BIVALENCE XIX, for Two Euphoniums（2025）

I have continued over the years to work on this series of pieces for two of the same instruments. I composed the first work in this series for two cellos in 1997, since when I have composed works in the same vein for violins, violas, clarinets, oboes, double basses, percussion instruments, saxophones, trumpets, mandolins, voices, harps, flutes, horns, recorders, bassoons, trombones and guitars. My inspiration for these pieces has come from specific outstanding performers of these instruments. In 2007 I composed a piece for euphonium and piano entitled Sounds of the Euphrates for the brilliant euphonium virtuoso Shōichirō Hokazono and, ever more attracted by his artistry, I went on to compose Strata VIII, a piece for euphonium and marimba in 2010 and Ishi wa shuchō suru (Stones Insist) for solo euphonium in 2016. I myself was a member of a wind band while a junior high school pupil, and I recall the brass instruments available at the time included the alto, tenor and baritone saxhorns but as yet no euphoniums. I later become familiar with the euphonium largely due to my encounter with Shōichirō Hokazono and became an avid admirer of the instrument. As well as its wonderful sound, I was particularly taken by its agility. I imagined a scene in which two euphoniums came together as one in a manifestation of this agility. Apart from the slow passages and the occasional rest for expelling water from the instruments, the players remain agile throughout. I hope listeners will enjoy this world of motion depicted by Shōichirō Hokazono and his colleague Ai Kawauchi, who he recommended to me.