The title Cusp - Liage combines the words cusp (an edge) and French liage. This concept can also be applied to music itself. At the boundary between one sound and another lies a connection that binds them together. At times, however, the music appears to break off at the end of a phrase. Performers are encouraged to view them as signposts leading to a new musical development. By approaching them with a sense of tension, the appeal of the work can be more fully realized.

Throughout the piece, there are unison passages that serve as focal points. To achieve an ideal ensemble sound, performers should pay careful attention to clear, coordinated breathing. In passages where the melodic leaps are gentle, performers may achieve a more atmospheric effect by shaping the sound with depth and dimension, rather than simply following the natural contour of the phrase.
The long-tone crescendos in the middle section require genuine lyricism. Rather than simply sustaining notes, performers should strive to fill them with expressive content, valuing both musical phrasing and the natural flow of breath.

Another important performance consideration involves phrases that begin on the second beat. In faster sections, these entrances should be executed with precise, focused breathing that creates a sense of immediacy and surprise. In slower sections, however, performers should aim for a floating, warm quality that seems to envelop the concert hall, enhancing the expressive atmosphere. Such attention to nuance can elevate the music to an even higher artistic level.
I hope you will create and shape the unique world of Cusp - Liage through your own interpretation and performance.

This work was commissioned by Ms. Noriko Kinoshita, director of the Hakusan City Mattou Junior High School Concert Band, and composed in the summer of 2025. It received its premiere later that year at the ensemble contest in Ishikawa Prefecture.
A woodwind quartet consisting of two flutes and two oboes is unusual. As the performers and I worked together through repeated experimentation, particularly in finding effective ways to handle the lower part, I witnessed a process filled with the joy of making music and engaging deeply with one another through ensemble performance. Those moments remain etched in my memory.
I would like to offer my heartfelt applause to the four musicians who gave the premiere performance. Finally, I would also like to express my deepest gratitude to flutist Yumiko Tada and oboist Ayako Idezawa for their guidance and support throughout the project.
Thank you very much.

(Hiroaki Kataoka)