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Commemorative Concert the Suntory Music Award
Commemorative Concert of the Suntory Music Award Suntory Foundation for Arts ●Abbreviations picc Piccolo p-p Prepared piano S Soprano fl Flute org Organ Ms Mezzo-soprano A-fl Alto flute cemb Cembalo, Harpsichord A Alto fl.trv Flauto traverso, Baroque flute cimb Cimbalom T Tenor ob Oboe cel Celesta Br Baritone obd’a Oboe d’amore harm Harmonium Bs Bass e.hrn English horn, cor anglais ond.m Ondes Martenot b-sop Boy soprano cl Clarinet acc Accordion F-chor Female chorus B-cl Bass Clarinet E-k Electric Keyboard M-chor Male chorus fg Bassoon, Fagot synth Synthesizer Mix-chor Mixed chorus c.fg Contrabassoon, Contrafagot electro Electro acoustic music C-chor Children chorus rec Recorder mar Marimba n Narrator hrn Horn xylo Xylophone vo Vocal or Voice tp Trumpet vib Vibraphone cond Conductor tb Trombone h-b Handbell orch Orchestra sax Saxophone timp Timpani brass Brass ensemble euph Euphonium perc Percussion wind Wind ensemble tub Tuba hichi Hichiriki b. … Baroque … vn Violin ryu Ryuteki Elec… Electric… va Viola shaku Shakuhachi str. … String … vc Violoncello shino Shinobue ch. … Chamber… cb Contrabass shami Shamisen, Sangen ch-orch Chamber Orchestra viol Violone 17-gen Jushichi-gen-so …ens … Ensemble g Guitar 20-gen Niju-gen-so …tri … Trio hp Harp 25-gen Nijugo-gen-so …qu … Quartet banj Banjo …qt … Quintet mand Mandolin …ins … Instruments p Piano J-ins Japanese instruments ● Titles in italics : Works commissioned by the Suntory Foudation for Arts Commemorative Concert of the Suntory Music Award Awardees and concert details, commissioned works 1974 In Celebration of the 5thAnniversary of Torii Music Award Ⅰ Organ Committee of International Christian University 6 Aug. -
An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru
Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally. -
ASIAN SYMPHONIES a Discography of Cds and Lps Prepared By
ASIAN SYMPHONIES A Discography Of CDs And LPs Prepared by Michael Herman Edited by Stephen Ellis KOMEI ABE (1911-2006, JAPAN) Born in Hiroshima. He studied the cello with Heinrich Werkmeister at the Tokyo Music School and then studied German-style harmony and counterpoint with Klaus Pringsheim, a pupil of Gustav Mahler, as well as conducting with Joseph Rosenstock. Later, he was appointed music director of the Imperial Orchestra in Tokyo, and the musicians who played under him broadened his knowledge of traditional Japanese Music. He then taught at Kyoto's Elizabeth Music School and Municipal College of the Arts. He composed a significant body of orchestral, chamber and vocal music, including a Symphony No. 2 (1960) and Piccolo Sinfonia for String Orchestra (1984). Symphony No. 1 (1957) Dmitry Yablonsky/Russian National Philharmonic ( + Sinfonietta and Divertimento) NAXOS 8.557987 (2007) Sinfonietta for Orchestra (1964) Dmitry Yablonsky/Russian National Philharmonic ( + Sinfonietta and Divertimento) NAXOS 8.557987 (2007) NICANOR ABELARDO (1896-1934, PHILIPPINES) Born in San Miguel, Bulacan. He studied at the University of the Philippines Diliman Conservatory of Music, taking courses under Guy Fraser Harrison and Robert Schofield. He became head of the composition department of the conservatory in 1923. He later studied at the Chicago Musical College in 1931 under Wesley LaViolette. He composed orchestral and chamber works but is best-known for his songs. Sinfonietta for Strings (1932) Ramon Santos/Philippine Philharmonic Orchestra UNIVERSITY OF THE PHILIPPINES PRESS (2004) YASUSHI AKUTAGAWA (1925-1989, JAPAN) He was born in the Tabata section of Tokyo. He was taught composition by Kunihiko Hashimoto and Akira Ifukube at the Tokyo Conservatory of Music. -
Yasushi AKUTAGAWA Ellora Symphony Trinita Sinfonica Rapsodia Per Orchestra
555975 bk AkutagawaEU 15/03/2005 11:29am Page 12 Varianten des ersten Abschnitts, die zweite bedient sich diesem orchestralen Frühwerk exemplarisch in die DDD eines zwanghaft wiederholten, aus einem Vierton- Gesamtstruktur integriert. Nukleus gewonnenen Motivs. Auch hier sind es die 8.555975 kleinen Intervalle, die das musikalische Geschehen Morihide Katayama prägen. Die Hauptcharakteristika der Kom- positionstechnik Akutagawas sind also bereits in Deutsche Fassung: Bernd Delfs Yasushi AKUTAGAWA Ellora Symphony Trinita Sinfonica Rapsodia per Orchestra New Zealand Symphony Orchestra Takuo Yuasa 8.555975 12 555975 bk AkutagawaEU 15/03/2005 11:29am Page 2 Religionen kein Tabu dar, vielmehr galten sie als Motiven in verminderter und übermäßiger Oktave als Yasushi Akutagawa (1925-1989) Symbol für Wohlstand und Fruchtbarkeit. Hornglissando im dritten Satz. Die weiten Intervalle Rapsodia per orchestra • Ellora Symphony • Trinita Sinfonica Unter dem Eindruck dieses Erlebnisses entschied symbolisieren das Sich-Öffnen der Frau in der sich Akutagawa für die Komposition einer asiatisch sexuellen Vereinigung; als Symbol weiblicher After over two hundred years of isolationism, Japan University of Fine Arts and Music) in 1943, in the war. konzipierten, vom europäischen Sonatensatzmodell Verführungskunst begegnen sie auch in den opened its door to foreign countries in the 1850s and His first teachers there were Hermut Fellmer, who was abweichenden Sinfonie. Was ihm vorschwebte, war ‚maskulinen’ Sätzen, deren kompositorische Mittel aus rapidly promoted modernisation, which covered almost invited from Germany, Qunihico Hashimoto, who had eine Musik ohne Beginn, Mittelpunkt und Ende, in der hektischen, mittels Sekundschritten gewonnenen all fields, including a complete reform of the Japanese studied with Egon Wellesz in Vienna, Midori das Feminine und Maskuline sich endlos vereinigen und Melodien bestehen, durchdrungen von indischen und styles and vocabulary to conform to translations from Hosokawa, who had been a pupil of Franz Schmidt in das Leben sich ewig erneuert. -
A Hundred Years of Friendship
A HUNDRED YEARS OF FRIENDSHIP Eero Lehtimäki, Kazutaka Morita, conductor marimba www.joensuu.fi/orkesteri THU 7.11.2019 AT 7PM | CARELIA HALL A HUNDRED YEARS OF FRIENDSHIP Eero Lehtimäki, conductor Kazutaka Morita, marimba Hikaru Hayashi: Andantino Three Film Scores Con Moto Espressivo Intermezzo (Allegretto) Adagio Akira Miyoshi: Concerto for marimba and string ensemble Yasushi Akutagawa: Triptyque for string orchestra Toru Takemitsu: Allegro Requiem for String Orchestra Berceuse Presto VÄLIAIKA Konsertin kesto on noin 2 tuntia Pehr Henrik Nordgren: Symphony for Strings op. 43 ESIINTYJÄT sic groups. In addition to his acknowledgements Eero Lehtimäki | as a musician, Lehtimäki has also graduated as conductor a Master of Science (Technology) in acoustics at the Aalto University. He admires versatile so- Eero Lehtimäki (b. 1989) made his bre- phistication and makes music to take people to akthrough by conducting the Mariinsky Theat- places they could not even imagine. re Orchestra in concert on extremely short noti- ce at Turku Music Festival in 2016. Since then, he has performed with almost all of the Finnish pro- Kazutaka Morita | fessional symphony orchestras. He started as the marimba artistic director and chief conductor of Joensuu City Orchestra in 2019, and has been the artis- Kazutaka Morita was born in Kochi, Japan. tic director of the Brinkhall Music Festival since He started at the age of 16 with percussion. He 2018. In 2020, Lehtimäki will start as the artistic studied at the Aichi Prefectural University of director of the Joensuu Winter Music Festival. Fine Arts and Music in Japan and at the Conservatorium van Amsterdam in the Eero started his conducting studies in Jorma Netherlands. -
By: Padraic Costello Thesis Committee: Frederick Lau
OPERA AS JAPANESE CULTURE: CREATIVITY, MODERNITY AND HETEROGENEOUS SOCIAL EXPRESSION IN JAPANESE-COMPOSED OPERA A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY DECEMBER 2016 By: Padraic Costello Thesis Committee: Frederick Lau, Chairperson Ricardo Trimillos Christine Yano Keywords: Padraic Costello, Japan, Opera, Appropriation, Modernity, Agency, Kata, Domestication, Hybridity, Globalization, Orientalism Table of Contents Abstract iii Acknowledgements v Chapter 1: Introduction 1 Significance 7 Methodology 8 Literature Review 11 Defining Opera – European Origins and Glocal Consumption 22 Chapter 2: Background, Framing, and tHe Historical Legitimation of Japanese Composed Opera 40 History of Pre-War “Japanese Opera” 46 Post-War Historical Legitimation of Opera 74 Chapter 3: Body, Kata, and tHe Domestication of Opera in Japan 83 Konnyakuza Exercise and the Physical Kata of Operatic Gesture 89 Konjikiyasha and Club Macbeth – Physical Gesture and Domestication in Konnyakuza’s Repertoire 104 Gendered Tropes and Post-War Identity in the Pacific War Operas of Saegusa Shigeaki 119 Chapter 4: Language, Sound-Symbolism, and tHe Cultural Diversification of Opera 133 Language Stress, Setting, and Identity 138 Henshin – Language, Diversification, and Decentering “Western” Opera in Hikaru Hayashi’s Works 145 Shiroitori and Joururi - Multi-Language Operas 162 Chapter 5: Musical Juxtaposition, Hybridity, and tHe Heterogeneity -
A Hundred Years of Friendship
A HUNDRED YEARS OF FRIENDSHIP Eero Lehtimäki, Kazutaka Morita, cinductor marimba www.joensuu.fi/orkesteri THU 7.11.2019 AT 7PM | CARELIA HALL A HUNDRED YEARS OF FRIENDSHIP Eero Lehtimäki, kconductor Kazutaka Morita, marimba Hikaru Hayashi: Andantino Three Film Scores Con Moto Espressivo Intermezzo (Allegretto) Adagio Akira Miyoshi: Concerto for marimba and string ensemble Yasushi Akutagawa: Triptyque for string orchestra Toru Takemitsu: Allegro Requiem for String Orchestra Berceuse Presto VÄLIAIKA Konsertin kesto on noin 2 tuntia Pehr Henrik Nordgren: Symphony for Strings op. 43 ESIINTYJÄT sic groups. In addition to his acknowledgements Eero Lehtimäki | as a musician, Lehtimäki has also graduated as conductor a Master of Science (Technology) in acoustics at the Aalto University. He admires versatile so- Eero Lehtimäki (b. 1989) made his bre- phistication and makes music to take people to akthrough by conducting the Mariinsky Theat- places they could not even imagine. re Orchestra in concert on extremely short noti- ce at Turku Music Festival in 2016. Since then, he has performed with almost all of the Finnish pro- Kazutaka Morita | fessional symphony orchestras. He started as the marimba artistic director and chief conductor of Joensuu City Orchestra in 2019, and has been the artis- Kazutaka Morita was born in Kochi, Japan. tic director of the Brinkhall Music Festival since He started at the age of 16 with percussion. He 2018. In 2020, Lehtimäki will start as the artistic studied at the Aichi Prefectural University of director of the Joensuu Winter Music Festival. Fine Arts and Music in Japan and at the Conservatorium van Amsterdam in the Eero started his conducting studies in Jorma Netherlands. -
CHAPTER 6: SOUND RECORDINGS Revised October 2010
CHAPTER 6: SOUND RECORDINGS Revised October 2010 6.1. TITLE AND STATEMENT OF RESPONSIBILITY AREA 6.1B. Title Proper 6.1B1. Transcribe the title proper as instructed in 1.1B. For data to be included in titles proper for musical items, see 5.1B. 245 10 $a Bian zhong yue wu 245 10 $a Hongxiannü chang qiang yi shu xuan ji 245 10 $a Nōgaku e no shōtai 245 10 $a 能楽への招待 Title main entry: 245 00 $a Miyagi Michio daizenshū 245 00 $a 宮城道雄大全集 245 00 $a Gengaku shijū sō no tame no mittsu no shōhin 245 00 $a 弦楽四重奏のための三つの小品 245 00 $a Gendai no sangen besuto 25 245 00 $a 現代の三弦べスト 25 245 00 $a Han’guk minyo taejŏn. $n 2, $p Chŏlla-namdo p’yŏn 245 00 $a 한국 민요 대전. $n 2, $p 전라남도 편 6.1D Parallel titles 6.1D1. Transcribe parallel titles as instructed in 1.1D and 5.1D. 245 10 $a Jiao xiang qu yi jiu jiu qi $h [sound recording] : $b tian, di, ren = Symphony 1997 : heaven, earth, mankind 245 10 $a 交響曲一九九七 $h [sound recording] : $b 天・地・人 = Symphony 1997 : heaven, earth, mankind 245 10 $a Shamisen kofu no kenkyū $h [sound recording] = $b An investigation into the old shamisen notation 245 10 $a 三味線古譜の硏究 $h [sound recording] = $b An investigation into the old shamisen notation 245 10 $a In’gan munhwajae Pak Tong-jin p’ansori $h [sound recording] = $b Park Dong Jin p’ansori 245 10 $a 인간 문화재 박 동진 판소리 $h [sound recording] = $b Park Dong Jin p’ansori 1 245 10 $a Yi Ch’un-hŭi Kyŏnggi minyo $h [sound recording] = $b Lee Ch’un Hee kyongki minyo 245 10 $a 이 춘희 경기 민요 $h [sound recording] = $b Lee Ch’un Hee kyongki minyo Title main entry: 245 00 $a Lisa Lu, K.S.Chen in Wu chia p’o $h [sound recording] = $b The reunion : an excerpt from a Peking opera, Lady Precious Stream 245 00 $a Min’yō Yamagata $h [sound recording] = $b Folk songs in Yamagata 245 00 $a 民謡山形 $h [sound recording] = $b Folk songs in Yamagata 6.1E. -
Imagining the Japanese Masses In
THE UNIVERSITY OF CHICAGO “RATHER A HUNDRED SINGING LABORERS THAN A SINGLE PROFESSIONAL”: IMAGINING THE JAPANESE MASSES IN THE UTAGOE MOVEMENT, 1948-PRESENT A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE SOCIAL SCIENCES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF HISTORY BY JUN HEE LEE CHICAGO, ILLINOIS JUNE 2020 i Table of Contents List of Tables and Figures….……………………….……………………………………………iii Acknowledgements……………………………………………………………………………….vi Introduction: On Music as Cultural and Intellectual History…………………...…...………...…..1 Part I: Establishment of Music as Ideology in Twentieth-century Japan……………………..…17 Chapter 1: Imagining Japan’s National Music, 1880s-1945..........................................................22 Chapter 2: Early Utagoe under the Japanese Communist Party’s Cultural Policy……...……….47 Part II: Utagoe’s National and International Solidarity through Music………………….………99 Chapter 3: Remembering Araki Sakae the Laborer-Composer, Inside Out……………………106 Chapter 4: The Rise and Fall of Utagoe’s National Music Paradigm, 1953-1974……………..158 Part III: Dual History of Utagoe: the Cases of Utagoe Kissa…………………….…………….214 Chapter 5: “Utagoe Coffeehouse” Tomoshibi’s Cultural Ventures, 1962-1992……………….228 Chapter 6: Betwixt Movement and Nostalgia: Practicing Utagoe in Japan since 2011.……….290 Conclusion: In Place of the Coda.……………………………………………………...…….....355 Bibliography………………………………….…………..…………………………………….362 ii List of Tables and Figures Table 2.1: Timeline of institutional development of the Central Chorus and Nihon no Utagoe…....52 Figure 2.1: Seki Akiko leading rehearsal with the Central Chorus’s fifteenth class (1952).………...73 Figure 2.2 Sheet music for “Our Friends” (1949).…………………………………………………. 76 Figure 2.3 Participants from Tokyo performing at the 1954 Nihon no Utagoe Festival.…....……...79 Figure 2.4 A closer shot of the participants from Tokyo at the 1954 Nihon no Utagoe Festival.......80 Figure 2.5 Central Chorus members perofrming in Uchinada (1953) ……………………………. -
Decime - Mitteilungen 11 / Revidiert 2013
DecimE - Mitteilungen_11 / revidiert 2013 Deutsche Sektion der Internationalen Gesellschaft für Elektroakustische Musik DecimE - Mitteilungen_11 1.12.1993 Auflage: 380 Die DecimE - Mitteilungen erscheinen vierteljährlich Anfang März, Juni, September, Dezember. Redaktionsschluß : jeweils 7 Tage vor Erscheinen. Kostenloser Versand an die DecimE - Mitglieder sowie an Interessenten Elektroakustischer Musik Redaktion: Folkmar Hein Bankverbindung Dresdner Bank Berlin BLZ 100 800 00 Mitgliedsbeitrag normal (pro Jahr) 50.- DM Konto-Nr. 05 141 941 00 Mitgliedsbeitrag für Institutionen 200.- DM Adresse DecimE Telefon: (+49) 30 - 218 59 60 Treuchtlinger Str. 8 FAX (neu!): (+49) 30 - 213 98 16 D - 10 779 Berlin Email: [email protected] Inhaltsverzeichnisse Mitteilungsblätter_1 bis _10 ................................................................ 2 Neuigkeiten, Nachfragen ....................................................................................................... 2 Bücher / Zeitschriften / Aufsätze ........................................................................................... 4 Konserven .............................................................................................................................. 8 Nachruf Ernest Berk .............................................................................................................. 10 Hugh Davies: The Beginnings of Japanese Electronic Music .............................................. 11 Bernhard Feiten: Internationale Computer Music Conference 1993 -
Suntory Music Award Awardees
Suntory Music Award Awardees Suntory Foundation for the Arts Suntory Music Award Awardees 1st 1969 Michio KOBAYASHI piano, cembalo, conduct 2nd 1970 Tsuyoshi TSUTSUMI cello 3rd 1971 Reiji MITANI opera production 4th 1972 Takashi OGAWA librarian, theory and critic 5th 1973 Organ Committee of International Christian University 6th 1974 Kazuyoshi AKIYAMA conduct 7th 1975 Yoshinobu KURIBAYASHI tenor Ginji YAMANE critic 8th 1976 Yasushi AKUTAGAWA and The New Symphony Orchestra 9th 1977 Toshiko TSUNEMORI soprano 10th 1978 Teizo MATSUMURA composition 11th 1979 Sumire YOSHIHARA percussion 12th 1980 Kappa SENOH set and costume design <special prize> Hideo EDO chairman of the first Japan Music Competition 13th 1981 Minao SHIBATA composition 14th 1982 Yuzo TOYAMA conduct <special prize> Kiyoshi HARA construction of The Symphony Hall in Osaka 15th 1983 Keisuke SUZUKI opera production 16th 1984 Kiyomi TOYODA soprano 17th 1985 Telemann Institute Japan 18th 1986 Mitsuko UCHIDA piano Hiroshi WAKASUGI conduct 19th 1987 Hiroyuki IWAKI conduct 20th 1988 Yasuko HAYASHI soprano 21st 1989 Masahiro ARITA flauto traverso, conduct 22nd 1990 Toru TAKEMITSU composition 23rd 1991 Tadaaki OTAKA conduct 24th 1992 Shigeo NERIKI piano 25th 1993 Midori GOTO violin <special prize> Wolfgang Sawallisch conduct 26th 1994 Takayoshi WANAMI violin 27th 1995 Nobuko IMAI viola Suntory Music Award Awardees 28th 1996 Takahiro SONODA piano Joji YUASA composition 29th 1997 The Tokyo Symphony Orchestra 30th 1998 Hikaru HAYASHI composition 31st 1999 Akira MIYOSHI composition 32nd 2000 -
Symphony Sounds
Symphony Sounds February, 2016 49th Season, Number 2 Editor: Terri Zinkiewicz Peninsula Symphony Concert Spend Your Valentine’s Day Evening at the Peninsula Symphony’s Concert Sunday, February 14, 2016, at 7:00 PM We have turned our calendars to 2016, and that Redondo Union High School Auditorium 222 North Pacific Coast Highway means the Peninsula Symphony’s concert Redondo Beach, CA 90277 season will be resuming. On Sunday, February 14 we will continue our year-long examination of the four symphonies of Johannes Brahms. This BRAHMS CYCLE II time it will be the Brahms Symphony No. 2 in D Scott Tennant, guitar major that will be presented after intermission. We will begin the concert by introducing our Akutagawa Music for Symphony Orchestra audience to the Japanese composer Yasushi Rodrigo Concierto de Aranjuez for Guitar Akutagawa. In addition, we are pleased to and Orchestra present our soloist, Scott Tennant, who is one of Brahms Symphony No. 2 in D major, the world’s great classical guitar virtuosos. Opus 73 This edition of Symphony Sounds includes Concert Details short previews of the pieces and composers that will be performed at the February 14 concert, a Doors open at 6:00 PM. Center-section profile of our soloist, photos from our October seating is reserved for members at the Patron 25 concert and the post-concert reception and level and above. other articles. Maestro Berkson is personally Pre-concert lecture by Maestro Berkson at donating funds to the Peninsula Symphony for 6:15 PM for Symphony Association members all first-time audience members on February 14.