Biography

Malika KISHINO

Malika Kishino studied Law in Kyoto (diploma in 1994). In 1995, she studied composition with Yoshihisa Taira (École Normale de Musique, Paris), Robert Pascal (Conservatoire National Supérieur Musique et Danse, Lyon) and Philippe Leroux (IRCAM, Paris).

She has received grants from the major studios for electroacoustic music including GRAME (Lyon), SWR Experimentalstudio (Freiburg), ZKM Karlsruhe and the Groupe de recherches musicales (INA-GRM, Paris). Furthermore, she has received numerous prizes and awards including First Prize in the concours of Groupe de Recherche Appliquée en Musique Electroacoustique (GRAME) and Ensemble Orchestral Contemporain in 2006, a fellowship to Academy Schloss Solitude in Stuttgart in 2008-09, a fellowship from the Landesregierung Nordrhein-Westfalen (2010-11), and an artist’s residency in Schreyahn /Germany in 2011. She is nominated for Akutagawa Music prize 2018 in Japan with her orchestra piece Shades of Ochre. She receives commissions and is programmed in festivals such as Présences, Musica Festival, the Biennale Music en scène in Lyon, Westdeutscher Rundfunk, Bayerische Rundfunk, RBB, Seoul Foundation for Arts and Culture, the Ultima Festival in Oslo, the Ultraschall Festival in Berlin, Venezia Biennale Musica. His music is performed by ensembles and orchestras such as the Deutsches Symphonie-Orchester Berlin, Bochumer Symphoniker, Chorwerk Ruhr, Orchestra Sinfonica Nazionale della RAI, hr-Sinfonieorchester, Orchestre Philharmonique de Radio France, Orchestre National de Lyon, NHK-Symphony Orchestra Tokyo,Tokyo, Ensemble Musikfabrik, Asko-Schönberg, Oslo Symphoniette… conducted by Pascal Rophé, Daniel Kawka, Lukas Vis, Christian Eggen, Jean-Michaël Lavoie, Bas Wiegers, Florian Helgath, Lawrence Renes, Yoichi Sugiyama. In 2014, her portrait CD Irisationwas published by the Wergo label and Deutscher Musikrat. Her works are published by Edizioni Suvini Zerboni in Milan.

 

© June Ueno

TITLE_OEUVRES

" … Kaum einen Hauch… (2018) "

Pour 10 musiciens

Editions Suivi Zerboni

Über allen Gipfeln

Ist Ruh',

In allen Wipfeln

Spürest Du

Kaum einen Hauch ;

Die Vögelein schweigen im Walde.

Warte nur! Balde

Ruhest du auch.

… Kaum einen Hauch… is based on the lyric Wanders Night-song II by Johann Wolfgang von Goethe. The piece is composed by two parts, Through the whole piece, a motif which presents “breathing” (inhale and exhale) provides basis for the flow of music. First parts are constructed by 9 small parts (breathings) which are divided by three groups. Each group represents different additional elements, such as smooth linear movement (flow), impulse (heartbeat) and fragment of quote as symbol of the warm traces of a memory. Through 9 times of different length of breathings, the music gradually agitates and reach the hilltops.

Second parts represents calm, peace and rest. As Goeth said, above all summits Is quiet now. Here, You sense Hardly a breath but deep stillness.

06.Mai 2018, Malika Kishino

" Prayer / Inori II (2011-2017) "

Pour 2 Soprano, 2 Alto, 2 Tenor, 2 Bass

Editions Suivi Zerboni

Prayer / Inori II is a new version for 8 voices of Prayer / Inori which was composed for mixed choir a cappella just after the devastating East Japan Earthquake on March 11th 2011. The piece was written as a tribute to all the victims of the Earthquake, Tsunami and Nuclear Disaster. 

When I think of human voices, I am immediately reminded of a particularly intense childhood memory. 

In my childhood, I often heard the voices of chanting Sutras. They were sung together by both Buddhists priests and the local old women. 

The tempo and tunes sung by the old women were slightly dierent than those sung by the priests but still had the overall eect as being one powerful voice. The chanting of Sutras is in fact praying but for me, the singing and the praying were inseparable.

The human voice is the most direct medium for expressing ourselves. And I guess that singing and praying have the same roots.

The poem that I chose for my piece is by Rabindranath Tagore and is entitled “fruits gathering No. LXXIX, and describes praying. It was originally written in Bengal and was translated into English by Tagore himself.

The text portrayed for me a transformation from an introverted murmuring to a releasing of fearless freedom.

I was especially attracted by the idea of “fearlessness”. I discovered that our breathing rhythm aects our fear and memory.

If we’re afraid, our breathing and heartbeat are faster. On the other hand, deep long breaths calm the mind and release us from anxiety.

Following up on Tagore´s universe poem, I attempted to represent my image of praying using sound material such as voice vibration, deep sighing, and breathing which allows us to feel the warmth of life or indeed its clarity and coldness. In certain sections each singer spells out the words. These individual moments overlap and produce considerable energy.

In this composition the idea that numerous microcosms (single people) can form macrocosms, appealed to me.  A single note consists of a mixture of partials and a composition is an aggregate of single notes.

The image of human´s murmuring in their prayers on the earth and progressively gathering energy and achieving a higher level, reminds me of the process of a fundamental note that is being constantly transformed and thereby revealing its partials and creating a rich sound cosmos.

Cologne, 23th September 2017, Malika Kishino