Ryuichi Sakamoto - Esperanto (CD, Album, Ltd, RE, RM, SHM) (Mint (M))

Media Condition: Mint (M)
Sleeve Condition: Mint (M)

Factory SEALED
 

Notes:

Cardboard sleeve reissue with SHM-CD format. [uThe Japanese reissue liner notes by [a1559265 translate as follows:[/u [bAbout the bonus tracks[/b [iThe ballet "Esperanto" was performed by [a2664712 & Dancers at the Endo Memorial Hall in Shinjuku, Tokyo on 23-24 November after "Esperanto" had been released in October 1985. This performance was part of New York Week to commemorate the 25th anniversary of Tokyo and New York City becoming sister cities. As part of this show, instead of just playing the sound from the record to accompany the ballet, on both days [a5087 and percussionist [a1310972 performed together live. In this remastered version of "Esperanto", two songs from this live performance are included as bonus tracks. Both tracks are from the performance on November 24th.[/i [bM-9 "ADELIC PENGUINS (LIVE)"[/b [iI don't remember this live event very well, but this performance of "ADELIC PENGUINS" doesn't sound like a live performance. I think I'm playing some parts live. Probably the final bass sound and the upper-pitched sound. That's why that so-called feel as if playing solo is not in evidence at all. Similarly, YAS-KAZ plays one of the parts live, so at first glance (listening) it sounds like the record (the CD). (Ryuichi Sakamoto)[/i [bM-10 "Parolibre (LIVE)"[/b [i* Live performance of a song from Ryuichi Sakamoto's 1986 album "52436". This performance of "Esperanto" and the song-writing for and preparation of "Futurista" took place at about the same time, so I think here I played this as an experiment. There is something like a dog barking in the latter half of the song. That's probably some mischief by YAS-KAZ. It can't be me because I'm too busy playing. I don't really remember much about this "Esperanto" performance, I was wearing a Gaultier shirt, and [a2092393 came to see it and we went somewhere afterwards, the only thing that left a strong impression on me was [a3247998 speaking like a machine gun. (Ryuichi Sakamoto) Written by: [a1559265[/i [uThe Japanese reissue liner notes by [a3247998 translate as follows:[/u [b"Esperanto" - "Hope" for 21st Century Music[/b [iWhen did 20th century music begin? Of course, there are many different candidates in music history. However, many would choose "The Rite of Spring" (1913) by Stravinsky if asked to name one work that marks the start of the 20th century. Written after "The Firebird" (1910) and "Petrushka" (1911) for the Ballets Russes company, it created a sensation on the stage in Paris and was a decisive event in the history of music, or even in the entire history of culture. It is said it not only created a large fault line, but also foretold the First World War that would start the following year. So when did 21st century music begin? The answer to that is not clear even long after the 21st century has begun. It's not even clear if what we call 21st century music has in fact started. However, if you look back carefully, you will notice that at the end of the 20th century, various roots that foretold the 21st century appeared. Again, we can think of a wide variety of examples, but we will not go into that discussion right now. For the time being, I'd like to propose a working hypothesis, namely that "Esperanto" written by [a5087 for [a2664712's dance company in 1985 corresponds to "The Rite of Spring" ---- the thesis is that it secretly prepared for the arrival of 21st century music. For that reason, it's hard to claim that "Esperanto" has been fully valued in Sakamoto's oeuvre. One reason is that Molissa Fenley's choreography was not historically outstanding when compared to the Ballets Russes company, which revolutionized the dance stage in the 20th century. It is true that she, who founded the dance company in 1977, was one of the flag bearers of postmodern dance, and at the time of "Esperanto", her choreography certainly combined sporting pleasure with elegant beauty, even so it wasn't radical enough. By the way, [a2092393 visited Japan beforehand and this avant-garde warrior attended the stage premiere of this work and afterwards had a discussion with Ryuichi Sakamoto (collected in "Future School 2009" and "Hondo / Fusosha"), and said, "I was listening to the music with my eyes closed because the formal dance was boring." But immediately he went on to say: "Anyway, what a beautiful music!" Guattari, who developed the theory and practice centred around the concept of "machine" with [a29037 and on his own, showed an early interest in the possibilities of synthesizers in the field of music, and at this point in the technology of sampling. He noted the sound was taken out of a certain context and placed into another (re-territorialization after de-territorialization). After the explosive advances in technology that have followed it, listening to "Esperanto" now makes me feel rather nostalgic about the sounds of synthesizers in this era, and I'm still convinced by the mechanical sounds of synthesizers whereas, unlike in the days of the [a22061 where he confidently made use of those sounds, Ryuichi Sakamoto here tried to pursue rather more "natural" sounds and music by making full use of technology (his concept was to use a synthesizer as a folk instrument to create "fictitious folk music" as if writing a fictitious folk tale using an artificial language like Esperanto). If the 20th century was the age of machines (and although Ryuichi Sakamoto was paying attention to it in the music world in a more straightforward way than Stravinsky did), the 21st century is an era in which technology and nature are fused and nature is reproduced through machines, therefore "Esperanto", which seeks to create music that resonates ethnically and ecologically while making full use of cutting-edge synthesizers, is in that sense one of the first manifestos to predict 21st century music. It becomes clear already from the very first piece. Beginning with a blow of a striking sound, with various noises and samples of the word "Un, Deux, Trois (1, 2, 3)" (the choreographer's yell?), we move forward mercilessly with the accuracy that is unique to the machine, and while this unrelenting music makes us feel the aesthetics of futurist machines, it reminds us of Gamelan music as well. When entering the second piece that has a slow tempo, the voices of insects are colouring in the course the somewhat humorous music takes. Now that I think about it, in the third piece, a rain shower of electrons pours down. In the fourth piece, a string of chords that seems to be predicted by its reverberation being reversed creates a static soundscape. The fifth track regains the propulsion of the first, and everywhere in its forward movement it's reminiscent of Stravinsky, Varèse-style sirens ring, Webern-style sound patterns are repeated, and festival drums are added, showing a complicated musical development. The sixth piece, which also inherits that driving force, reaches a big climax by repeating the first track's unrelenting nature in another form and showing various developments including noisy improvisation. Even more wonderful is the 7th piece "A Carved Stone", which is similar in development to the 1st or 2nd and continues after the moment the forward movement is suddenly interrupted ---- an adagio movement unique to Ryuichi Sakamoto. A cool soundscape that is as rich as a rainforest at night, supported by exquisitely misaligned percussion. When listening to this beautiful sound, you hear a piece that suggests living through a long stretch of time ---- a deep and romantic song we can call "The Song of the Earth", to borrow Mahler's title. Yes, this is one of the most beautiful tracks in Ryuichi Sakamoto's huge oeuvre. And in the eighth and final track, the melody and rhythm are fragmented, and the sounds of jungle birds, animals and insects are all over the soundscape. It's an open ending that fits the original meaning of the title "Who Wants". What surprises me as I listen to it again is that all the details of the music are imprinted in my memory as they were at the time of the premiere (how much of any music written for ballet and dance remains in my memory ---- unless it's Stravinsky's work), and it still sounds really fresh. This music should be heard more widely, and it should be taken up by various choreographers and dancers, not just at the premiere. I hope this new release will be a trigger for that. Stravinsky's "Rite of Spring" was a brilliant and cruel manifesto that heralded the arrival of 20th century music and at the same time and beyond the author's intentions heralded the era of war. Even now, in the 21st century, we are still stuck in that chaos. However, if you inspect the potential layers, here and there you will notice that a wide variety of attempts have begun to create a different world. "Esperanto", which seeks to recreate ethnic and ecological music through technology, continues to convey such a message of "Hope (esperanto)", not as some kind of loud manifesto, but as coolly as possible.[/i [uThe original Japanese liner notes by [a2508405 translate as follows:[/u [bMade for dance performances Music beyond <music for dance performances> Ryuichi Sakamoto's "Esperanto" composition / Takumi Minamimura[/b [iMusic that's created on the condition it serves a specific purpose is always restricted in some way. Does the creator feel the constraint is crippling him or, conversely, does he consider it a game played under the rules of the constraint and view it as a new creative environment? ―--― This is for the creator, but for us who are irresponsibly reversing that position by only listening to the music, the resulting work is everything to go by. Even if the work was made under harsh restrictions and with a purpose in mind, it wouldn't be an excuse for a sloppy listener when having that knowledge. Does the result only work within the limits of the constraints? --―― Is it something that only fulfils the original purpose, or is it something that is reasonably purposeful and yet also free from that purpose? --―― The more outstanding the creator is, the more you are required to move beyond the latter, that is, the purpose. In the case of [a5087, he has already provided one answer. Needless to say, it is "52513". This music, made in the context of cinematic constraints, fully supports providing the dramatic effects that is the fate of every soundtrack, and is even a work that's quite independent and separated from its purpose. In other words, it's not the kind of music you can't hear without watching the movie. Furthermore, Sakamoto's music now has those gentle and hidden variations that seemingly began to be liberated on "Merry Christmas Mr. Lawrence", and whose mood was passed on to "Illustrated Musical Encyclopaedia". It may be somewhat difficult, but try to imagine the sort of side effects those cinematic constraints have given him. When Ryuichi Sakamoto is subject to cinematic restrictions, he cannot help but be aware of the Ryuichi Sakamoto paradigm, but isn't it possible that temporarily, partly as a result of being forced to, he created an opportunity to be free? If so, we might be able to consider that having a certain kind of purpose plus the restrictions that accompany it stimulate Ryuichi Sakamoto and have the potential to encourage a new form of distinction that is unexpected from him. That's why we've been waiting excitedly for Ryuichi Sakamoto's work "Esperanto". In this piece he has chosen a new constraint, namely "music for dance performance". Added to this is the totally stimulating purpose of creating music for an extraordinary female dancer called Molissa Fenley. I can't help but mention [a2664712 here. So, let's quote from a 1984 press release when she performed in Japan: "Molissa Fenley emerged like a whirlwind as a flag bearer of postmodern dance and was named Year's Best in the New York Times 1983 Dance category. Her performance, which is energetic, primitive, and full of speed, has the sensibility to make you watch and the sharpness to challenge the intellect....." Molissa Fenley's dance is said to be identical to her body. That body is not the one required by traditional ballet, with its ultimate goal of balance, no it literally means the physical entity. To build and maintain this body, every day she constantly trains herself with an incredible amount of effort. To introduce this menu, at first she does a lot of flexing exercises and stretching for 45 minutes, then runs for 5 miles, then finishes her exercise using a device called Notorillas. However, this is just by way of a preparatory exercise before breakfast. After this tough dance rehearsals begin. Quoting her words, "I'm doing the best this woman can". Molissa Fenley was born in 1954 in Las Vegas, USA. She had the unique experience of spending her childhood as a girl with her family in Nigeria in Africa, which later became part of her style of dance ---- It seems to have had a great influence on her particularly primitive and dynamic beauty. In 1971, at the same time as making a return to Japan, she began studying dance at Mills College in California, but her self-made and self-performing activities began in earnest after she moved to New York in 1975. We can say her style was shaped in that very high-tension environment, the one in New York. Despite being based in this city, she toured across Europe in 1980 visiting Sweden, France, the Netherlands and West Germany, was hailed with great acclaim, and this became an annual event. From around this time, she has been gaining attention as a figure of international renown, decisively so due to "Hemispheres". No one had ever witnessed this revolutionary type of dance, which was premiered at the BAM (the Brooklyn Academy of Music) in New York in November 1983, and created an uproar in New York. The New York Times praised it as follows: "Molissa's dance is accompanied by a tremendous speed, it has an instinctive movement reminiscent of primitive ritual dance and an intelligent design. This production "Hemispheres" refers to the right and left hemispheres of the brain, which is a metaphor for division by a straight line. Italian contemporary painter Francesco Clemente's new visual effects, Anthony Davis's new jazz and Rei Kawakubo's Comme des Garçons costumes.....(omitted) this dance was even more experimental as part of the performance art series NEXT WAVE.....(omitted)." "Hemispheres" became a memorable work for Molissa Fenley, and it was also the work that paved the way for Ryuichi Sakamoto and her linking up at this time. It was [a143917, who was in charge of overseas operations at Ryuichi Sakamoto's [a2395348, who took the lead in this match-making: "I happened to be in New York in the fall of 1983. When I was taking a walk with Tim, the manager of percussionist [a143947, in Soho, we just happened to meet Mr. and Mrs. Molissa. Tim knows Molissa very well and introduced me to her. He's also working with Ryuichi Sakamoto in Japan." Music is a very important aspect of her dances. She's stated "dancing to classical music is nothing more than laziness and continues what has been exhausted already" and "I always want to be a sensation in the new era", and is always eager and working to actively interact with contemporary artists in search of a new era in dance music. This encounter with Peter Barakan must have been a great opportunity for her to connect with Ryuichi Sakamoto. At her invitation, Peter visited the premiere of "Hemispheres" and, after reuniting in the dressing room, received a strong offer from Molissa to ask Mr. Sakamoto for the music for her next work. He was very interested in Molissa's dance performances and accepted her offer. The collaboration between the two resulted in "Esperanto", which will be performed in Japan this coming fall. This new work by Molissa, who has received the music from Ryuichi Sakamoto, will be performed by five dancers, and it's said the up-and-coming French designer [a37819 will be in charge of the costumes. For Ryuichi Sakamoto, who has always been interested in and inspired by Debussy, Stravinsky's ballet music, and Satie's music for stage, this attempt to create dance performance music for Molissa Fenley must have fascinated him. However, what kind of side effect did this new constraint of dance music, being completely different from the cinematic constraint of "Merry Christmas Mr. Lawrence", bring to Ryuichi Sakamoto......? This is the album "Esperanto", and it should be of great interest to listen to (even though it's encapsulated in 40 minutes, slightly shorter than the duration on stage). And on this occasion too the expectations are met. Much like "Merry Christmas Mr. Lawrence", which goes far beyond being a useless record, on which we'd drop the needle just to relive the movie, this is music made for dance...... It is fresh Ryuichi Sakamoto music that is both spicy and familiar, without the need for any such considerations and excuses. And maybe "Esperanto" is Molissa Fenley's dance performance to Ryuichi Sakamoto's music? This music is so unique and has such impact it gets engaged in such a reversal of purpose. If you think about it, in any high-quality collaboration, the thrill of that conflict of individualities = a cooperative relationship where the individualities are exchanged. The only way to confirm this is to wait for Molissa's performance in Japan. (Reprinted from the original 1985 release liner notes)[/i

1. A Wongga Dance Song 6:18
2. The Dreaming 3:52
3. A Rain Song 2:26
4. Dolphins 3:23
5. A Human Tube 4:50
6. Adelic Penguins 6:06
7. A Carved Stone 8:23
8. Ulu Watu 3:55
. Bonus Tracks
9. Adelic Penguins (Live)
10. Parolibre (Live)

Barcode and Other Identifiers:

Barcode 4988034206598
Rights Society JASRAC

Manufactured By Midi Inc.
Recorded At Onkio Haus
Mixed At Onkio Haus