Mari Kimura

Produced by
Electronic Music Foundation
in collaboration with
Kimura Productions


Mari Kimura
The World Beyond G and Beyond

Sunday, October 10, 7pm
Tenri Cultural Institute
43A West 13th Street (btw 5th & 6th Ave)

$15 General Admission


Mari Kimura, October 10, 2010. Photo by Luis Jure.

Subharmonic Partita (2005)

Gemini (1995), for solo violin

Six Caprices (1997-8), for subharmonics

Cadenza from SCHEMES (2007), violin concerto by Jean-Claude Risset

Clone Barcarolle (2009), for augmented violin

Canon Élastique (2010, World Premiere), for augmented violin

Pédalez-Pédalez (2010, World Premiere), for augmented violin

VIOMAX (2010, World Premiere), for augmented violin and “OMAX”

Izquierda y Derecha (1998), for violin and MIDI piano



Mari Kimura
Mari Kimura has extended the technical and expressive capabilities of the violin.  She has created a new technique that she calls Subharmonics, allowing for pitches to sound up to an octave below the violin’s lowest string. She is also a pioneer in the field of interactive computer music, and at the same time she has received international acclaim as a soloist and recitalist in both standard and contemporary repertoire.


Notes by Mari Kimura:

I recognize myself as a creative violinist carrying on the tradition of renovation and transformation of my instrument. Since the early 1990s, I have specialized in interactive computer music composition and performance, creating many works for the violin using an interactive computer music program. After spending the past few years collaborating with the Real Time Musical Interaction Team at IRCAM (Institut de Recherche et Coordination Acoustique/Musique) in Paris, I was selected as a 2010 Composer in Residence in Musical Research. I have been working on extracting musical expression from bowing data, using the Augmented Violin, a device together with an analysis program that extracts bowing motions through an accelerometer, allowing me to control a computer.

The following notes are to the works that use the Augmented Violin:

Canon Élastique (2010), for Augmented Violin (2010)

While I spent my summer as a Composer in Residence in Musical Research at IRCAM developing the Augmented Violin with the Real Time Musical Interactions Team, Norbert Schnell introduced me to the 'ring buffer', a device that records for a certain amount of time, then lets me use my bow motions to modify what I've recorded. It gave me the idea that I could make an elastic canon.

Pédalez, Pédalez! (2010), for Augmented Violin

When I started to use electronics in conjunction with my violin in early 1990s, I used many foot pedals and switches. This summer at IRCAM, I successfully put foot pedals to rest by using Augmented Violin’s 'sustain motion detector'. In 'Pédalez, Pédalez!', I made a sustain pedal without a pedal. As the title suggests, 'Pédalez' means 'Pedal', especially in the context of riding a bicycle. While I was busy working at IRCAM, my 6-year old son learned to ride a bicycle without training wheels. “Pédalez, Pédalez”, dedicated to his bicycle-loving grandfather who taught him, celebrates my son's accomplishments.

VIOMAX (2010), for Augmented Violin with OMax

While I was at IRCAM this summer, some of my colleagues were developing a highly sophisticated improvisation system called 'OMax', which can trace improvisation and create its own improvisation decisions. I was very impressed how musically the computer could choose 'likelihood's or characteristics of certain phrases. In this composition, I am using the Augmented Violin to control aspects of OMax, creating a virtual duo or trio with my own improvisation.

Clone Barcarolle (2009), for violin and Augmented Violin

Clone Barcarolle is my first attempt at using the Augmented Violin as a 'cloning' device. At the beginning of the composition, I play a simple open-string crossing, then the system 'clones' it and creates a kind of ostinato, as I repeat the same bowing motion but play other notes over it, creating a virtual duet with my own 'clone'. The piece is dedicated to the loving memory of Suzanne Fiol, the founder of Issue Project Room, an experimental music venue in Brooklyn, New York City.