Satoh, Sômei

Satoh, SÔmei, Japanese composer; b. Sendai, Jan. 19, 1947. Born into a musical family, he was selfeducated in composition. In the late 1960s he began experimenting in music, producing multimedia scores. In 1983–84 he lived in N.Y. on a Rockefeller Foundation scholarship. His music, ethereally static and subtley metered in the non-Western tradition, seeks to reproduce the inner voices of elements and beings.

Works

Litania for 1 or 2 Pianos and Tape or Digital Delay (1973); Hymn for the Sun for 2 Pianos and Digital Dlay (1975); Cosmic Womb for 1 or 2 Pianos and Tape or Digital Delay (1975); Incarnation I for Piano, Marimba, and Harp (1977) and II for Piano and Digital Delay (1978); The Heavenly Spheres Are Illuminated by Light for Soprano, Piano, and Percussion (1979); Birds in Warped Time I for Shakuhachi, Sangen, and 20-String Koto (1980) and II for Violin and Piano (1980); Lyra for 2 Harps, Percussion, and Strings (1980); Sumeru I for Percussion and Strings (1982) and II for Tubular Bells, Piano, and Strings (1985); A Journey Through Sacred Time for Shō, 2 Harps, Percussion, and Strings (1983); Naohi for Piano (1983); Hikari (Light) for Trumpet and Piano (1986); Shirasagi (A White Heron) for String Quartet (1987); Stabat Mater, operatic oratorio for Soprano and Chorus (1987); Uzu (Vortex) for Flute, Clarinet, Piano, Harp, and Percussion (1988); Toki No Mon (A Gate into Infinity) for Violin, Piano, and Percussion (1988); Homa for Soprano and String Quartet or String Orch. (1988); Ruika (Miserere) for Cello and String Orch. (1990); Toward the Night for String Quartet or String Orch. (1991); Kami No Mimi (Gods Sells His Own Body) for Mezzo-soprano and 7 Instruments (1991); Recitative for Accordion (1991); Burning Meditation for Baritone, Harp, Tubular Bells, and String Quartet (1993; rev. version, N.Y., Dec. 19, 1995); Lanzarote for Soprano Saxophone and Piano (1993); pieces for Japanese instrumental ensembles; tape music.

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire