movement of the paintings, but how can I make it move?" In this compositional method, it was difficult to express dynamically because it suppresses a sort of the "narrative by sound" peculiar to conventional music. "If I will express "movement", I may have no choice but to increase the number of sounds, and fill it with so many sounds that they overflow. But, with such a large number of sounds, wouldn't the music ruin the atmosphere of the exhibition?" . . . It was this "il vento" that challenged such a difficult problem and managed to complete it. The other day, I faced the original score for the first time in a long time, and was once again surprised by the number of notes recorded. However, during the recording and editing, I felt like I was able to meet a landscape of sounds that overflowed and became the wind.