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В определенном месте мира
«Все зло в мире делается с согласия молчащих»

Commissioned by Azabu Alumni Plus Orchestra (amateur orchestra)

Performance duration



August 13, 2022, Tokyo, Tokyo Opera City Concert Hall

Conductor: Masato Suzuki

Azabu Alumni Plus Orchestra

Year of composition



3 (all also Picc.) · 2 · E.Hn. · 2 · B.Cl. · 2 · C.Bsn. - 6 · 3 · 3 · 1 - Perc. (Timp.26" · Timp.32" · BD.36" or 40" · SD.) (4 players) - Pf. - Str. (14 · 12 · 10 · 8 · 6)

Commentary (English version)

The subtitle, «Все зло в мире делается с согласия молчащих», is quoted from the Russian dissident Vladimir Kara-Murza's words.
Yelena Osipova, a 76-year-old Russian artist, also states that 'silence means agreement'.

In this work, the trumpet and trombone players play not on stage but around the audience. The orchestra on stage is soft volume and seemingly suppressed compared to loud volume of the brass instruments around the audience. However, the orchestra on stage gradually begins to play at audible volumes and louder tones. Then, the orchestra and brass players produce the same chords as if assimilated at the climax reached. Ultimately, it is actually the audience that is silenced, surrounded by the sound of the players. (There is a tacit agreement in Japanese orchestral concerts that the audience must not speak in a whisper or make noise during the performance.) This is not a condemnation of Japanese audience and such Japanese concert practices, but simply a metaphor for the people's silence against state evil and injustice. And the state here is metaphorized by the conductor, brass players around the audience and the players of the orchestra on stage.

As will be discussed in more detail later, the theme of this work is to rethink evil and injustice. (It may only be a personal rethinking...) Incidentally, in this work, Wozzeck of Alban Berg, Boris Godunov of Modest Mussorgsky and Dialogues des carmélites of Francis Poulenc are cited. However, they are not quoted verbatim, but as allusions, with the original music altered and quoted (with one exception where they are quoted verbatim). Because the content of these three operas is based on real incidents, disturbances and mayhem, I considered on those evils and injustices. Consequently, I have used my thoughts on those evils and injustices as personal annotations on this work. Another, Friedenstag of Richard Strauss, is also quoted with modifications, but this one is the fact that this opera was unintentionally used for propaganda, as a personal annotation on evil and injustice.

We all know that 2022 Russian invasion of Ukraine is an extension of the Annexation of Crimea by the Russian Federation in 2014 and the War in Donbas that had been going on since the same year. On the one hand, for me, it is an opportunity to reconsider evil and injustice in states and social structures (and, moreover, historical evil and injustice), and then this thought is (part of something like) the theme of this work. The consideration of evil and injustice in the state, social structure and history, of course, is inspired by Russia and includes that Federation in this thought, but also encompasses my own country Japan, and other countries.
I tend to think about it... There are many different evils, from murder, which is a personal perpetration, to discrimination, oppression, hysterical disturbances, civil wars, conflicts and wars, but are they only a problem for those who are involved in them, and are those who have stood by and watched them irrelevant? Or are they accomplices? Doesn't it become the injustice to think that they are irrelevant, that they are not responsible and that someone else will solve the problem on their own, or that time will solve it for them? There are, of course, injustices that have happened in the present and injustices that are continuous from the past. And if current structural injustices are rooted in past injustices, what do we need to do to resolve them?

However, I did not want to treat the above-mentioned theme as a research object or specimen to be consumed only, and I explored its manifestation as a musical work in the process of thinking about how I personally would face it seriously (, and still continue to explore). Unfortunately, there is also a part of me that thinks that there is a great possibility that this work will end up being self-satisfying, a representation that will only be consumed by the appreciator and will not solve any problems. For me, this theme is not a passing boom, but one that needs to be thought about for a long time... Still, I have a thought like the naive and easy wish that this work will motivate the audience to think about evil and injustice in the state, social structure and history.

Commentary (Japanese version)

 副題の«Все зло в мире делается с согласия молч ащих» (世界のすべての悪は沈黙の同意もとに行われる)は、ロシアの反体制者、ウラジーミル・カラ・ムルザの言葉から引用したものである。







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