DOUBLE UNIT SATOSHI OHMAE

INTERNATIONAL COMPOSITION COMPETITION HARELBEKE 2016

In these articles, the selected works for the final of the International Composition Competition
Harelbeke 2016 are discussed. The three finalists are SATOSHI OHMAE (JAP) with Double Unit, OLIVIER
GAGNON (CAN) with Tempte and RICK VAN VELDHUIZEN (NL) with (Un)mensch.
In this article we take a closer look at Double Unit by Satoshi Ohmae. We had a short conversation
with him about the work.
Many thanks to Ann-Sofie Van Enis for taking and translating the interview.

DIALOGUE AS STARTING POINT

As the title Double Unit

in front of one another,

suggests, the orchestra is

which facilitates the dia-

compares this to a visual

divided

groups

logue. But there is more.

image that can be seen

called units. Each unit has

Together with the audi-

from

a specific timbre. Flutes

ence, as a passive partic-

Each angle leads to a

are only found in Unit I,

ipant, a triangular rela-

new understanding.

saxophones solely in Unit

tionship comes into being

conversation

II. Horns and percussion

between the units and

tween

different

are present in both units

the audience.

ments is a key principle in

in

two

and play a connecting

part.

Near the audience a

three-dimensional

vital

part.

different

Ohmae

angles.

beinstru-

many of Ohmaes com-

sound

positions, in particular in

The intention of the

is formed in which the

his Double-talk-series. The

work is to encourage a

single parts of both units

first composition in this

dialogue

the

converge to a new audi-

series dates back to 1974.

two units. Ohmae pre-

tive unity. The location

In 2014 he finished the 44th

scribes an adapted set-

from which the listener

work.

up. Both units are placed

perceives this sound plays

between

SYNTHESIS OF OLD AND NEW

Japanese back-

and instruments form a

orchestra. The sakuhashi is

ground of Ohmae plays

source of inspiration. He

imitated by a swelling

an important role in his

imitates

vibrato

music.

The

tional

the

traditional

followed

by

Especially

tradi-

instruments through the

sudden glissando in the

Japanese

music

wind instruments in the

trumpet, playful sixteenth

International Composition Competition Harelbeke 2016

notes with big intervals

undoubtedly modern, it is

the world around them.

copy the melody of a

based on ancient ele-

This interaction between

Shamisen and the flute

ments. He is convinced

old and new is vital in his

reflects the sound of a

that

music.

Japanese fue. Although

merely found in museums,

the music of Ohmae is

but evolve together with

traditions

are

not

COMPOSING WITH CONSTRAINTS

The

largest

part

of

some

cases

even

the

of the reasons why com-

Ohmaes music is written

contents. Only with such

petitions suit him so well.

for

winds. In order to

specific regulations is it

There is only one aspect

compose, Ohmae needs

possible for Ohmae to

which he does not take

some restrictions. In his

deliver with certainty a

into account, he adds

works the patron decides

good work. At times he

laughing, that is the diffi-

not only the instruments or

even asks where the work

culty level.

length of the work, but

will be placed in the pro-

also the structure and in

gram. This is probably one

The Japanese composer SATOSHI OHMAE (1943) studied composition at the University of Osaka and was a professor at SOAI University Osaka. He has been granted multiple prizes for his compositions
including first prizes at the Concorso Internazionale di Musica Contemporanea in Udine (2002), the International Biennial Competition
in Los Angeles (2004), the ICA International Composition Competition in Carbondale and more recently the public award at the Krysztof
Penderecki Composers Competition in Warsaw in 2014. In 2010
Ohmae participated a first time at ICCH with the work In The Distance, which received a second prize.
Besides composing, Ohmae is also active as an organizer of different
music festivals concerning modern music, such as the Osaka Modern
Music Workshop and the KOTA Contemporary Music Series.

Tim Van Thuyne