ManachayanaDai Fujikura & Shin Sasakubo

About

The polystylistic recording, "Manayachana", was co-composed by Dai Fujikura and guitarist Shin Sasakubo with an ocean dividing them. 

Audio

# Audio Title/Composer(s) Time
Total Time 45:52
01Manayachana (the mystery of things)
Manayachana (the mystery of things)
5:59
02Tuta Wayra (evening wind)
Tuta Wayra (evening wind)
4:00
03Rumi (stone)
Rumi (stone)
3:59
04Puyu (cloud)
Puyu (cloud)
4:37
05Tinkay (offering (to god)
Tinkay (offering (to god)
8:31
06Anqas (blue)
Anqas (blue)
5:22
07Paseo Alpaca (passage to alpaca)
Paseo Alpaca (passage to alpaca)
4:49
08Wawa (daughter)
Wawa (daughter)
4:14
09Wayta (flower)
Wayta (flower)
4:21

"Manayachana" was co-composed by Dai Fujikura and the guitarist, Shin Sasakubo. Fujikura has offered this background on the music: "As I write this, Shin and I have still not met face to face. One day Shin contacted me through a social networking site, asking if I had any guitar pieces which he could perform in a concert. I told him I do, but I have taken a look at his musical activities, and thought it would be great if we can find a way to co-compose a piece. I proposed this to him and he was over the moon. He was very busy working on his own albums at that time, so I knew he would be in and out of the recording studio. I asked him if he could play some fragments while the engineer was on a break, then send them to me. He played some improvisations and sent me the files. I extracted one note at a time from these samples and started creating the electronic sounds. I then reconstructed the improvisations in electronic form and composed a backing track. I sent the track back to him, he said "It's finished, it's great!" But I had intended that this was merely the backing track. So I asked him to add a layer (again his own improvisation) on top of the track next time he had a coffee break from his own album recording.

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He played, recorded and sent it back to me. As usual, his recording was full of material. This was a bit too much for one track, so I started by eliminating a lot of material. Then I reconstructed it again and mixed it. This became the 1st track, which is the title piece, "Manayachana". We both had so much fun making this track, we decided to make another one, then more and more.... Towards the end of the album you can hear a strong south american sound, which reflects Shin's roots, as he was born in Peru and studied Guitar in Peru. I had a suspicion that Shin was a bit afraid to give me this "south american" element. (Maybe he thought, as I am a "contemporary classical composer," I might not like it.) On the contrary, that was why I was initially attracted to working with him. So I decided to make a rhythm track, combining fragments which were taken from whatever he sent to me as a sample, then I looped it. Eventually I sent back the rhythm track, which shocked him, he told me later. He thought I had hired another guitarist to make that rhythm track, which was obviously derived from all the materials taken from his guitar samples. Then he improvised on top of the rhythm track, so effortlessly it was like watching a duck take to water! It was so clear this sound world is "his thing". I am glad I prompted him to produce this, pushing via the music, not verbally. I knew his wife was a traditional Peruvian singer. I asked him if she wouldn't mind contributing to the creation of the album, so she did. Shin sent me what was pretty much the finished song, though once again, I decided to de-construct it. I don't know why, but I combined her voice with the guitar samples, which had nothing to do with the song which Shin had recorded, in order to make a new track. The tempo was different (obviously), and I'm not sure harmonically it made sense. but I worked on it to turn it into one sound world. All the sounds on this album (except the voice - contributed by Shin's Peruvian wife) were originally generated by Shin's guitar. In the end we came up with this album which defies categorisation. I leave it to you to decide if this is electronica, guitar, drone, world music, contemporary classical music, meditative music..... We are happy to release this album from Minabel." Dai Fujikura (edited by Miranda Jackson)

Produced by Shin Sasakubo & Dai Fujikura
Directed by Motoichi Sugita
Engineered by Dai Fujikura & Noritaka Yamaguchi
Recorded: May 2014 @ Minabel Studio, London & STUDIO JOY, Chichibu

Dai Fujikura

Dai Fujikura was born in 1977 in Osaka, Japan. He was fifteen when he moved to UK to complete his secondary education. His studies continued in college, where, during his sophomore year, he won the Serocki International Composers Competition. Since then, he has been awarded many other important prices including the Royal Philharmonic Society Award, Otaka Prize, Akutagawa Composition Award, WIRED Audi Innovation Award, the Paul Hindemith Prize, and The Silver Lion Award from Venice Biennale 2017. His works include operas, orchestral pieces, ensemble works, chamber music, and film scores.

Having received numerous international co-commissions, Dai Fujikura’s music has been performed in Europe, Asia, and North and South America. He recently held the composer-in-residence position at Nagoya Philharmonic Orchestra. He has received two BBC Proms commissions, his “Double Bass Concerto” was premiered by the London Sinfonietta, and in 2013 the BBC Symphony Orchestra gave the UK premiere of his "Atom". Suntory Hall hosted a portrait concert of his orchestral music in 2012. Fujikura’s "Tocar y Luchar" was premiered under the baton of Gustavo Dudamel with the Simón Bolívar Youth Orchestra in Venezuela in 2011.

Fujikura has also received performances and commissions from Bamberg Symphony, Munich Chamber Orchestra, Orchestre Philharmonique de Radio France, Philharmonia Orchestra, Tokyo Philharmonic, Chicago Symphony Orchestra, New Japan Philharmonic, and Melbourne Symphony Orchestra, among many others. He has collaborated with Ensemble Modern, Arditti Quartet, Ensemble Intercontemporain, International Contemporary Ensemble (ICE), Oslo Sinfonietta, Asko Ensemble, Klangforum Wien, and Bit20 Ensemble. Ultraschall Berlin, Lucerne Festival, Salzburg Festival, Punkt Festival, Spoleto Festival, NHK Symphony Orchestra, Yomiuri Nippon Symphony Orchestra, Huddersfield Contemporary Music Festival, and Tanglewood Festival have all programmed his music, and his works have been conducted by many conductors including Pierre Boulez, Peter Eötvös, Jonathan Nott, Kazuki Yamada, Martyn Brabbins, Peter Rundel, and Alexander Liebreich.

Dai Fujikura’s first opera Solaris, a co-commission by Théâtre des Champs-Elysées, Opéra de Lille, Opéra de Lausanne, Ircam-Centre Pompidou, and Ensemble Intercontemporain, had its world premiere in Paris 2015. The multimedia production which included dance, electronics, and 3D film was directed by Saburo Teshigawara who also wrote the libretto. The opera is based Stanisław Lem’s famous science fiction novel of the same name. Theatre Augusburg will present a new production of Solaris for the German premiere in May 2018.

Fujikura’s debut solo album, Secret Forest was produced by NMC Recordings in 2012. Since then, he’s had numerous albums produced including Mirrors which features four of his orchestral works, Ice, on the Kairos label, and most recently, my letter to the world, named for his song cycle, which he produced on his own label, Minabel in collaboration with SONY Japan. For a complete list of his recordings, visit http://www.daifujikura.com/un/discography.html.

Fujikura also has strong connections to the experimental pop/jazz/improvisation world. His co-composition with Ryuichi Sakamoto, peripheral movement for electronics, premiered in Hakuju Hall in Japan in 2013, and his collaborative works with David Sylvian were recorded for Sylvian's album Died in the Wool. Jan Bang released an album on Jazzland records, which featured Fujikura’s collaborations with Jan Bang and Sidsel Endresen.

Recently, Dai has been named the artistic director of the Born Creative Festival in Tokyo Metropolitan Theater for 2017. He will take the positions of composer-in-residence at the Orchestre national d'Île-de-France, and artist-in-residence at The Philharmonic Chorus of Tokyo beginning in 2017. He is currently​ preparing for his second opera, The Gold-Bug, which will premiere in March 2018 in Basel. His orchestra work, Glorious Clouds which was co-commissioned by Nagoya Philharmonic, WDR Sinfonieorchester Köln, and Orchestre national d'Île-de-France, will be premiered in Japan in 2017, followed performances France and Germany.

Dai Fujikura is published by Ricordi Berlin.

http://www.daifujikura.com

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