Interview with Shuta Hasunuma and Yuko Mouri | - Composing and scoring a space -

The 18th ``TPAM International Performing Arts Meeting 2014'' finally opened on February 8th.
The release of Magcal's album ``Time plays - and so do we.'' is still fresh in our minds, and musician Shuta Hasunuma will present ``Composition: New Philharmonic'' at KAAT Kanagawa Arts Theater. We also interviewed Yuko Mori, the artist in charge of the stage equipment. The two will be performing together for the second time since TPAM in 2012.
As the production is nearing, I have been thinking about my thoughts on this work, as well as my thoughts on the framework of ``performing arts'' in which I participate as a musician and artist.
The interview was like a meeting (?) where I could hear a lively conversation.
 
Cooperation: International Performing Arts Meeting in Yokohama 2014 http://www.tpam.or.jp/2014/
Interview&Text by Masanobu Nishino
Photo by Kouta Hikichi
 
 
■Shuta Hasunuma | Shuta HASUNUMA
Born in Tokyo in 1983. Releases music works, organizes Shuta Hasunuma Philharmonic Orchestra/team and produces concert performances in Japan and abroad, commission work, films, advertisements, performing arts, contemporary art, music production, and numerous collaborations with other genres. In 2013, he held a solo exhibition titled ``Soundlike'' in Tokyo and Kobe. In January 2014, Shuta Hasunuma Philharmonic released the album ``Time plays — and so do we.'' From early summer 2014, he was invited by the Asian Cultural Council (ACC) to stay in New York, USA.
http://www.shutahasunuma.com
 
■Yuko Mouri｜Yuko MOHRI
Born in Kanagawa Prefecture in 1980. He creates installation works that sense invisible forces such as magnetism, gravity, light, and temperature by placing three-dimensional objects made from recombined daily necessities, junk, and mechanical parts into the exhibition environment. Major solo exhibitions include ``Orochi'' (Watingroom) in 2013, ``Circus'' (Museum of Contemporary Art, Tokyo, Bloomberg Pavilion) in 2012, and group exhibitions such as ``Media Art Kitchen'' in 2013 (National Museum of Indonesia, Jakarta), 2012. His works include ``Art and Music: In Search of a New Synesthesia'' (Museum of Contemporary Art, Tokyo) and ``Anonymous Life: A Life Whose Name Is Not Revealed'' (NTT Intercommunication Center [ICC]), among others. Sponsored by ``Moremore Tokyo,'' a fieldwork site for dealing with water leaks inside Tokyo stations.
mohrizm.net
 
 

The relationship between documents and fiction

 
*Shuta Hasunuma=H Yuko Mori=M
 
-I think you two have had many opportunities to create works together in the past, but is this your first time collaborating on a large scale like this?
 
H: The first work I did was a piece called “TIME” that I participated in TPAM in 2012. Last year, there was an event called ``Music Today on Fluxus Shuta Hasunuma vs. Mieko Shiomi'' at the National Museum of Art, Osaka, and I had a chance to perform with Mieko Shiomi of Fluxus, so I participated at that time. I had it done.
 
M: You also participated in "Music Today Asahi" at Asahi Art Square. It was a collaboration, or rather, a performer.
 
H: I asked for a karaoke snack.
 
- Karaoke snack (lol)!?
 
H: We turned the entire second floor of Asahi Art Square into a snack bar. Even the mirror ball was placed properly (lol).
 
M: I decorated the place with autographs from the performers of the day and rakes from prosperous businesses, and I also dressed up in Japanese attire as a “mama” and turned the place into a snack bar. And Hasunuma-kun is holding an event downstairs (lol). At first, I was asked to appear on stage, but I was told, ``Snacks aren't about singing on a big stage, they're about a 'sound leakage culture' where you imagine what's going on inside the store from the sounds leaking outside. ” was the conversation.
 
- That's good. I can imagine a very atmospheric space in my head (lol).
At that time, Mr. Mori, did you feel like you were acting as a ``performer'' without using anything mechanical?
 
M: I feel like I'm a performer, or rather I've been asked to create an environment. At that time, I was really into karaoke culture and was just doing it for fun, but the moment I joined Hasunuma's event, it turned into an event. It went from being just a party to a very conceptual position.
 
H: Everyone accepted the sound leakage as if it were a happening. By the way, the title ``Music Today'' comes from Toru Takemitsu 's title, and I feel that they were able to create a very experimental environment.
 

 
-When you tried it out, did the audience around you feel like they were familiar with the space instead of wondering, "What is that?"
 
M: It was relaxing and fun. In that sense, it may have been established as a "device" (lol).
 

 
-We just talked about Asahi, but you previously held a solo exhibition called ``Soundlike'' at Asahi Art Square, where you had discussions with various artists other than Mori. Was there any special idea behind inviting guests from the art side rather than people from the same genre?
 
H: At that time, I was doing a lot of research on the relationship between documents and fiction, both personally and as a hobby, and I thought it would be interesting to hear from everyone.
 
M: What really struck me when we talked was Hasunuma-kun's way of saying, ``When I'm creating something, I use it as a document, and when I present it as music at a venue, I turn it into fiction.''
 
H: Yeah, yeah. You did.
 
M: I'm the exact opposite, rather I think of creating something that is only in my imagination as my own idea, and then it becomes a document (record) only when I present it in a public place. It was interesting to see the differences between the two. That's why, whenever Hasunuma-kun asks me to participate in a music scene, I feel like the key point is how to explore approaches that are completely opposite of ours. That's the case this time too.
 

 
H: That may certainly be the case. However, since a live performance is a momentary event, there is not that much sustainability in time. I think the works are separated after all. I think there are parts of it that are difficult to understand, or rather difficult to come together. Also, first of all, I don't really get to talk about things like ``documents'' and ``fiction'' with professional musicians.
 
- I see.
 
H: Maybe not everyone... I haven't met many people like that since I started making music, and I thought the people we invited would be able to answer those questions, so I think they might be stronger that way. . If the theme was something more specific to music, such as ``improvisation'' or ``how to put together compositions to create music as a group,'' you would probably invite those kinds of people, and I think that's the way it is. As a related event to the solo exhibition I held at Asahi Art Square, I held an event called ``Studies of Shuta Hasunuma'' for a year, and I invited not only contemporary artists but also designers and musicians. But we held symposiums and invited people from different genres each time, so it was a strong extension of that. ``Studies'' was based on the content I wanted to talk about.
 

Scoring and describing all compositions

 
-When I was listening to the talks, the new album “Time plays – and so do we.” and the upcoming “Composition: New Philharmonic” performed at TPAM, themes such as time and records often came up. I feel like it's coming.
 
H: This time we're slightly changing the way we gather the group. I wanted to work hard toward one goal, or rather, I wanted to present something that said, ``There's only one interpretation,'' and that prototype is about to become the current New Phil. I have them write everything on the flyer, etc., and I write down everything I did and give them a score. I'm trying to create a score for things like lighting, so that I can have it portable and perform overseas, and I try not to include any jazz-like free elements or improvisational elements. I said, ``This is all a composition.'' There have been a lot of fills up until now. I used to allow things like ``I'm in a good mood today, so let's do this here'', but not this time.
 
-Until now, at the last minute, there were a lot of times where you were like, ``Let's try arranging things like this.''
 
H: Yes. But I wanted to try something other than that, so I thought, ``Okay, let's try it with Phil first.''
 
M: It was a surprising feeling. When I spoke to Hasunuma a few years ago, he said, ``I'm not a performer,'' right? When I heard that, I thought, ``What! They're out there like that? They even have a band name called ``Hasunuma Team,'' which is named after their last name!'' (lol). However, Hasunuma-kun's basic stance as a ``composer'' makes sense, and as I've watched his activities up close over the past two years, I've come to understand it. I think that the theme of ``Composer: New Philharmonic'' that will be performed this time is ``historicizing.'' In terms of the band's background, there was Shuta Hasunuma, and the band was formed from the idea of ``What would happen if we performed Shuta Hasunuma's music as a team?'' and then expanded to become an ensemble. become……. Each of the participants added arrangements and other things, and it was fun, and the album finally came together from the bottom up.
 

 
H: Yes. I really learned a lot from that as well.
 
- I see. This kind of ``scoring'' is connected to the title of this time, ``Composer: New Phil.'' By the way, Mr. Mouri, could you tell us what kind of approach you will take this time?
 
M: It's almost time for the actual production, but I don't know how to get involved yet (lol). You've started creating things like installations, and you did some performance-like stuff at the last TPAM, so I can sense that your format is changing. When I performed with Mieko Shiomi on Music Today, Hasunuma-kun's direction for my participation was very clear. There was a request that I wanted to use this work...
 
H: That's right. I have some requests.
 
M: Yes, that's right. But this time, that's still the case...
 
H: No, it probably is...
 
M: If so, I'd like to hear it now (lol).
 
-Oh, right now they are confirming the preparations for the actual performance on February 11th (lol).
 
H: But I don't really understand it either, but I guess there are times when it's good and times when it's bad to say, ``This is how it is,'' at the beginning. I'm really looking forward to the times when I feel like ``that's the only option,'' like with Mieko Shiomi , and when I want to discuss the story a little more, and during the discussion, I find out things I didn't know. I want to know too, and that's why I'm asking you to do so, so this time it's definitely the latter.
 
M: Yes, that's right. So, we're still in the middle of discussions (lol). 90% of the content is already decided, and the remaining 10% is something like a new mid-live event that I'm thinking about.
 
H: That's right. I'm a person who uses my bad habits to push my potential to the end. It doesn't go away easily. There are all kinds of people, right? There are times when I'm like, ``I'm sorry!'' and there are times when I'm like, ``Let's do it!'' and leave things open until the very end.
 
M: When I was working on TIME, there were people from all kinds of genres working at the same time. There were dancers, poets, musicians, and lighting staff, and I participated as an ``artist'', but it was more experimental than this year's ``Composer: New Philharmonic''.
 
H: That's right.
 
M: I was nervous because I'm not good at performing, but at that time I had my own booth, or rather, a place where I could live, and if there was a scene that I wanted to participate in, I would make a presentation there, so I feel like things worked out (laughs). . Now that I've had that experience, I think I'll be able to improve on it a little more.
 
H: Well, I have a pretty clear vision of actually making music. Also, as with TIME, there is a director called TPAM who makes the selections.
 
-Yeah. I agree.
 
H: Both in 2012 and this time, the project was called ``TPAM Direction,'' and the director, Masayuki Nomura, nominated me. I've been exchanging opinions with Mr. Nomura for a long time, and even though he's a stage actor, he's more interested in other things.
 
M: You're a flexible person, aren't you?
 
H: When he was working on ``TIME,'' he was thinking in his own way about ``what kind of expression should we create after the earthquake?'' So, that was entrusted to me and the poet Ryota Yamada . The work consisted of reciting a 60-line poem as a base. It's a 60-minute work that brings people from genres that would never be together on the same stage to spend time together, and the players and performers dance, and Mouri plays his own work. I was conducting and performing, and it was a pattern of brushing up until just before the actual performance, and getting better and better during the actual performance.
However, this time's ``Composer: New Philharmonic'' has quite a concept. That "describing" thing. The point is that even if the performer changes, something similar will emerge. This is common in music, but the concept this time is that it's not just the instructions of the notes, but the space, costumes, lighting, and sound are all composed. However, other than that, I do it with my friends who have been playing for about 4 years, so they are familiar with the songs and it's very easy to do, and it's almost completed, so in that sense, I can say it's 90% done.
 

 
-I don't think so, but to be extreme, do you think that it wouldn't be a problem if all the members were replaced?
 
H: I think it's OK as long as you can keep score, but you do need to practice.
 
-I wonder what Tamaki ROY will do with his rap...
 
M: But Tamaki's song is also included in the karaoke (everyone: laughs). There's a part of me that thinks it's an exaggeration, but that's what "historicizing" means.
 
-But I can get an image of just the lighting and the performance, but the Hasunuma Philharmonic has so many different elements that it's difficult to create a score.
 
H: No. It's actually difficult. Each interpretation is too different. That's a detailed story, though. Even the same music can be interpreted in completely different ways. First of all, it's a hassle. Also, I don't have time to collect things like that (lol). There are so many different kinds of people that it's hard to give them a score, but I don't think there are many chances to do so.
 
M: Do you have a collection of sheet music?
 
H: We're all gathered together. Everyone is playing by looking at the sheet music. I collect that though. However, I think I'll have to wait until the actual show is over before I can write about it.
 

 

 
-This question is a bit confusing, but I think it's very interesting that Mr. Mori said, ``Please let me sing a song,'' rather than ``participating'' or ``exhibiting.'' Mr. Mouri's works have a very strong sound element, and I think he has a sense of ``playing'' when he creates them. Are you making it because you are interested in the device itself? Or do you create equipment with a mindset like ``I want to make this kind of sound, I want to perform?''
 
M: It varies depending on the piece, but I also have a feeling of sticking to the sound and composing it. I don't know if it can be called music, but when it comes to creating a certain kind of atmosphere, there may be a lot of emphasis on the sound. In terms of works that may be similar to this one, ``Show Case'', which was exhibited at Kawaguchi Media Seven last summer, has visual elements that move and light up in various ways, as well as the sound of drums and golden drums. It's an installation with a certain element, but at the same time it also serves as a stage set. So, we held an event where we had musicians perform live in a work that produced sound, which was a stage space. So I asked the Hasunuma team to appear as well. By that time, my work had become similar to that of a member of a band. It felt like I was ``performing'' with the musicians.
 

 
H: There is still room for the sound element. Maybe someday I'll build something bigger.
 
M: I want to make it as long as time allows.
 
H: But I don't really think of myself as a sound artist.
 
M: No, no. Jeez.
 
H: For some reason, when I exhibit, people suddenly label me as a ``sound artist'' or ``someone who makes images.'' I really wish they would stop doing that. It's just that I can help with that kind of thing... For example, unless you step into the realm of sound art or visual expression, you won't be able to create the expression you want.
 
M: So you're saying you want to try expanding your mind. I think this is especially true for Hasunuma-kun.
 
-Come to think of it, you also exhibited your footage at the Museum of Contemporary Art, Tokyo.
 
H: The Museum of Contemporary Art Tokyo has three videos. The video is of a musical performance, and the video is edited while listening to the sound using video editing software.
And when you output those three images together, it became music.
 
-It's a video, but you're ``composing'' again using the video as material.
 
H: Yes. that's right.
 
M: This person is a field recording person.
 
H: Well, I'm not a professional.
I collect things, and field recordings are profound, so I'm not so much a person who does field recordings as someone who likes listening to the sounds of the world through field recordings (lol).
 
M: I think field recording is very important when you take an artistic approach.
 
H: Yes. I think each person has their own way of thinking about field recording. After all, it's the microphone and recorder, the brain, and the ears of the person recording. If the microphone and recorder are placed and the person leaves, field recording is correct in that ``sounds without intention are being collected,'' but if you have to hold the microphone with your own ears, the microphone does not have a brain after all. So when it comes to the sound I want to record, it inevitably ends up being a compositional sound. Coincidence occurs within that process, but I can sense the human will in the activeness of ``going out to catch something'', so I feel like it's the same as composing music. Also, similar to New Philharmonic, the exhibition I held at Asahi called ``Soundlike'' was about ``using the viewer's own consciousness to collect sounds and create music.'' Basically, rather than just putting one piece of music down and saying, ``This is my work,'' there are a lot of different sounds, so I wanted to say, ``Please listen to it and let your consciousness shift.'' Instead, I wanted to do something a little stronger, and I've been thinking about that since last summer.
 

 
M: I wonder if this story is somewhat connected to the theme of "documents and fiction" that I talked about at the beginning. Hasunuma-kun's style is that he expects different things depending on when he exhibits, when he performs live, and when he becomes a performer. Normally, in an exhibition, there is a process of making the material public for people to see, documenting it, and then ``having people look at it in this way, then photographing the material.'' However, Hasunuma-kun has a penchant for creating works intuitively, seeing how they feel, appreciating them himself, and thinking about his next move. I was just wondering if I was invited because I have that kind of vibe.
 

Participating in TPAM

 
-So, we've heard a lot about the intuitive and computational aspects of your work, but do you have any predictions or results you're hoping for from collaborating on this TPAM?
 
M: First of all, I would like to ask Hasunuma-kun how you would explain my existence to the fans (everyone: laughs).
 
H: What do you mean? (laughs)
 
M: Well, Hasunuma Philharmonic's album has come out, right?
 
H: Yeah.
 
M: But I'm not participating in Hasunuma Philharmonic's album. So, since there's no way Hasunuma's fans know about me, I wonder how I'll explain the fact that my work will be included in the Hasunuma Philharmonic's concert.
 
H: Explanation? Are you talking about stance or something specific?
 
M: Hmm, I wonder what role I will play...
 

 
-This is exactly the situation we are having the meeting with right now (lol).
 
H: That's right. The people credited are "Hasunuma New Phil." But even if you ask me to try again, it won't become permanent. It can only be done once. I can do regular Hasunuma Philharmonics, but I can't do this one anymore. First of all, that's the main premise, and what we need is, for example, Atsushi Sasaki to write a critical review. I give the audience instructions on when to read the reviews by putting them in the pamphlet on the day of the show and reading them before the performance begins. Isn't there something fun about watching something before a performance? Then, it may be a little help for what might happen after that, or it may help define the problem, and that's the kind of thing I want them to do. Mouri's stance is probably similar to that. Then, for example, the name ``Costume Concept'' includes a fashion brand called Theater Products . When we perform with the Philharmonic, we always wear casual clothes. It's like, "It's a costume without a costume." This is because the musicians come from different fields. For example, a jazz field or a classical field. When people with such different ideas and backgrounds stand on the same stage together, there are differences in their attire, and it was fun for me to get a glimpse of who was next to me at the concert. But this time, we're trying to unify all of those things, we have a dress code, and we're making chef's hats out of everyone's musical scores.
 
- Chef's hat? !
 
H: For example, even in Brazil, the New Philharmonic sheet music has instructions on how to make a chef's hat, so they wear it. All of the costumes were similar to what they would wear at their brother's wedding.
 
-Does it feel like a suit that doesn't stand out too much?
 
H: Yes. The dress code in Tokyo is probably different from the dress code in Korea, and it changes depending on the place and time, or, well, it's a matter of how things are recorded. After saying that, I would like to explain about Mr. Mouri...I feel like he brings out the fundamentals of the songs. Historically, the idea of everyone making music together has been extremely tested. When I think about it, no matter how I think about it, what we have to do is ``remove the body,'' and I feel like the fact that the machine does it without having physicality at the center of it all becomes one thing. I think it's "light and non-human sounds." When something that is not made by humans becomes the center of attention, people naturally surround it and become one. Well, it's still a prototype, or rather, it's just a question of "When do you think the show will be held?"... (*Article recorded 5 days before the performance)
 
M: Well, let's solve it right here, right now (lol).
 
-But in other words, you feel like you want to entrust the basic part to Mr. Mouri, right?
 
H: For the only new song at this performance, of course I have instructions for Phil, but I'm thinking of having the audience conduct Phil. Rather than simply reversing the relationship between the viewer and the watched, it means confusing it.
 
-I'm curious what kind of instructions that are.
 
M: The keywords we talked about at the meeting were "crackers and balloons." It was like Tatsuro Yamashita's concert (lol).
 
H: For some reason, we were talking about baseball, thinking about what people can do to make sounds without using their bodies without literacy, and things like Hanshin's Lucky Seven balloons are just "sounds". .
 
- It's definitely "sound" (lol).
 
M: That was fun, and we started talking about whether it would be better to have a variety of different types of events. Let's put that into the composition. I think this story needs a lot more polishing, but I do agree that it messes up the relationship.
 
H: Yes. Instead of “reversing” it, make it “messy”. While making a mess, "organize it without making it chaotic."
 

 
-That's quite difficult...
 
H: I often reverse things. There's something very moving about how a small system can make a big difference. There's no point in me doing that, and there are a lot of people doing it. Also, I think we can do a lot more to do something like this in a large hall like this time, and we have the people and materials available.
 
M: But you don't like improvisation, right? Does the Phil perform according to the instructions given by the audience?
 
H: Hmm. That's one thing, but even if I say, ``Please improvise,'' once you decide on the key, it's not improvisation, and it's not exactly that kind of improvisation.
 
M: So, for example, if I play that fancy sound at the venue...Ah, it's really just a meeting right now, but I wonder if that's okay (lol). So, is there a direction in which you could have them play along with the drums and bass?
 
H: Isn't that true? It depends on how you carry it though. It is necessary to give meaning, but I think it would be better if there were instructions.
 
M: I thought it would be a little interesting to imagine how a sound that I didn't think was high-quality could become a high-quality sound.
 
H: Well, that's a common thing in music. I think it would be easier to understand the inversion if we used drums or something like that. It turned into a real meeting (lol).
 
-This is a vivid story that is currently ongoing ahead of the performance on the 11th.
 
H: But this time, I have a clear intention of not holding back, delivering everything that the Shuta Hasunuma Philharmonic has in terms of performance, and even taking those things to places other than Japan. The nuance is, ``You can't convey your message unless you can do it with a satisfied look on your face.'' After all, I think that on stage you are looking at people. I don't see any instruments. That's why we don't show any signs of anxiety, and unlike ordinary orchestras, we're not used to things like that, and people who live on a socialist, equal footing tend to be easily swayed by things like that. Like an aura. So I want to strengthen that as well.
 

 
-You just mentioned the word "stage," and this time it's called the "International Performing Arts Meeting (TPAM)," and the Hasunuma Philharmonic will be participating as a "performing arts event." Is there anything you are conscious of?
 
H: Mr. Mouri, what do you think about that?
 
M: Huh, I'm going to answer!? Hmm...I don't really understand, but I think it's called "music" this time. Unlike the previous "TIME", I wanted to bring out that part more strongly. For example, various artists have tried to ``express themselves beyond genres,'' but I think Hasunuma's attitude this time is ``I'm a musician, so it's music.''
 
H: That's exactly right (lol).
 
M: I'm not a musician, so I was thinking, ``What's the best way to participate when committing to music?'' This is probably a first for me in that respect. When I was participating in Yoshihide Otomo 's project, I was told to do whatever I wanted, and a variety of expressions came out, but this time I'm approaching music with a different way of thinking than before. I feel like it. On the other hand, Hasunuma-kun's attitude towards TPAM is that he wants to put an end to that for a while and challenge himself as a musician to try his hand at performing art as a musician.
 

 
H: Yeah. That's right. (Laughs) But I would like to add that Phil Philharmonic's relatively early stage performances were 360 degrees. I'll be the center. However, I don't do that at all in my current performances, and basically I do it in a general concert style with "the stage and the audience". That wasn't the case in the past. In our music, sounds are played from speakers through a PA, and then mixed to create one piece of music.For example, when you watch a violin, you can't hear the sound from the instrument, but you can hear the sound of the violin. I can hear it. I think there's a lot to do with the performance and the awareness of the people watching, but I think it's amazing to be able to move your body on stage, and I was pretty committed to that at the time (around 2012). I thought, ``Performing on stage is all about physical movement.'' I still have that as a base. So, from the perspective of the viewer, I think it's a step towards physical expression, and from a historical perspective, I think it's very theatrical to go to a venue and see something.
Even though it's called theater, modern theater has become extremely diverse, so I think there are many ways to look at it...
 
M: On a personal note, I have great expectations for Hasunuma-kun to perform in a hall that can accommodate over 1,000 people. I wondered what it would look like and how it would sound when I actually placed the things I had created in such a large place. This time, I decided to participate in the project as ``Stage Equipment'' rather than ``Stage Art''. I'm an amateur when it comes to theater, and I think exhibiting in a theater hall is completely different from the usual art field. I thought it would be unprepared and impossible to suddenly say, ``I'm going to do stage design that will stand out visually.'' I think of my work as more of a ``space'' than a visual thing...
 
H: I think you can do something visual as well.
 
M: Hmm, I guess so. If anything, I have a place fetish. I wonder what will happen if I stay here? What kind of sounds will I hear? That's why I'm very interested in areas where I can be involved architecturally. This time, I'd like to find out what kind of phenomenon should happen at the venue to leave a lasting impression, so please look forward to finding out at the actual event! (lol)
 
H: Also, regarding this time's ``Composer: New Phil.'' I first started making music on a computer, and my first compositions were creating sounds by editing recorded sounds.
I still do that, but at some point I changed to band arrangements, and then I created a philharmonic orchestra under the name Philharmonic Orchestra and performed live, and at the same time I was doing ``Music Today'', and I was doing that. Over time, I gradually came to realize that all of these things are ``composition.''
 

 
M: The entire structure is "composition", right?
 
H: Yes. That's what's going to happen. However, I still think that writing on a staff notation is a form of composition. So, it's like a young man from Pepe is going to challenge that history (lol). "New Phil" is like the culmination of five or six years of doing that kind of thing. I feel like I'm giving it my all. There will be a tour after this, but I think that tour will be without all of this concept and will only bring in the fun and flexible parts of the Philharmonic.
 
- Does that mean you have no plans to bring the content of your performance at TPAM this year to your tour?
 
H: Not really. Costumes and composition instructions will return to normal. But that means returning to a style that is constantly updated, with different music coming up at each venue.
 
ーSo, ``Composer: New Philharmonic'' was completely completed at that performance.
 
H: Yes. I think it would be quite difficult to perform this performance anywhere else, and that's why we have included so much content.
The way we play is also different from before.
 

 
-Lastly, if you have any future prospects or expectations for TPAM, please let us know.
 
M: I get the impression that you're trying to do something that doesn't fit within the framework of "performing arts."
 
H: You let me do what I want.
 
M: That's amazing. It's a great opportunity for those who are participating, as it means that many people from overseas will gather.
 
H: It's amazing because there is a possibility that the next schedule will also be decided there.
 
M: Well, it would be nice if we could do something like ``sprinkle some pepper'' on that (everyone: laughs).
I've always wanted to have that kind of relationship.
 
H: In charge of spices! Actually, I think Phil Hasunuma himself is in charge of TPAM's spices.
 
M: Yeah, I wonder how it will look.
 
- Indeed. I think both of you are aware of this, and as you said, I think that kind of spice element is expected. But since this is your second time, are there any things you learned from your last appearance?
 
H： TPAM has a long history. Along the way, there was also a showcase held by Yasuo Ozawa and others. However, I think the context at that time and my current performance are slightly different.
 
M: I hope Hasunuma-kun's performance this time will make everyone feel fresh and say, ``This is what music has become like.''
 
H: Yeah. But I think there are people who think the same way in other genres as well... Even if it's not physical expression, as long as there's a stance or a concept, I think movies can be screened at TPAM. For example, I think something like this could happen more directly in the field of art. In that sense , Kyohei Sakaguchi's ``Mobile House,'' which I participated in in 2012, was very interesting. That kind of idea probably depends on the director's sense, but TPAM doesn't have an overall theme, so each director curates it based on their own concept, and we, the participants, properly present that part. I think it will lead to the next thing if you understand it, even if you don't mind thinking later, ``There's such a meaning and expression.''
 
M: It's a "throwing" thing. Since I was working with musicians, I thought they expected me to do something raw that could only be done on the spot, but today's story shows that that's not the case at all. It's an abstract topic, but I thought it would be great if I could express Hasunuma-kun's idea of ``stage equipment'' on this stage...and that's exactly what I decided to do right now (lol).
 
H: You really turned the interview into a meeting. (lol)
 
-It was just before that (lol). I'm looking forward to seeing what kind of score ``Composer: New Philharmonic'' will be completed, including the performance and stage settings.
Thank you for your time today!