Yoichi Ochiai x Japan Philharmonic Project Vol. 10 "A Musical Concert from a Distant Perspective" - Crowdfunding Campaign
Performance information for Yoichi Ochiai x Japan Philharmonic Project Vol. 10 "A Concert of Detours" has been released.
Please note that general sales and crowdfunding began today, September 1st.
Yoichi Ochiai✕JPO Project VOL.10 《The Sound of Transcendence》 14:00
Monday, November 23, 2026 14:00/17:00
Yokohama Noh Theater
Directed by: Yoichi Ochiai
Shite (main actor) of the Kanze school: Noriaki Umewaka (Noh theater supervisor, performer)
Shite (main actor) of the Kanze school: Umewaka Kagehide
Members of the Japan Philharmonic Orchestra
Violin: Masaaki Tanokura [Solo Concertmaster]
Violin: Sayumi Suehiro
Viola: Motomichi Konakazawa
Cello: Hiroi Kadowaki [Solo Cello]
Flute: Keiko Manabe [Principal player]
Debussy (Isao Tomita): Moonlight <4-channel synthesizer sound source>
NOH-PLAY[IZUTSU] excerpt
J.S. Bach: Sonata for Solo Violin No. 2, XNUMXst Movement "Grave"
Dohnányi: Serenade for String Trio, op. 3, XNUMXrd movement
NOH-PLAY[ARASHIYAMA] excerpt
Toru Takemitsu: Air for Flute (XNUMX)
NOH-PLAY[YAMAMBA] excerpt
Pärt: Summa (XNUMX)
Ravel: String Quartet in F-major etc
SS: 10,000 yen *Available only through Japan Philharmonic Orchestra and READYFOR
S: 8,000 yen
A: 6,000 yen
Ys (ages 25 and under, select from A seats) / Wheelchair user / accompanying person (up to 1 person): 2,500 yen *Available only at the Japan Philharmonic Orchestra
Diversity discount (for holders of disability certificates): SS: 5,000 yen, S: 4,000 yen, A: 3,000 yen. *Available only at the Japan Philharmonic Orchestra.
| [Yoichi Ochiai Statement] Up until now, we have been exploring how Western-imported musical structures—such as not listening with the ears, transforming, intersecting, doubling, fermenting, omnipresence, induction, metamorphosis, and null²—can be reconstructed from the perspective of computational nature. Our three-part series with Dai Fujikura, "Open Leaves," "Demon Dance," and "Water Mirror," which followed the path of Ryukyu, Sado, and the World Expo, reached a certain culmination last summer as an attempt to reinvent traditional Japanese music within the context of orchestra and computational nature. This year, we are bringing the orchestra itself to the Noh stage. The venue is the Yokohama Noh Theatre. The main stage, the bridge, the white sandbar, the four pillars, and the pine tree depicted on the mirror panel. The Noh stage is not merely a performance space. It is a ritual apparatus that contains a vessel in which divine spirits descend, a place where time and space are doubled. When we reorganize the orchestra here, the very modern premise of "performing for the audience" is called into question. On the Noh stage, the performer crosses the bridge from the other shore to this shore, dances on the main stage, and then returns via the bridge. The audience watches this coming and going from a distance, separated by the white sandbar. They are in the same space, yet they do not share the same time. In his play "Kakyo," Zeami expounded on the concept of "detached viewing." It is the gaze of a performer observing their own dance from the audience, and then from outside the audience, once again from a distance. Eyes before, mind behind—the eyes look ahead, while the mind sees oneself behind. This is a technique of dance, and at the same time, a technique of perception. In the realm of computational nature, which I have long contemplated, the most pressing question now is how humans can maintain the gaze that observes their own subjectivity as an object. AI is watching me. Data is calculating me. Can I, as an object in that calculation, still maintain the detached viewing as a subject? The Noh stage is a response to that question from 600 years ago. Just as performers observe themselves from afar, we too re-examine our own civilization and sensibilities from a distance through the Noh stage, a 600-year-old apparatus of observation. Audience and performers, nature and culture, humans and computers, past and future. We distance ourselves from these distances, and then bring them closer again. We want to witness the moment when sound arises in that interplay. Across the white sand of the Yokohama Noh Theatre, from the far end of the bridge, before the Yōkō no Matsu pine tree, the orchestra of computer-nature stands. The sound of detachment begins to resonate now. |
You can access the crowdfunding campaign here.
