Paul Frankhuijzen East

Performers

Tomoko Mukaiyama: piano / vocal
Monica Germino: violin

Recording: De Concertzender live
2001

Toonzaal 's-Hertogenbosch
The Netherlands

Audio samples

Johakyû (2001) 14’

soprano, violin, piano
lyrics: from Japan No theater Adachigahara
commissioned by Kees van de Wiel
Free score

Johakyû
The Office Tiger
Eda Samazama

The meaning of the title “Johakyû” is introduction, development and finale and is derived from

the Japanese Nô theatre.

In this tradition the subject of the idea, realisation and the result are all central. Zeami Motokiyo (1363-1443)

perfected this and form in this dream vision “Mugen-No”, which dates from the 15th century. It is a portrayal

of the soul, a revelation of the destiny of people. This experience is described within a psychological

framework. They are Buddhist vision of being and appearance, of being and not being.

These are the elements Paul Frankhuijzen use in its composition Yohakyû.

The first part ‘Monomane’ is about the

idea - the intrinsic, the imitation. It's not

the reality that is copied, but the intrinsic.

The text derives from the Nô play

Adachigahara “The heath of Adachi” and

was originally spoken by a priest before

he started his pilgrimage.

Tabi no koromo wa suzukake no
Tabi no koromo wa suzukake no
tsuyukeki sode ya shioruran

For a travel cloak we don an outer garment of hemp.
For a travel cloak we don an outer garment of hemp.
Which projects us from the dew and ensures a sound sleep.

Part two ‘Yûgen’: the hidden truth, realisation in addition beauty, love and play. The present themselves in a personal attitude, it is about an experience in a musical space.

Kokoro mo madoi
kimo wo keshi,
Kokoro mo madoi
kimo wo keshi,
yukubeki kata wa
shiranedomo.
ashi ni makasete
nigete yuku,
ashi ni makasete
nigete yuku

And the heart is confused, we are disturbed.
And the heart is confused, we are disturbed.
We do not know, where we must turn to
To search for good fortune in the expanse of space.
To search for good fortune in the expanse of space.
To search for good fortune in the expanse of space.

The third part ‘Hana’ is the result: In en chanting flower a journey of new surprises.
This text also derives from Adachigahara and is about an experience seen in retrospect, and the actions consequent of this.

The lights burn day and night in the gleaming glass-and-chrome building that towers over a leafy street in the

southern Indian city of Madras. Here at OfficeTiger, 1,500 young men and women peer into computers 24 hours a

day, analyzing and processing U.S. Securities & Exchange. Commission reports and other documents drawn up by

lawyers and bankers on Wall Street.' *

India's Office Tiger: Hear it roar

Office Tiger is an American / Indian internet company which supplies 'back office' services.

As a composer I am intrigued by the concept model with which such companies operate. 'We're changing the

way the world does business.' While the people that actually do the work (the Indians) have a completely

different cultural perception of processing.

What kind of impact does this have on the Indian employee?

Where does all this lead?

Does it actually lead anywhere at all?

Does globalization lead us to a new cultural identity?

The office tiger is like a tiger in a glass cage, constantly walking up and down in surroundings that aren't his

to begin with. For instance, hunting places are lacking, he (or she) has become the 'king' of the concept.

Musically speaking the Westerner approaches with a strong movement that can't be avoided, whereas the

Indian raga starts quietly by exploring the musical substance.

In the seventies the 'West meets East' theme was an important factor within the world of music. It was

supported especially by Sir Yehudi Menuhin, the violinist, and by Ravi Shankar, the sitar player.

To me as composer it is more important to get an answer to the question: 'How does the East influence the

West?' How do those processes form themselves in terms of culture? That collaboration and those cultural

connections were for me the reason to compose 'The Office Tiger'.

The Office Tiger relates to many aspects, for instance: the fast dynamics (drive), its

cultural background, which continually flows underneath, the doubts, the obscure part of

its soul. These aspects alternate (speed / near-standstill / incorporation). It seems as if

the composition is about an office employee, so to speak.

The form of the composition is both sonata and raga, consisting of the following

components overlapping each other:

Introduction,

1st part frenzy and silence (predominantly West)

2nd part spirito puro (predominantly East)

3rd part globalization

echo

* excerpt description from "OFFICE TIGERS", a documentary by filmmaker Liz Mermin.

Performers

Mondriaan Quartet

Recording: 2-2-2011
Kees van de Wiel Muziekproducties
Muziekcentrum de Toonzaal
's-Hertogenbosch
Netherlands

The Office Tiger (2009) 17:51'

string quartet, raagini digital or tanpura

commissioned by Mondriaan kwartet

Free score

'Eda Samazama' big diversity

Eda Samazama is Japanese - it is difficult to translate, but might be something like: big diversity.
The appellation‚ 'Samazama' can be found in Japanese pharmacies and is possible to be interpreted as follows: there are many pills you can get but the effects are very different from each other - that’s how it is with my composition as well.
The music has a cyclic effect. Each cycle changes the color of the chord chains. This is made by variation, modulation but also through the structure of the chords, which are played by the piano. The violin and the saxophone play a more freely melodic role; they are truly the leaves on the tree. They give contour to the tree (composition), color and play, but sometimes take over the role of the piano as well. It is a game of accompanying each other and cutting one’s one path again.

Eda Samazama (1996) 11:30’

violin, alto saxophone, piano
(Also possible flute, alto saxophone, piano)
Free score

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