importer of EMS synthesizers, EMSA (EMS America) in Northampton, MA. Update: And in the ongoing discussion on Twitter, Jim Whittemore uploaded this 1976 photo of the U.S. K: It’s like the sound of a bell, isn’t it? This is a beautiful sound, isn’t it? This is how I make music. K: A kind of, and sometimes I get interesting sounds. K: Yes, it’s a bit of an exaggeration to call it a work, but I make various sources. I: So you have a piece of work, could you play it? Before getting into those years of his life, you’ll probably want to know that he had always been into reading and some of his favorite authors were the likes of Edgar Allan Poe, Friedrich Nietzsche, and many more. So from a certain point, I’ve been adding my own music to all my plays. He even opened discussed this phobia in an interview he had with Nancy Shields in the year of 1978. I’m an amateur, but I thought if I could manage it myself, so I started to make music by buying these things. In my case, it’s not good if the music doesn’t come first. In the worst case, the music is not ready until the stage rehearsal. You know, I don’t mean to sound pretentious, but… When you’re doing a play, if you ask a composer to do it, the music is done at the last minute.
Fortunately, the Japanese musician NRV (aka Nerve, aka Manabu Ito) generously posted this translation of it in reply to my initial tweet. At first, Abe treated such matters mostly in a serious way. (I recommend Nancy Shields’ book Fake Fish: The Theater of Kobo Abe if that aspect of Abe’s output is of interest.) I worked in manga for five years and the only word I recognize is “ongaku” but that’s on me. Human loss, disappearance, allocation of responsibility, anguish, and futility stand out as the main issues that figure in Kb Abe’s (Ma January 22, 1993) writings. Here’s a video, from 1985, of Japanese novelist Kobo Abe ( The Woman in the Dunes, The Ark Sakura) talking about his synthesizer, an EMS Synthi AKS, as part of his efforts in the theater.
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