Pre-Choreographed Koki Nakano

• Koki Nakano (b. 1988):
• 1 Overlay 02:35
• 2 Bloomer 02:59
• 3 Near-Perfect Synchronization 02:48
• 4 Choreographed Mollusks 03:16
• 5 Minim 02:54
• 6 Palinopsia 02:22
• 7 Genou respirant 03:15
• 8 Graftage 03:29
• 9 Berceuse 02:31
• 10 Train-train 02:40
• 11 Faire le poirier 03:42
• Total Runtime 32:31

Info zu Pre-Choreographed

Pre-Choreographed’ evokes the strong “saudade” for the era when the music and the dance were very close to each other, when they used to function congenially in the society. It also means the state of the music such as "awaiting" or even “missing” the choreography. That is to say, the character of the music is yet very “raw”, no direction is given. I always have the various images of body movements when I compose. And It helps greatly when I’m to give its own unique structure to each piece. My musics often develop as if they are to respond to body movements that I have as the image in my head.

Romantic musics, or some of contemporary musics often have a great distance from the dance, I reckon. And therefore they scarcely arouse my interest. The devotion to virtuosity or excessive intellectualism have somewhat brought the music far away from the dance. I feel that, we have already passed the “experimental” phase of the history of music, and now it is a great time to combine these two art forms back again. Needless to say, this new endeavor is already somewhat on going at the club music scenes. But I’d like to show to the audiences, in the manner of 2020, and in my very own way, that musics and dances are purely inseparable.

Throughout this project, I also would like to capture the mood of this age that, at any part of the world, anyone can evolve the art. Any personal perspective could work essentially for the upcoming art scenes, and it is strongly needed for artists, no matter who you are or where you are, to face their own authenticity and dig deep into it. In my case, one can describe me as a Japanese artist who have the occidental music base, who have also studied the European musical instrument.

But nowadays I purely grasp the piano as a very well made instrument for expressing my emotions and I’m also still excited to find new emotions in me with playing it. For me, it's always important to genuinely face my own expression and be subtle and personal without being easily diverged by the broader categories such as “the nationality” or “the race”. A representation is a question, how “you” touch the complexity of this world.

Koki Nakano, piano

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