Paris-based contemporary Japanese composer Hiromichi Kitazume’s Multiplex for 12 voices explores many ideas that exist within confines of the same space while being distinctly separate entities. A physical multiplex houses a number of different activities concurrently under the same roof that may or may not be directly related to each other. These activities, however, become related by their geographic and temporal relationship to each other. They are housed under the same roof and by this become inherently linked (even if it is a loose association).
This is how I perceive Multiplex. Some of the sections of this piece sometimes flow very smoothly together (like the transition from 4’50”-5’, one of my favorite moments in this piece) and explore similar materials. On the other hand, some sections develop continuity from the opposite process. By placing one panel of music against another very contrasting panel or even putting fragments of multiple panels (like from 1’20”-2’10”), Kitazume creates coherence through its non-continuity. In the larger scheme of things, the music in this piece it becomes innately a single piece because it is arranged together within one boundary of time and given a singular title. In this way, the boundaries serve as the roof and walls of the multiplex structure that house all musical activity within the piece.
I do not have much more time to write about this piece, but I do want to briefly note that there are some really stunning moments in this piece as well as very humorous ones. Some of the ideas explored in this piece are quite interesting.
Thoughts on the piece? Feel free to comment below. Enjoy the music!