Goodbye, Cinema (2025)

for amplified ensemble

15 min

(premiere: gaudeamus2025)

I work with sounds that hurt me—awakening childhood traumas yet carrying the vitality to move beyond sorrow. My approach is to make sound through memory: choosing specific sonic fragments for each work—a sustained timbre, a chord from another piece, or an imprint from daily life. These hazy, almost physical memories connect me to past moments. I keep them in recordings, images, and videos, waiting for the right time to bring them from toolbox alive again. Without this, I can neither create nor live. I see this also through Gerhard Richter’s blurred photographs.

In this piece, you will hear dense, grainy textures—like beaten foam collapsing, like acid-corroded patterns. There are also stretched grains—PULSE—and their resonances. Each pulse has weight and gravity; the more complex the sound, the longer and more delicately its resonance must unfold, dissolving the impact and giving the listener space to feel it.

“Well, actors really shouldn’t die, you know. Actors should die in movies. They should die in the story. And then come back to life in another movie. The repetition of history… reincarnation. But Humphrey Bogart actually died outside of the movies. What a selfish person.”
——Shūji Terayama, “farewell to movie”

“creation is all about getting into the audience’s problems to make them laugh and cry, right? well, it wouldn’t be fair if creators didn’t get hurt too. would it? “
[…]”it’s missing a pinch of fantasy, don’t you think?”
——Tatsuki Fujimoto, “Goodbye Eri”