Evans’ ‘Gogatsu no Shinju’ for four koto and one bass koto is the title track of the album, translating to English as ‘Pearl of May.’ This piece is specifically composed to celebrate the 30^th anniversary (2019) of Satsuki’s creative life in Australia. The English translation of the title of the album begins to explain its meaning. The Japanese word gogatsu (五月), and the Japanese name Satsuki both refer to the month of May in the Gregorian calendar (and Satsuki was born in that month). The Japanese word shinju (真珠) means ‘pearl.’ Colloquially, a 30^th anniversary is known as a pearl anniversary.

This and the other three pieces by Evans were composed under a 2018 Australia Council Fellowship to develop new approaches to koto composition, drawing ideas from a range of non-Japanese sources. ‘Gogatsu no Shinju’ constructs rhythmic cycles based on the number 30. Sandy explains:

‘The musical elements of the composition flowed from this central idea. All the rhythmic material in the composition is built around cycles of the number 30. A happy co-incidence is also that the total number of strings on the koto (13) and bass koto (17) is 30!

The piece unfolds from a very delicate opening where koto harmonics cluster like tiny pearls (somewhat like Satsuki’s initial steps to introduce koto music to Australia), gathering momentum and rhythmic energy leading up to Satsuki’s passionate improvisation towards the end of the composition. The tuning for Gogatsu No Shinju is inspired by one of my favourite pieces from Waratah’s repertoire, Satsuki’s composition Mbasera.  Satsuki formulated the koto tuning for Mbasera after listening to recordings of the kora (West African harp). It is joyous and uplifting; I hope it is a fitting sound with which to celebrate Satsuki’s 30th Anniversary in Australia, as well as the evolution of the wonderful koto ensemble and community she has created in this country.

Sections of the composition also draw from the number diamond theory of Australian percussionist Greg Sheehan.

‘Her Wild Spirit’ for six koto, three bass koto and tenor saxophone is another Evans composition on the album.

‘Her Wild Spirit’ draws inspiration from the atmosphere and rhythms of both the great Japanese koto player and composer Tadao Sawai and [Argentinian][T3]  tango music. It explores the texture created by the bass koto and tenor saxophone as a melodic pairing and utilizes a varied melodic and harmonic palette incorporating modal and microtonal elements. Satsuki’s prowess as a bass koto improviser is unleashed in a wild, ecstatic dance with the saxophone. ‘

‘Rain Has Passed’ is another work by Evans, for eight koto and two bass koto. The piece is composed in five parts, each of which is doubled, to become very much an ensemble work, with no soloists or leading parts. It is thus a celebration of the Satsuki Odamura Koto Ensemble and the accomplishments of Satsuki’s students who populate the ensemble. 

‘To help with my composition process for these koto ensemble pieces, Satsuki kindly lent me (a non-koto player) a koto. I had no intention of composing Rain Has Passed, but it fell out of the koto when I first set it up at my house. I joke that Satsuki planted it in the koto for me to discover when I took it home! It is a modal composition in C Dorian. It reflects the joy and healing power of making music with friends.’

‘The Moon in the Water’, features three koto, one bass koto and soprano saxophone. Evans has found inspiration for the title in the Zen koan:

One moon shows in every pool

In every pool, the one moon

‘Extended techniques are used to create atmospheric textures in ‘The Moon In The Water’. These works pay homage to a rich Japanese musical tradition, while exploring the transformation of musical language, playing techniques and ensemble interaction to reflect the contemporary Australian context.’