MONOPOLYPHONIE/D?FIGURATION，pour violoncelle solo（2014）

Requested to write a work based on fugue and counterpoint，I composed Monopolyphonie / D?figuration in which I challenged new expression without depending on frequent styles such as neoclassical fugue. Rendering polyphonic expression by the cello is not easy task in terms of techniques of both performance and composition，because the instrument is appropriate to play melody by nature. The contradictory word of the title Monopolyphonie shows my answer to the difficult challenge. I think the word that represents a sound field going back and forth between monophony and polyphony is appropriate to describe this work. In addition，I used the word D?figuration (disfiguration or deforming) to describe the process of changing from monophony to polyphony，and vice versa. The note of A of the beginning sounds like a single note，but in fact it is accompanied by microtones，which gradually separate into perceivable plural notes and spread to polyphony.
Moreover，the motif of the Sarabande from J.S. Bach’s Cello Suites No.5，which was performed in the concert in which Monopolyphonie / D?figuration was premiered，forms the basis of this work in the meaning not of quotation but of integration. The work starts far away from the Sarabande，but gradually the basis of the Sarabande shows up and，by and by，it can be clearly heard. The melody is disfigured (deformed) again.
This work was dedicated to Kenji Nakagi who played it for the first time.