UNAHQ 2014 Touch of Contra Bass
M-01Giovanni Bottesini Gran Duo Concertante 15:46
Rossini Gioacchino Antonio Sonata for Strings NO1 in G Major
M-02 Moderate. 08:00
M-03 Andante. 04:14
M-04 Allegro. 02:33
M-05 John Williams Theme from Schindler’s List. 05:55
UNAMAS Strings Septet
Giovanni Bottesini Gran Duo Concertante
Ippei Kitamura Cb Jun Tajiri Vn as Lead
Shiori Takeda Vn1
Fuuko Nakamura Vn2
Chihiro Thai Va
Makito Nishiya Vc
Saya Sugano Cb
Rossini Gioacchino Antonio
Sonata for Strings NO1 in G Major
Jun Tajiri Vn
Shiori Takeda Vn1
Makito Nishiya Vc
Ippei Kitamura Cb
John Williams Theme from Schindler’s List
Ippei Kitamura Cb
Ippei Kitamura (Cb)
Born in Saitama and graduate of Tokyo University of the Arts in 2002, followed by
the master’s degree in 2005. Being a university student, Kitamura joined in Beppu
Argerich Festival. In 2005, he played the soloist in “Pentatonicophilia” composed
by Julian Yu in the International Gaudeamus Music Week. In 2006, he joined in
Seiji Ozawa Music Class VII “Resurrection”. He studied contrabass under such
professors as Yoshio Nagashima, Ganju Kuroki, Naofumi Nishida, Osamu
Yamamoto, and Shigeru Ishikawa, and his activities range from orchestras to
brass bands, studio sessions, and musicals. After working in Tokyo University of
the Arts as lecturer, he continues to be a member of Tokyo Symphony Orchestra.
Jun Tajiri (Vn)
Began studying violin at the age of 7 under Yoshiko Honma and late Ryosaku Kubota.
On graduating from Toho Gakuen College in 1988, he joined Gunma Symphony
Orchestra and was assigned as Assistant Chief Violinist. His activity is based mainly in
Gunma Prefecture for concertos with the orchestra as well as solo performance and
chamber music.
In 1994, he participated in Prague Spring and Wiener Festwochen music festivals, and
was invited to Tokyo Symphony Orchestra as Chief Violinist where he enjoyed the
honor of performing the solo with the orchestra in the royal concert in Toka-Gakudo
music hall in the Imperial Palace, and he was promoted to Assistant Concert Master in
1998.
Other recent activities include FM broadcast recital program of NHK in 2002,
organizing Silius String Quartet in 2004, concert series in IMA hall in Tokyo
Symphony SQ, and recordings in movie soundtracks and commercials as studio
musician.
Shiori Takeda (Vn1)
Born in 1988. Graduated from Music Department of Tokyo University of the Arts in 2010
majoring violin instrument. Winner of Kyoto Mayor Award in Kyoto Art Festival “Gathering
of Young Musicians Flying to the World”, and other contests such as National Music Students’
Competition, Japan Classic Music Competition, Yokohama International Music Competition,
and Rumania International Music Competition.
While being a student, she was active in performing in solo, ensemble, or orchestra, and
joined in various recordings and live concert support with the strings she took the lead. She
took part in Tokyo Symphony Orchestra as violinist in 2012. In the long-seller album “Four
Seasons” in high-res released in 2014 by UNAMAS, she was the leader of string quartet.
Fuuko Nakamura (Vn2)
Begin the violin at the age of 5. After graduating from Toho Girls High School Music
School (Coeducational Gender), passed the audition of the Tokyo Symphony Orchestra
while studying Toho Gakuen Music College Diploma Course. Currently, the Tokyo
Symphony Orchestra 1st violinist. The 65th and 66th All Japan Student Music
Competition Tokyo Competition Winning of violin department high school department.
It is No. 4 awarded in the 22nd Japan Classical Music Competition High School Girls'
Division. The 7th Yokohama International Music Competition Stringed Musical
Department No. 1 awarded in the department of the university. 2011 Toho Students'
concert, Toho Gakuen Music Department Heisei 24 High School Graduation Concert,
20th Kawaguchiko Violin · Seminar Half Recital by Excellent A "New Wind" . 2013
Festival at the opening concert of Kitakyushu International Music String Festival.
Studied violin with Miyazaki Arisa, Yoshino Kaoru, and Toyota Yumino each.
Chihiro Tai (Va)
Born in Osaka city, Osaka prefecture. After working at Aichi Prefectural University of the Arts,
Tokyo National University of Fine Arts and Music, Kyoto City Symphony Orchestra, currently
a member of the Tokyo Symphony Orchestra. Co-starred with Mr. Nobuko Imai at viola space
Nagoya in 2010. Awarded First prize in the 21st Soren Splendell Music Competition Chamber
Music Section. He works not only in orchestras but also in solo play in a wide range. Member of
Next mushroom promotion.
Makito Nishiya (Vc)
Born in Nara. After graduating from Tokyo University of the Arts and its graduate school with
master degree, he was accepted by Indiana University in the States for further study. He studied
cello under such professors as Fumiaki Kono, Tomoya Kikuchi, Go Tsutsumi, and Janos Starker.
Upon returning from the States in 2005, he participated in the initialization of Hyogo Art and
Culture Center Orchestra led by Maestro Yutaka Sado. Variety of concert activities of his expand
performing as soloist with Kazuyoshi Akiyama, Tadaaki Odaka, Yutaka Sado, and joined sessions
with Yasuko Ohtani String Quartet, Ryota Komatsu Tango Orchestra, Live Image, Taro Hakase’s
Violin Summit. In January 2013, he collaborated with Shigeo Neriki, pianist to have joint recitals in
Tokyo and Kyoto, which was well received winning Aoyama Music Award of the year. In 2015, He
formed the unit “ShimizuNishiya” together with Yasuaki Shimizu, the head of violinists in Tokyo
Symphony, and released the debut CD album “KODO” that covered only their original compositions
by overdubbing just by themselves. He is now the head of cellists in Tokyo Symphony and part-time
teacher in Tokyo University of the Arts while being active in composition, arrangement, and
performance.
Saya Sugano (Cb)
Born in Kochi Prefecture. Beginning a contrabass at elementary school club activities from the age
of 10, begin taking lessons seriously from high school. Admission to Tokyo National University of
Fine Arts department of music department. Appeared in a chamber music concert in the school
while studying abroad. Participated in Beppu Argerich Music Festival. After graduating from the
university, active as a free contrabass player in ballet and orchestra. So far, studied under Mr.
Yoshio Nagashima, Shigeru Ishikawa, and Osamu Yamamoto.
Touch of Contra Bass
Reiji Asakura AV Critics and Lecturer of Tsuda College Music
The keyword "Italy" and "Contrabass" is the eighth album of UNAMAS Label at Ohga Hall by Mr. Mick Sawaguchi
(Sawaguchi Masaki) . Giovanni Bottechni 's "Violin & Contrabass + Grand Duo Concertante by five string players", a
masterpiece of Italian baroque contrabass, It is a truly ambitious program that Rossini's string sonata No. 1 major
in the formation of violin 2 · cello 1 · contra bus 1, and the masterpiece of director Spielberg "Schindler's list main
theme" with a contrabass solo .
It is key that all contrabass is common to all. It was recorded on 11th and 12th December 2017.
Mr. Sawaguchi states: "Contrabass always has a supporting role even in the played by classical music, but
UNAMAS Label puts the concept of unifying the album production focusing on contra bas.
In this work, we pursued the delicate and low-range power of contrabass featuring solo instrument and rich sound
of Ohga Hall. "
Ippei Kitamura plays a solo contra bass. Tokyo Symphony Orchestra Contrabass Division. Solo violin is Jun Tajiri, a
Tokyo Symphony Orchestra Assistant Concert Master. The 1st violin is Shiori Takeda of the Tokyo Symphony
Orchestra No. 2 Violin section, Fuuko Nakamura of the 1st violin division of the Tokyo Symphony Orchestra, Viola is
the viola division of the Tokyo Symphony Orchestra Chihiro Tai, and the cello by Makito Nishiya contra bass is
Saya Sugano - free after Graduated from Music department of Tokyo University of the Arts.
Track description
Giovanni Bottesini (1821 - 1889) of "Violin & Contrabass Grand Duo Concertante" was a conductor with a master of
contrabass, called "Contrabass Paganini". He composed instrument music, concertos, and several operas for
numerous contrabasses. "Violin & Contrabass Grand Duo" also known as directing the premiere of Verdi "Aida", a
memorial opera when the Suez Canal was opened is still being played.
Rossini 's string sonata No. 1 major is a 12 - year - old work by Rossini Gioacchino Antonio Rossini (1792 - 1868). It
consists of three movements of sudden - slow . Organization is unique with violin 2-· cello 1 · contra bus 1. Ordinary
quartet organization is violin 2-· viola 1, cello 1. It is UNAMAS preference that this song is obtained with original
score without arranging bass power. Contrabass is of course the source of bass, but cello plays important role. In
the absence of viola, he is responsible for the viola-like range, he plays an active part in filling the gap between the
violin and contrabass, which is a distant sound.
The contrabass solo plays grandly with Spielberg's masterpiece "main theme of Schindler's list". Arranged from
John Williams' original cello score into contrabass.
UNAMAS also made a masterpiece.
My Impression
M-01 Bottesini 's Grand Duo Concertante.
Very elegant sound. Even Tutti does not become totally cloudy, it matches with the hall tone and hears a fulfilling
sounding. It is just visual that the melody lines of each instrument are clearly visible and that they form a striking
harmony by being played at the same time. There are many scenes in which the violin of the right channel takes the
main melody and the contrabass which is slightly to the left of the center, but the sound field, the arrangement fun,
the sense of relaxation of the tone, the sense of the main melody's sense of the ear It's pleasure. There is only an
Italian song, and it is pleasant to listen to a melodic melody. Contrabass singing a special slender string like a solo
sound is strong. When playing a melody whose expression is dense with a big instrument, although strong emotions
and thoughts are entered more than small instruments, this contrabass solo is also exactly the attractive classic
denseness. The tone of each string instrument is extremely natural. There is a realistic sense of presence and a
feeling of being in the field that just listens at the site of Ohga Hall, forgetting if this is a recording work.
M-02.03.04 Rossini's string sonata No. 1 major
It is a unique formation that consists of violin 2, cello, and contrabass. In stereotype, the first violin is on the left, the
second violin on the right, the cello on the center left, and the contrabass on the center right. There is no viola --- that
is, it is a string ensemble composed only of high-range and low-range instruments. The separation of the sounds of the
four players is excellent, and the beautiful thick sound like the Ohga Hall, indeed, enhances the sense of fusion. The
decorative feeling of the violin at the beginning is cute. Cello's melodic melody coming soon comes also from the
center left. The lowest sound contrabass basically carries the lowest part of the harmony, and the structure where
the other three instruments play melodic and harmonically on the fundamentals is felt very clearly.
As the arrangement is clear, Rossini's score of main melody, sub melody, harmony, as a bass part as a reference -
seems to be exactly visible. Musical instrument changes and placement changes are clearly seen at the same time,
like the main melody played with high strings and then with low strings. The unbelievable pitch cart of contrabass is
recorded in detail, and it is the real pleasure of UNAMAS recording that it clearly understands how the support of
bass is effective for musical expression even with a soft part. The contest bus of the third movement and the solo of
the first violin solo are splendid contrasts.
M-05 The main theme of Schindler's list.
Contrabass is located in the center. The reverb spreads on the stage mainly. The denseness of singing songs unique to
SoloContrabas and the ability to transmit empathy are musical listening. The clear and deep UNAMAS unique tone
further enhances the musical persuasiveness of bass solo instruments. Dynamic range of sound is wide. Initially it is
a piano, but as the song progresses, not only the volume increases, but the expression also becomes deeper and
becomes stronger. The dynamic range of sound and the dynamic transformation of musicality are totally
synchronized .
Ohga Hall and UNAMAS Label
Mick Sawaguchi is fascinated by Ohga Hall. The sound of Ohga Hall is beautiful. The direct sound of the instrument is
irregularly reflected on the wall of the pentagon and scattered around here. In the beginning, a small sound
resonates, as if the snowman rotates, it gathers snow and grows into a large lump of dynamic sound .You can
experience the generation and growth process. The beauty of the sound comes from the fact that the material is
wood, even from a small internal volume of 660 seats. The direct sound hits the wall of a nearby tree, where the
'sound of woody sound' is acquired, the texture diffuses throughout the whole hall, the documents of reverb changing
everyday are heard before the eyes. Every time I acquire the excellent sound-like texture by recording, UNAMAS
challenging making new sounds every time. Recording is done with immersive surround with height channel, after
that, mix down and summarize to the necessary number of channels. Immersive surround is also called "3D
surround" and it is a surround method that attracts worldwide attention now. In addition to the conventional
horizontal surround, adding an additional channel in the height direction is an attempt to reproduce the threedimensional acoustics in the environment where music was born even in the listening room.
In the immersive scene, the standard channel arrangement has not been established yet. Therefore, every time,
UNAMAS change mikings (microphone placement) variously and repeat the experiment what kind of sound can be
obtained. Bach of the second recording of Ohga Hall: The ART of FUGUE (2015) focuses on the sound in the height
direction of the sound emitted by each instrument and places the microphone for the top ceiling on the player By
doing so, It was recorded the appearance of the sound climbing up in the vertical direction. The 3rd Shubert: String
Quartet, the 14th minor, "The Death and the Maiden" (2016), four top microphones are placed facing the audience at
the end of the stage seat side , The sound emitted on the stage flew towards the audience seats and reflected on the
walls of various places and reflected on the way they came back was recorded. After that, as we go through the work,
we have tried variously changing the position of the stage for the ceiling, the middle of the stage from both sides of
the stage, and the second floor back ... and so on. In the contrabass work of this time, as a conclusion, It has put a
microphone in the middle part of the left and right balconies of the second floor. Mick Sawaguchi said that he aimed
to give a certain direction to the relationship between the sound of Ohga Hall and Height miking. Another
commitment of Mr. Sawaguchi is "bass". Mick Sawaguchi called "Surround Shogun" has an alias "Bass Great".
Originally an expert in jazz recording, there is something extraordinary attachment to bass. Although he was paying
attention to the expansion of the bass range such as adding a contrabass part which is not in the original score so far,
this time, instead of putting a contrabass in arrangement, from the beginning, a contrabass on the score · I picked a
piece with a part. The contrabass solo performance ('The main theme of Schindler's list') was recorded this time for
the first time.
This time the virtual earth technology is new. It is a technology that exerts the same effect as that of audio without
actually inserting the earth into earth.
Recording are taken 192 kHz / 32 bit.
UNAHQ2014 Touch of Contra Bass
Recording Note
Mick Sawaguchi C.E.O UNAMAS Label
ART：
Among the roles played by classical musical instruments, Cb always has a music piece called a supporting role.
Although UNAMAS Label puts the album production focusing on low frequencies as the concept, this work selects Cb as
a solo musical instrument and selects a song that is rich in Oga Hall and delicate and low power of Cb's power As
pursued album, I pursued the attractiveness of Contrabass which selected three different songs as mentioned below.
M - 01
Gran Duo Concertante by Giovanni Bottesini
I chose it as a song showing that there is a presence as a solo musical instrument by making use of various tone colors
and bowing methods of contrabass.
M -02~04
Sonata for Strings NO 1 inG Major by Rossini Gioacchino Antonio
I chose it because it expresses rich low range with a small organization in a song selected favorably by the composition
of 2 Vn - Vc and contrabass instead of the general string quartet Vn 1 - Vn 2 - Va - Vc.
M-05
Theme from Schindler's List by John Williams S.
Spielberg's masterpiece "The main theme of Schindler's list" The original arranges the score to Cb's solo. I express this
rich feelings of Cb with this song and expressed it with a contrabass solo.
TECHNOLOGY:
Five Neumann KM - 133 D's have been chosen as the 5 - channel main microphones with surround, which is now
our standard setting in Ohga Hall. In this time, we made three types of main miking as below to be recording by
three different formation.
1 Gran Duo Concertante, UNAMAS current 5 CH main miking so far 2Sonata for Strings Since NO 1 in G Major is an
organization of string quartet, it is 5 CH MIKING by ordinary Decca - Tree and Ls - Rs microphone is attached with
acoustic capsule to suppress fog breeding from the front . 3 Theme from Schindler's List is a solo performance by
contrabass so Decca tree miking is narrowed front L - C - R.
We also added side L & R microphones taking the possible adoption of Dolby Atmos into account for future releases.
The height channel microphones were Sanken CUW-180 pair. The Brauner Phantom classic was for LFE channel
with the contrabass.
The choice of mic-preamps were RME DMC-842 for digital and RME Micstacy for analog, and DMC-842 served as
the clock master while MADI sent 192kHz-32-bit optically. In the monitoring room, the MADI signal is distributed
one to Pyramix DAW and the other to Magix Sequoia for recording, and MADI Face XT established the monitoring
as well as the stage talkback. We continued to take the ultimate care about the cleanest power supply and EMC
noise treatment. Two Power Yiile Plus battery supplies were prepared with the courtesy of ELIIYPower, one each
for stage and monitor equipment supply. Mr. Miyashita made a special damping attachments for mic-stands using
zirconium particles, also It was first to set up 2-vertual earth box in the stage and monitor room.
ENGINEERING:
Miking of 9.1 ch Immersive Surround at Oga Hall We have been introduced various height mikings from The Art of
Fugue. Death and The Maiden, Dimensions, In the Spirit of Blues to Souvenir de Florence such as the ceiling of the
stage, the middle of the stage from both sides of the stage, and the back of the second floor . It gradually changed
mikings forheight.this time we set up the second floor balcony in the middle And aimed to give a certain direction to
the relation between the sound of Ohga Hall and Height Miking.
Recording Note
Mick Sawaguchi C.E.O UNAMAS Label
ART： |
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