Yudai Bando New work in progress

Performers ◎Yudai Bando (composer/musician), Junichiro Taku (flute), Shozan Hasegawa (shakuhachi), Ami Oike (violin), LEO (koto)
Program◎Part 1: Lecture on a method that should not exist / Part 2: Chimera music created from the method (Theater piece) Yudai Bando: "Secret Music 《Zôkô no chône》[2024] for shakuhachi solo," etc.

Saitama Arts Theatre is pleased to announce the launch of a new project with the remarkable composer/musician Yudai Bando.
Bando has been attracting attention for his genre-crossing activities, such as accompanying TV dramas, movies, and other video works, while keeping his focus on contemporary music. He has been experimenting with up-and-coming musicians of the same generation, and will present a new theater piece as Work in Progress in February 2025.
Please look forward to a new approach to experimenting with the possibilities of stimulation and perception through "dissimilation" and "deconstruction," which is one of the themes of his activities.
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In the past few years, I have repeatedly asked myself whether I have been thinking of music too much in terms of Western history and Western music history. In his book, Fumio Koizumi, a pioneer in the study of Japanese ethnic music, asks whether Western music developed in foreign countries can really take root in Japan. His insights have deepened my interest in this question even further.
In this project, I would like to ask the question: What if the way Western music was imported to Japan had been different from the way it is today? Or if traditional Japanese instruments had developed in a different way? What if the instruments that originated in Japan had survived in a different form? What if the aesthetics of performance had developed differently than they do today? What if the act of composing music had been written in tablature notation instead of staff notation? I would like to fantasize about Galapagos methods based on assumptions that should not really exist. To do this, I would like to borrow knowledge and ideas from performers and musicologists, both traditional Japanese and Western, and do research.
Then, I will try to create new music using these methods. These will probably be a kind of chimera music, a thorough deconstruction and reconstruction of the music that surrounds me in Japan in 2025. I would like to observe what aesthetics of composition and performance, what modernity and regionality still emerge from the various contexts, methods, forms, and gestures that I have deconstructed and reconstructed. (Perhaps such a thing does not exist.)　　　　　　　　　　　　　　　　　　-Yudai Bando