Malika Kishino

Malika Kishino (2015)

Malika Kishino ( Japanese 岸野末利加 , Kishino Marika ; born July 16, 1971 in Sakyō-ku , Kyōto , Japan ) is a Japanese composer.

Career

Malika Kishino was born in 1971 as the daughter of the head of the Jōdo-shū - Buddhist temple Senshu-ji in Kyoto. She first studied law in Kyoto, where she graduated in 1994. After moving to Paris in 1995, she began studying composition with Yoshihisa Taira at the École Normale de Musique de Paris and graduated in 1998 with a Diplôma supérieur. From 1999 to 2003 she studied with Robert Pascal at the Conservatoire National Supérieur de Musique et Danse (CNSMD) de Lyon and received the Diplôme national d'études supérieures Musicales in 2003. In 2004–05 she completed an annual computer music course at IRCAM Paris. She has lived in Cologne on the Rhine since 2006.

She was awarded the prize of the 70th Japan Music Competition (2001), the first prize of the Concours de Groupe de recherche appliquée en musique électroacoustique ( GRAME ) and the Ensemble Orchestral Contemporain (EOC) in Lyon (2006). Multiple performances at international festivals in Europe and Japan, such as the La semaine de la composition de l'Orchestre National de Lyon, Takefu International New Music Festival (Japan), Music en scéne in Lyon, Festival d'Alicante, Musica Strasbourg, sound actions in Munich , Biennale Music en scene 2008 des GRAME, Festival Ultima Oslo (2008), Klangwerkstatt Berlin, Festival Piano + at the ZKM Karlsruhe (2008) as well as performances at the Festival Ultrasound Berlin (2009, 2010), Présences, Festival de Création Musicale de Radio France (2008 and 2009). She was a scholarship holder of the Freiburg Experimental Studio (2007-09), the ZKM Karlsruhe (2008), the Akademie Schloss Solitude (2008/2009), the Künstlerhof Schreyahn (2011), the Gerard Oshita Fellowship (Djerassi resident artist in California / USA, 2011 ) and received a scholarship from the state government of North Rhine-Westphalia (2010-11).

Musical characteristics

She is committed to Japanese tradition as a general cultural background (such as the relationship between action and non-action), but not with reference to Japanese musical tradition - not even where she uses the koto or other Japanese instruments. A large part of Kishino's compositions includes the use of electronic music or live electronic processes. On the one hand, this is an expansion of the instrumental means for the purpose of timbre transformation (between electronics and acoustics) and, on the other hand, the search for new means of expression.

The predominant aesthetic guideline of Kishino's compositions is the creation of a "sound organism", the idea that a composition - like any organic life - has a duration of development, a proper time and a characteristic form (= life). The musical developments are determined less by constructive-systematic points of view than by the unleashed musical forces, with their inherent driving forces. One of the characteristics of the Instrumentation Kishinos is the expansion of the technical repertoire of the instruments (often supplemented by electro-acoustic means) in the multi-graded dynamic range. All instruments are always tied together to form a development line (even when soloing individual instruments).

It is not uncommon for Kishino to use metaphors and synaesthetic transfers from the physical, especially the optical-visual field - e.g. B. related to light reflections or other optical phenomena - which underline the perceptual-physiological approach of the composer.

Works

Vocal music

Choir

Satsuki (Mai) (2000) for mixed choir, two trumpets, trombone and two percussionists. Based on a poem by Murō Saisei .
Lo mes d'abrièu s'es en anat (April has passed) (2005) for twelve female voices, children's choir and electronic sounds. Based on a folk song from the Ardèche / France .
Ichimai-Kishohmon (2011) for mixed choir, voices of Buddhist priests, Sho, Hichiriki, 20 string koto, drums, strings trio. for the 800th anniversary of Hōnen -shohnin.
Prayer / Inori (2011) for mixed choir. Based on a poem by Rabindranath Tagore .
Dialogue Invisible (2012) for 9 female voices. Based on a poem by Florence Delay .
Chant (2015) for choir and orchestra. Based on a poem by Rabindranath Tagore .

Vocal music

Battement (Schlag) (2003) for baritone and piano. Based on a poem by Jacques Roubaud .
Hila - Hila to… (2009) for countertenor and seven musicians. Based on a Haiku by Shiki Masaoka .
Miraiken kara (From the Sphere of the Future) (2012) for Noh voice and alto flute. Based on a poem by Kenji Miyazawa

Instrumental music

Danse automnale de feuilles Vermeilles (1997) for piano
Epure (1998–99) for string quartet
Astral (2001) for flute, guitar, piano, violin and violoncello
Du Firmament (2001–02) for orchestra
Scintillation (2002) for piano and harpsichord. After four haiku by Shiki Masaoka .
Danse du Zephyre (2002–03) for 17 musicians
Epanouissement (2003) for violoncello
Epanouissement II (2004) for flute and harp
Himmelsleiter (2006) for alto flute, bass clarinet, trumpet, piano, violin and violoncello
Seventeen Steps (2006) for alto flute, violin, bass koto and piano
Koi Hanètè… (2006) for piano. Based on a Haiku by Shiki Masaoka .
Himmelwärts / Vers le ciel (2006) for flute, percussion, violin, viola and violoncello
Himmelwärts II / Vers Le Ciel II (2007) for flute, percussion and sixteen strings
Erwachen (2007) for large bass recorder, bass koto and drums
Halo (2007) for two clarinets
Fluxus ac Refluxus (2008) for orchestra, divided into 7 groups
Awakening II (2008) for bass flute, bass koto and drums
Aqua Vitae II (2010) for alto flute, bass clarinet, percussion, violin and violoncello
Vague des Passions (2010) for marimbaphone and vibraphone
Monochromer Garten I (2011) for accordion and violoncello
Monochromer Garten II (2011) for bass clarinet, baritone saxophone and trombone
Monochrome Garden III (2011) for timpani
Monochrome Garden IV (2012) for 30-string koto
Monochrome Garden V (2012) for Koto
Concerto pour Koto (2013) for Koto and orchestra
To the depth (2013) for orchestra
Lamento (2013) for two violins. Based on a folk song from Fukushima / Japan
Himmelsleiter II (2006- rev. 2013) for alto flute, bass clarinet, trumpet, harp, violin and violoncello
Stratus - Altocumulus - Cirrus (2014) for alto flute, bass clarinet, trumpet, harp, violin and violoncello
Lamento (2014) for violin and viola. Based on a folk song from Fukushima / Japan
Monochromer Garten VI (2015) for viola, dedicated to Vincent Royer .
Chant (2015) for choir and orchestra. Based on a poem by Rabindranath Tagore .
Heliodorus (Gift of the Sun) (2015) for trombone and ensemble
Monochromer Garten VII (2015) for recorder and percussion

Work cycle "Monochrome Garden"

Monochromer Garten I (2011) for accordion and violoncello
Monochromer Garten II (2011) for bass clarinet, baritone saxophone and trombone
Monochrome Garden III (2011) for timpani
Monochrome Garden IV (2012) for 30-string koto
Monochrome Garden V (2012) for Koto
Monochromer Garten VI (2015) for viola, dedicated to Vincent Royer
Monochromer Garten VII (2015) for recorder and percussion

Instrumental music with electronics

Irisation Aquatique (2002) for bass clarinet, piano, violoncello and electronic sounds
Eclosion (2005) for harp and nine-channel live electronics
Abstentia (2007) for dancers and electronics
Lebensfunke (2007) for bass drum and electronics
Rayons Crépusculaires (2007-08) for bass drum, large ensemble in three groups and eight-channel live electronics
Aqua vitae (2008) for two pianos, two (water) percussionists and eight-channel live electronics
Qualia (2009) for bass koto and ten-channel live electronics
Lebensfunke II (2009) for bass drum and eight-channel live electronics

Web links

Commons : Malika Kishino - album with pictures, videos and audio files

personal data
SURNAME	Kishino, Malika
ALTERNATIVE NAMES	岸野末利加 (Japanese); Kishino, Marika
BRIEF DESCRIPTION	Japanese composer
DATE OF BIRTH	July 16, 1971
PLACE OF BIRTH	Sakyō-ku, Kyōto, Japan