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Yoichi Hiraoka: His Artistic Life and His Influence on the Art Of YOICHI HIRAOKA: HIS ARTISTIC LIFE AND HIS INFLUENCE ON THE ART OF XYLOPHONE PERFORMANCE Akiko Goto, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2013 APPROVED: Mark Ford, Major Professor Eugene M. Corporon, Committee Member Christopher Deane, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music James Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Goto, Akiko. Yoichi Hiraoka: His Artistic Life and His Influence on the Art of Xylophone Performance. Doctor of Musical Arts (Performance), August 2013, 128 pp., 31 figures, bibliography, 86 titles. Yoichi Hiraoka was an amazing Japanese xylophone player who had significant influence on the development of the xylophone as a solo instrument. The purpose of this dissertation is to collect and record evidence of Mr. Hiraoka, to examine his distinguished efforts to promote the xylophone, to investigate his influences on keyboard percussion literature, and to contribute to the development of the art of keyboard percussion performance as a whole. This dissertation addresses Yoichi Hiraoka’s artistic life, his commissioned pieces, and his influence on the art of xylophone performance. Analyses of two of his most influential commissioned works, Alan Hovhaness’ Fantasy on Japanese Wood Prints and Toshiro Mayuzumi’s Concertino for Xylophone Solo and Orchestra, are also included to illustrate the art of the xylophone, and to explain why Hiraoka did not play all of his commissioned works. Copyright 2013 by Akiko Goto ii ACKNOWLEDGEMENTS I would like to sincerely thank my committee members, Mark Ford, Eugene Corporon, and Christopher Deane, for their continuous guidance and encouragement. I am grateful to Julie Licata and Juan Arenas for their insights and time in proofing my paper; as well as to all my friends for their continuing support. I would also like to express my appreciation to Mutsumi Tsuuzaki for her kindness and generosity in sharing her collection of information about Yoichi Hiraoka. Finally, I would like to thank my husband, Yo Goto, for all of his sincere support, help, encouragement, and love. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ............................................................................................... iii LIST OF FIGURES .......................................................................................................... vi Chapters I. INTRODUCTION ....................................................................................... 1 Purpose ........................................................................................... 1 Significance and State of Research ................................................ 1 II. YOICHI HIRAOKA’S ARTISTIC LIFE ........................................................ 3 Early Life in Japan (1907- 1930) ..................................................... 3 Artistic Life in the United States (1930-1942) ................................ 10 Artistic Life in Japan (1942-1963).................................................. 33 Artistic Life as a Traveling Artist between the United States and Japan (1963-1981) ........................................................................ 62 III. COMMISSIONED WORKS BY YOICHI HIRAOKA .................................. 77 Commissioned Works and Their Background ............................... 77 1. Concertino Classico in G minor for Xylophone in the Style of Eighteenth Century (1964) by Leo Russotto ............. 77 2. Fantasy on Japanese Wood Prints for Xylophone and Orchestra, Op. 211 (1965) by Alan Hovhaness ............ 78 3. Concertino for Xylophone Solo and Orchestra (pub. 1965) by Toshiro Mayuzumi .......................................... 80 4. Lauda Concertata per Xilofono ed Orchestra (1976) by Akira Ifukube ................................................................. 81 5. Xylophone Concerto for Children: Based on Theme of “Koinobori” (1977) by Ryoichi Hattori ............................ 83 6. Sonata (1967) by Thomas B. Pitfield............................. 83 Analysis of Yoichi Hiraoka’s Two Commissioned Works ............... 85 1. Fantasy on Japanese Wood Prints for Xylophone and Orchestra, Op. 211 (1965) by Alan Hovhaness ............ 85 2. Concertino for Xylophone Solo and Orchestra (1965) by Toshiro Mayuzumi ......................................................... 90 iv IV. CONCLUSION ......................................................................................... 99 Hiraoka’s Attitude towards Xylophone and Its Music ............................... 99 Hiraoka’s Influence on Audience, Performers, Music Industries, and Composers ............................................................................................ 101 Hiraoka’s Influence on Keyboard Percussion Literature ........................ 103 Appendices A. CHRONOLOGICAL LIST OF EVENTS IN YOICHI HIRAOKA’S LIFE ... 105 B. 100 PIECES FOR REQUEST AT YOICHI HIRAOKA’S MOKKIN JINSEI RECITALS ............................................................................................. 111 C. FANTASY ON JAPANESE WOOD PRINTS, YOICHI HIRAOKA, XYLOPHONE SOLOIST; ANDRE KOSTELANETZ, CONDUCTOR, LIST OF MAJOR PERFORMANCE ............................................................... 115 D. YOICHI HIRAOKA’S INSTRUMENT AND MALLETS ............................ 117 BIBLIOGRAPHY ......................................................................................................... 122 v LIST OF FIGURES Page 2.1 Program of Yoichi Hiraoka recital on Monday, December 21, 1936 ................... 21 2.2 Program of Yoichi Hiraoka recital on Wednesday, November 24, 1937 ............. 23 2.3 Program of Yoichi Hiraoka recital on Monday, December 19, 1938 ................... 23 2.4 Program of Yoichi Hiraoka recital on Sunday, January 14, 1940........................ 23 2.5 Contents of Xylophone Recital of Classical Music (Decca 166) ......................... 25 2.6 Contents of Album of Japanese Folk Music (172 Decca) ................................... 25 2.7 Contents of Xylophone Album ............................................................................ 26 2.8 Program of Yoichi Hiraoka's first recital after coming back to Japan .................. 36 2.9 Pictures introducing four-mallet technique in a concert program ........................ 56 2.10 Program of Yoichi Hiraoka recital on Tuesday, November 27, 1962 .................. 61 2.11 Contents of Yoichi Hiraoka ed., Ensokaiyo mokkin meikyokushu....................... 70 3.1 Alan Hovhaness, Fantasy on Japanese Wood Prints, mm. 1-8, xylophone ....... 86 3.2 In scale ............................................................................................................... 86 3.3 Alan Hovhaness, Fantasy on Japanese Wood Prints, rehearsal number 2, xylophone ........................................................................................................... 86 3.4 Alan Hovhaness, Fantasy on Japanese Wood Prints, rehearsal number 7, xylophone ........................................................................................................... 87 3.5 Alan Hovhaness, Fantasy on Japanese Wood Prints, rehearsal number 1, oboes and clarinets ....................................................................................................... 88 3.6 Alan Hovhaness, Fantasy on Japanese Wood Prints, rehearsal number 34, small bass drum and large bass drum ......................................................................... 89 3.7 Excerpts from Ondeko ........................................................................................ 89 3.8 Toshiro Mayuzumi, Concertino for Xylophone and Orchestra, rehearsal number 12, xylophone ..................................................................................................... 91 3.9 Yo scale .............................................................................................................. 91 vi 3.10 Toshiro Mayuzumi, Concertino for Xylophone and Orchestra, rehearsal number 8, xylophone ....................................................................................................... 92 3.11 The beginning of Shishi section of Kanda Bayashi ............................................. 92 3.12 Toshiro Mayuzumi, Concertino for Xylophone and Orchestra, rehearsal number 3, strings ............................................................................................................. 93 3.13 Toshiro Mayuzumi, Concertino for Xylophone and Orchestra, mm. 2-4 at rehearsal number 4, bass line ............................................................................ 93 3.14 Toshiro Mayuzumi, Concertino for Xylophone and Orchestra, the beginning of the second movement .............................................................................................. 94 3.15 Toshiro Mayuzumi, Concertino for Xylophone and Orchestra, the first movement, mm. 1-8, xylophone, piccolo, and oboe .............................................................. 95 3.16 Toshiro Mayuzumi, Concertino for Xylophone and Orchestra, the first movement, rehearsal number 6, xylophone .......................................................................... 96 3.17 Toshiro Mayuzumi, Concertino for Xylophone and Orchestra, the third movement, mm. 5 of rehearsal number 17 to the downbeat of rehearsal number 18, strings ..........................................................................................................
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