Alexandra Cardenas
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Institutional Recommendation Program
update: 2019.11.7
Alexandra Cardenas
| Participating Project | Institutional Recommendation Program |
|---|---|
| Activity Based | Mexico |
| Period | 2012.1 - 2012.3 |
Purpose of the residency
I will be composing a piece for Koto, Recorder and Live Electronics for Nanae Yoshimura and Tosiya Suzuki. This work seeks to explore the timbral and expressive possibilities of the Koto and the Recorder in conjunction with Live Electronics. Stemming from the Koto's ancestral roots and guided by Nanae Yoshimura, who is the most important Koto player worldwide, and by Suzuki Toshiya, a very important Japanese Recorder player, this work aims to incorporate traditional and contemporary elements in a unique mix which expresses its multiple origins and influences and becomes a reference point for the audience, in which they can be reflected, regardless of their origins.
Plan during the residency
During the two month residency at Tokyo Wonder Site, I aim to write, program and premiere a work for Koto, Recorder and Live Electronics. During my stay, I'll be able to interact with the performers through working and rehearsing sessions where I will deepen my knowledge on these instruments' notation as well as their profound and varied repertoire. I will also be able to take the sounds of these instruments and bring them to an exploratory atmosphere in which I will create my own language that ruptures the limits in which we are used to listen to these instruments and, through electronics, take them to a new dimension of exploration and development. The Koto is a traditional Japanese instrument whose deep ancestral roots have made it develop a vital and healthy repertoire that keeps on expanding today. Nanae Yoshimura (see bio), is not only the most respected traditional Koto player, but she has devoted a huge part of her work to collaborate with composers from various countries, bringing the Koto to the contemporary music scene. Thanks to her virtuosity, Nanae Yoshimura has influenced the design and creation of a new Koto, expanding its range to 21 strings, making it ideal for contemporary music, as its timbral and tonic ranges have increased significantly. During my work with her, I will learn all the details concerning the notation for her instrument. Working with Suzuki Toshiya (see bio), I will be able to know the Recorder in a more profound way. Even though this is a most common musical instrument in our countries, I will be able to see first hand how a Japanese artist works with it and I will know new Japanese repertoire for Recorder.
