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Download Booklet Breaking Heaven 破天 DONALD REID WOMACK ドナルド・リード・ウォマック WWW.ALBANYRECORDS.COM TROY1517 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 WORKS FOR JAPANESE INSTRUMENTS 邦楽器のための作品 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2014 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. A faculty member at the University of Hawai‘i since 1994, Dr. Womack has chaired the music The Composer department and presently serves as professor of composition and theory and head of the composition Donald Reid Womack is the composer of more than 90 works for orchestra, chamber program, which he has helped guide to a position of world leadership in the burgeoning field of ensembles, solo instruments, and voice. His music has been performed and broadcast extensively intercultural composition. He also serves as a faculty member of the Center for Japanese Studies. throughout the United States, as well as Europe, Asia, Oceania, and South America, and is recorded on the Albany, Equilibrium, Tokyo CMC, and Akdang Iban labels. His major works include a symphony, a violin concerto, a double concerto for shakuhachi, koto, and orchestra, and an oratorio for chorus and chamber orchestra. Performers of his music include the Tokyo Metropolitan Symphony, the Louisville Orchestra, the Pittsburgh New Music Ensemble, Contemporary Music Ensemble Korea, Asia The Music Ensemble, the Salzburg Mozarteum String Quartet, Kyo-Shin-An Arts, the Cassatt Quartet, conductors An American in Tokyo Naoto Otomo, Kazuhiro Koizumi, Samuel Wong and David Stock, and renowned virtuosi Yang Jing Japanese instruments have been a major part of my musical world since 2003, when I was invited (pipa), Ji-young Yi (gayageum), Parry Karp (cello), I-Bei Lin (cello), Ignace Jang (violin), Thomas to write a piece for Asia Ensemble, a group founded by the eminent late composer Minoru Miki. Rosenkranz (piano), and soprano Tony Arnold. A longtime collaboration with the Honolulu Symphony I was honored to call Miki a friend, and privileged to have benefitted from the many opportunities (now Hawai‘i Symphony) has produced five commissions, including three large-scale works. he gave me. It was Miki who first encouraged me to explore the possibilities of composing for His work with Asian instruments has placed him at the vanguard of intercultural composition, and has traditional Asian instruments. It was Miki who gave me the confidence to believe that I might enabled him to make a significant contribution to the body of new literature for Asian instruments. actually have something unique to say through these instruments. And it was Miki who introduced The subject of critical acclaim, his music has been described as “moments of raw energy alternating me to the excellent musicians of AURA-J, another group he founded, with which I’ve been fortunate with a brooding potentiality” by the Honolulu Advertiser, and his work has been hailed as “original, to form an on-going musical collaboration. I dedicate this CD to him with gratitude. creative, and ingenious” by the Shimbun Akahata (Tokyo), “wonderfully mellow” by the Buffalo But what is an American composer to do with Japanese instruments? To me it makes no sense (New York) Daily News, and “distinctive, stirring, and exciting” by the Honolulu Star-Bulletin, which to write music that “sounds Japanese” (whatever that means). I’m not Japanese, and my music also described his Violin Concerto as “a powerful work, impressively crafted, that impacts listeners shouldn’t be either. At the same time, when dealing with the instruments – of any culture – one on a visceral level.” must be attuned to writing idiomatically for their natural capabilities, which are, of course, the very Organizations that have honored his work include ASCAP, Meet the Composer, the American thing that makes one associate the music of a culture with that culture. For a composer writing for Music Center, the Japan Foundation, and the National Center for the Korean Traditional Performing the instruments of another culture, it’s a trick to find the right balance between what’s traditional Arts (National Gugak Center) in Seoul, among many others. He was also the recipient of a and what’s not. Too much of the former and you’ve merely imitated another culture. But too much Fulbright Research Fellowship to Japan in 2007-08, where he served as guest composer-in- of the latter and you lose the essential characteristics of the instruments, the things that make them residence with AURA-J. beautiful in the first place. My music for Japanese (and other Asian) instruments finds that balance in the connections that 太刀花 (Sword Flower) exist between my background as a proud American and the rich sounds that are available to me The title (pronounced Tachibana) is an invented word derived from the name of the shakuhachi through these instruments. I grew up loving both rock music and the Western classical canon, and player for whom the piece was written as a gift. Looking for a title in honor of Tachibana-san, have long combined elements of both in my music. When I began writing for Japanese instruments I took characters from different words that are not normally combined and put them together to more than a decade ago, I realized that, surprisingly, they were an ideal complement, as the pitch create a new word (a particular poetic license to which Japanese well lends itself). The characters bending, sawari buzz and “noisy” sounds they so naturally produce fit perfectly with the gritty, literally mean “sword” and “flower,” and the piece itself reflects this duality, as the first half is rhythmically energized style that characterizes much of my music. Likewise, they work equally well sharp, angular and violent, in contrast to the quiet and graceful second half. at the other end of my stylistic spectrum, as their unique characteristics so effectively enrich the plaintive melodic lines that make up my lyrical side. In other words, Japanese instruments enhance my musical core, offering a means of expression that would otherwise not be possible. To this Off Balance point I’ve written more than 20 works for Japanese instruments, yet I continue to discover some- thing new with each piece. As its name implies, Off Balance is constantly searching in vain for solid footing. From the opening gestures the music jerks back and forth unevenly, with frequent and sudden shifts of Ironically, it is through these instruments of Japan that I have truly found my voice as an American rhythm, dynamics, pitch, and register. The piece settles down a bit in the middle, before resuming composer. To paraphrase another displaced American, I got rhythm, I got sawari, I got great its energized but teetering drive to the finish. performers. Who could ask for anything more? —Donald Reid Womack, May 2014 Three Trees 三木 Three Trees 三木 was written in honor of the late Minoru Miki, one of Japan’s most well-known composers Bend of the late 20th and early 21st centuries. Taking its inspiration from Miki’s name (三木), the characters The title refers both to the extensive use of pitch bending and to the form of the piece, which is of which literally mean “three” and “tree”, the piece is a triple concerto for koto, shakuhachi, and biwa. irregular or “bent” in its shape. The piece is angular, driving, and rhythmic, with a fast first section Each solo instrument is prominently featured in one movement, with each movement reflecting the followed by a slow ending. Along the way there are cadenzas for each instrument, including an characteristics of the wood from which the featured solo instrument is made. Thus, the work presents extended cadenza for 21-string koto near the end. a musical embodiment of three trees (or, in the case of shakuhachi/bamboo, a tree-like grass). Commissioned by Erina Matsumura, Bend was originally released on her CD dragoneyes (Tokyo CMC). The first movement, Tree of Life 生命の木, refers to Paulownia (桐), the genus of tree from which koto is made. Paulownia is known for its ability to regenerate from its existing root system after being harvested. As such it makes an apt metaphor for Miki’s lifework of internationalizing Japanese instruments, which will continue to grow and flourish even after his passing. The movement begins with solo koto playing a gently flowing pattern, which seems to regenerate itself repeatedly. Shakuhachi enters with a long-breathed lyrical melody, introducing a motive that will return The Performers throughout the three movements. The ensemble takes over and gradually builds to a climax, Seizan Sakata studied shakuhachi under Seizan Jinno and Living after which koto plays a cadenza. Beginning slowly and quietly, the cadenza grows into a fast and National Treasure Hanzan Shimabara. Awarded the bronze medal at the 1969 energetic conclusion that leads directly into the next movement. World Music Festival Competition, he has performed extensively throughout Japan, the United States and Europe, including solo appearances with the The heart of the piece, Shimmering Bamboo Sea きらめき揺れる、竹の海, suggests a beautiful Leipzig Gewandhaus Orchestra, Yomiuri Nippon Symphony Orchestra, Tokyo bamboo grove, shimmering as sunlight and shadows combine with a gentle breeze to create an ephemeral Metropolitan Symphony Orchestra, Honolulu Symphony, and Opera Theatre of and magically serene effect. Throughout the movement, the music moves in and out of measured St. Louis. In addition to serving as President of AURA-J he directs the Chiba time, with solo shakuhachi playing numerous short cadenzas in alternation with the full ensemble. H¯ogaku Ensemble, Tokyo H¯ogaku Ensemble, and Kanagawa H¯ogaku Ensemble. Hardwood 堅木, refers to the various hardwoods from which biwa is made, and has a hard-edged quality that contrasts with the first two movements.
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