ETOILE À CORDES，for Violin and String Orchestra（1990）

This work was composed for the Toho Gakuen College of Music Orchestra following an invitation to the orchestra to appear in an event celebrating the centenary of Carnegie Hall in March 1991.
　　The title is in one sense a eulogy of outstanding string players but in another sense refers to the image of the emergence of the universe in line with the recent ‘super string’ cosmological theory. This theory has it that，at the moment when the universe came into being，all particles were vibrations of tiny supersymmetric strings. This theory leads to the conclusion that the four forms of energy existing in the universe as it is today were at that time subsumed under a single form. At the present time the universe comprises ten dimensions. In addition to the three dimensions of space and the dimension of time，this theory holds that these and the other six dimensions are enclosed in the ultimate world conceivable in physics of ten to the negative 33rd power.
　　This beautiful theory is reflected in the compositional method employed in this piece whereby all the four-dimensional structures performed are created from a single weak vibration on the stringed instruments. A sense of perspective incorporating a sonic message that is relayed to the subliminal auditory sense of behind the sounds that can actually be heard is revealed by this theory.
　　The work lasts around ten minutes. It is divided into four sections featuring a theme which is subject to various transformations as the work progresses.

I: Espressivo. The string orchestra repeats a series of transformations of the descending theme，while the solo violin boosts the theme in the form of rising anacruses.
II: Spirituel. The sudden virtuosic display by the solo violin stimulates the orchestra and hands over the theme to the orchestra.
III: Cantabile. A cadenza for the solo violin. The orchestra appears in the second half with the music gradually rising to an incandescent climax.
IV: Joyeux-Brillant. A powerful finale in which soloists emerge from within the orchestra. The music reaches a climax with a combination of transformations after which it enters a rapid coda.

(From the program notes for the work’s premi?re)