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

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Copyrighted by

Daniel Ryan Gallagher

2019

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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. An appendix containing a list of hundreds of accompanied and unaccompanied Japanese flute works promotes further diversification of the standard flute repertoire.

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Dedication

To everyone who has inspired me and encouraged me to pursue my musical endeavors.

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Acknowledgments

I would like to extend my utmost appreciation and respect for each of the following members of my D.M.A. document committee: Dr. Arved Ashby, Dr. Caroline

Hartig, and Professor Karen Pierson. Thank you for dedicating so much of your time and for serving as vast sources of inspiration to me throughout the course of my degree.

Next, I must express my gratitude to my advisor and flute professor, Katherine

Borst Jones, who is exceptional in every way. Thank you for believing in me, pushing me beyond my capabilities, and teaching me so much about music and life in general.

Working with you the past three years has impacted me profoundly.

Thank you to my dear friend and fellow flutist, Sunao Masunaga, for her assistance in translating Japanese text that proved to be essential in discovering more information about the composers and works in this document.

To Melanie Mathew, Carol Hester, Lorie Scott, Bethany Padgett, and Kimberly

Risinger: thank you for providing me with such a strong foundation on the flute. I would not be the musician or person I am today without your patience, kindness, and expertise.

Finally, thank you to my friends, family, and colleagues for always supporting me and encouraging my musical creativity.

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Vita

2010...... Yorkville High School

Yorkville, Illinois

2014...... B.A. in Music, Luther College

Decorah, Iowa

2016...... M.M. in Flute Performance, Illinois State University

Normal, Illinois

2016-2017 ...... Fellowship Recipient, The Ohio State University

Columbus, Ohio

2017-present ...... Graduate Teaching Associate, The Ohio State University

Columbus, Ohio

Fields of Study

Major Field: Music

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Table of Contents

Abstract ...... ii Dedication ...... iii Acknowledgments...... iv Vita ...... v List of Figures ...... viii Chapter 1: Introduction ...... 1 Purpose of Study ...... 3 Review of Literature ...... 4 Chapter 2: Brief History of the Flute in Japan ...... 7 The Flute in Traditional Japanese Music ...... 7 Influences of Western Music in Japan ...... 10 Overview of Twentieth-Century Japanese Compositions for Flute ...... 14 Chapter 3: Ikuma Dan (1924-2001) ...... 17 Biographical Information ...... 17 Discussion of Select Flute Compositions ...... 20 Analysis of Sonata for Flute and Piano (1986) ...... 22 I. Allegro ma non troppo ...... 23 II. Thema with Variations and Rondino, Andante cantabile ...... 28 Chapter 4: Hikaru Hayashi (1931-2012)...... 39 Biographical Information ...... 39 Discussion of Select Flute Compositions ...... 42 Analysis of Sonata for Flute and Piano “Hana no Uta” (1967/68) ...... 46 I...... 47 II. Andante ...... 52 III...... 56 vi

Chapter 5: Akira Tamba (b. 1932) ...... 62 Biographical Information ...... 62 Discussion of Select Flute Compositions ...... 64 Analysis of Sonata for Flute and Piano (1957) ...... 65 I. Moderato con moto ...... 65 II. Molto Allegro ...... 67 III. Lento misterioso...... 69 IV. Allegro vivo ...... 71 Chapter 6: Conclusions ...... 76 Suggestions for Further Research ...... 77 Bibliography ...... 79 Appendix A: List of Flute Works by Dan, Hayashi, and Tamba ...... 82 Appendix B: Discography of Flute Works by Dan, Hayashi, and Tamba ...... 86 Appendix C: Bibliography of Flute Works by Japanese Composers ...... 95

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List of Figures

Figure 1: Ikuma Dan, Sonata for Flute and Piano, Mvt. 1, First Theme ...... 24

Figure 2: Ikuma Dan, Sonata for Flute and Piano, Mvt. 1, Second Theme ...... 25

Figure 3: Ikuma Dan, Sonata for Flute and Piano, Mvt. 1, Whole-Tone Descent ...... 27

Figure 4: Ikuma Dan, Sonata for Flute and Piano, Mvt. 2, First Theme ...... 30

Figure 5: Ikuma Dan, Sonata for Flute and Piano, Mvt. 2, Whole-Tone Material ...... 34

Figure 6: Ikuma Dan, Sonata for Flute and Piano, Mvt. 2, Rondino Theme ...... 36

Figure 7: Hikaru Hayashi, Sonata for Flute and Piano, Mvt. 1, Opening ...... 48

Figure 8: Hikaru Hayashi, Sonata for Flute and Piano, Mvt. 1, Pentatonic Scales ...... 50

Figure 9: Hikaru Hayashi, Sonata for Flute and Piano, Mvt. 2, Opening ...... 53

Figure 10: Hikaru Hayashi, Sonata for Flute and Piano, Mvt. 2, Cadenza, m. 34...... 55

Figure 11: Hikaru Hayashi, Sonata for Flute and Piano, Mvt. 3, Opening ...... 57

Figure 12: Akira Tamba, Sonata for Flute and Piano, Cadenza ...... 66

Figure 13: Akira Tamba, Sonata for Flute and Piano, Molto Allegro ...... 68

Figure 14: Akira Tamba, Sonata for Flute and Piano, Lento misterioso ...... 70

Figure 15: Akira Tamba, Sonata for Flute and Piano, Allegro vivo ...... 72

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Chapter 1: Introduction

This document is an expansion upon my previous explorations of Japanese flute repertoire, a topic that has interested me for several years. Music by Japanese composers has influenced me since my childhood. I was inspired to become a musician after listening to Yasunori Mitsuda’s music from the video game Chrono Cross for the Sony

PlayStation. Yuki Kajiura’s soundtracks to the anime series Noir and Madlax provided further sources of inspiration during my teenage years. After I learned much of the standard flute repertoire, I sought lesser-known works that represented composers outside of the United States, Germany, France, and other Western countries with a long history of

European art music.1 This interest was particularly driven by my love for twentieth- and twenty-first-century music. All of these factors combined and culminated in the creation of this document, which is an examination of three specific Japanese composers whose flute sonatas I believe are deserving of wider recognition and performance.

While searching for performances by the famous Japanese flutist Shigenori Kudo on YouTube, I discovered a live recording of Akira Tamba’s flute sonata performed by

Kudo and pianist Jeffrey Grice from 1994. Kudo’s impeccable artistry captivated me, and

I immediately fell in love with the drama of the opening flute cadenza, the dodecaphonic

1 In this document, the phrase “Western music,” whether used by others or myself, refers to European art music. This “Western” label, though problematic in some ways, distinguishes European art music from traditional Japanese music, the latter of which is based on different musical principles and aesthetics. 1 elements, the emphasis on dissonant tritones, and the contrasting moods throughout the piece. I immediately wondered why more people did not program this work, and I began my journey to discover similar works by Japanese composers. A few months later, I saw

Hikaru Hayashi’s name in passing and decided to investigate the composer’s output for flute. Although initial English-language internet searches did not yield many results,

Japanese-language searches led me to a YouTube recording of Hayashi’s flute sonata, performed by the composer on piano and Liliko Hayashi, the composer’s elder cousin, on flute. I responded positively to the eclectic styles throughout the piece, from the jazz-like and improvisatory opening movement to the melodic and rhythmically chaotic third movement. I knew right away that I wanted to perform this work and share my

“discovery” with other flutists. Finally, I first heard Ikuma Dan’s flute sonata through a solo CD by flutist Yoko Owada. I ordered the CD from Japan on a whim after reading about Owada and became inspired by Owada’s musicality upon hearing her performance of Dan’s sonata. After listening to the sonata for the first time, I kept recalling the melodies and dramatic whole-tone harmonies for several days. The sonata seemed so cohesive and memorable to me through the masterful manipulation of thematic material and other formal qualities. I soon realized that I had discovered three significant Japanese sonatas for flute and piano and decided to focus the scope of this document on those three works. Each work demonstrates a unique musical language that contrasts the flute sonatas in the standard repertoire, and I wish to share my passion for these compositions and to advocate for their performance.

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Purpose of Study

The purpose of this document is to discuss, analyze, and promote three significant twentieth-century Japanese flute sonatas that are largely unknown to flutists outside of

Japan: Sonata for Flute and Piano (1986) by Ikuma Dan, Sonata for Flute and Piano

(1967) by Hikaru Hayashi, and Sonata for Flute and Piano (1957) by Akira Tamba.

Chapter two provides brief historical information about traditional Japanese flute music, the development of Western music in Japan, and Japanese composers of flute music in order to provide context for the composers and pieces in this document. Chapter three explores biographical information on composer Ikuma Dan and discusses his flute works in order to inform the analysis of the composer’s flute sonata that follows. Chapters four and five replicate identical procedures for the composers Hikaru Hayashi and Akira

Tamba, respectively. Chapter six offers conclusions and suggestions for further research.

The appendices include a list of flute works by the three composers in this document, a discography of flute works by these composers, and a bibliography of accompanied and unaccompanied flute repertoire representing over two hundred Japanese composers.

Several scholars have produced works analyzing the influence of traditional

Japanese instruments on Western flute repertoire. Although an important topic and vital contribution to the literature, that approach is not the primary intention of this document.

Rather, the author wishes to highlight the musical elements that qualify the selected sonatas for inclusion in the standard flute repertoire. The author must also emphasize that this research has severe limitations. Only English-language sources have been evaluated, with the exception of several Japanese liner notes obtained directly from Japan and 3 translated into English for the purpose of this document. Further exploration of Japanese writings on these composers and works will yield a more comprehensive result. However, this approach was outside the scope of this document and the author’s capabilities.

In this document, Japanese names are listed with the first named followed by the surname, even though this practice is reversed in the Japanese language. Japanese terms and instruments that may be unfamiliar to some readers have been italicized for clarity.

Certain musical terms and markings (sf, fff, etc.) have also been italicized for simplification. In the analyses, measure numbers and rehearsal numbers are listed as numerals instead of words in order to assist the reader. Numbers appearing after note names indicate the relevant octave of the note within the flute’s range, with “1” referring to the lowest octave of any given note. Finally, the musical analyses are not all- encompassing theoretical or formal analyses; rather, they are an attempt to showcase the more innovative and interesting features of the compositions and the composers’ musical styles.

Review of Literature

Much of the unique information about the composers and works in this document was obtained through Japanese liner notes from flute CDs produced in Japan (see

Bibliography). General information about each composer was obtained through major reference sources such as The New Grove Dictionary of Music and Musicians, Die Musik in Geschichte und Gegenwart, and Baker’s Biographical Dictionary of Musicians.

Although information was available for Dan, Hayashi, and Tamba in these works,

4 individual resources rarely contained information on all three composers. Flute repertoire catalogs like Flute Repertoire Catalog: 10,000 Titles (1967) by Franz Vester, A

Handbook of Literature for the Flute (1978) by James Pellerite, and Flute Music by

Women Composers: An Annotated Catalog (1988) by Heidi Boenke were also consulted.

Most major repertoire catalogs for flute were published before 1980, resulting in limited information about compositions from the late twentieth and early twenty-first centuries.

New resources covering this time period are certainly welcome in order to preserve the memory of flute works like Dan’s flute sonata from 1986. Although listed in Pellerite’s literature handbook, the flute sonatas by Hayashi and Tamba are rarely performed outside of Japan today, with a few exceptions. Flutist Mihoko Watanabe programmed Tamba’s flute sonata for one of her graduate recitals and performed Hayashi’s flute sonata at the

National Flute Association’s annual convention in 2011. Performers like George Pope have also programmed Hayashi’s sonata on recitals, though the sonatas by Tamba and

Dan in particular remain obscure. In general, information on Japanese composers and works in repertoire catalogs is scarce, and works published exclusively in Japan are frequently omitted from such catalogs due to unavoidable Western biases in these resources. Online resources like Music From Japan’s index of composers were also valuable in obtaining and confirming information in this document.2

Principal Japanese music publishing companies include Ongaku no Tomo Sha,

Muramatsu, Kawai Gakufu, Zen-On, Japan Federation of Composers, Schott Japan, and

MotherEarth Publishing Company. Obtaining flute repertoire directly from Japan can be

2 Music From Japan, http://www.musicfromjapan.org/. 5 difficult in the United States and other countries due to language barriers, navigating foreign-language websites, international shipping, different payment methods, and other factors. Fortunately, many works are available through Interlibrary Loan (ILL) and online vendors. The flute music of major Japanese composers like Fukushima, Takemitsu,

Ichiyanagi, and Hosokawa is generally readily accessible through major flute music distributors like Flute World.3 Based in the United Kingdom, Presto Sheet Music sells works by many lesser-known Japanese composers.4 Hayashi’s flute sonata can be obtained from Flute World, and the flute sonatas by Dan and Tamba can be obtained through Presto Sheet Music. The National Flute Association’s Music Library Collection, which contains over 15,000 flute scores, contains sonatas by Dan and Hayashi. However, the collection lacks Tamba’s flute sonata and other significant flute works by these three composers. In general, these other flute works are not readily available outside of Japan.

Many works are not even available through WorldCat, an international library catalog.

Information on titles, recordings, and select availability of other flute works by Dan,

Hayashi, and Tamba is available in Appendix A and Appendix B.

3 Flute World, https://www.fluteworld.com/. 4 Presto Sheet Music, https://www.prestomusic.com/sheet-music. 6

Chapter 2: Brief History of the Flute in Japan

The Flute in Traditional Japanese Music

Japan is a country with a vivid history in musical and dramatic art forms.

Different musical and theatrical genres utilize different types and combinations of instruments, and Japanese fue (flutes) frequently appear in Japanese musical traditions.

One such tradition is noh or noh theatre from the fourteenth century. Akira Tamba, composer and noh expert, defines noh as “a traditional Japanese theatrical form whose

‘libretto,’ divided between the actors and the chorus, is made up of a series of dialogues, monologues, songs either simple or recitative, of stylized gestures and of dances, with an instrumental accompaniment.”5 Although the content of each noh play varies considerably, noh performances are structured to the principle of jo-ha-kyū: introduction, development, and finale (rapid finish).6 Apart from the vocal roles, noh calls for different types of drums as well as the nohkan. The nohkan is a seven-holed, conical, transverse flute made from bamboo. The nohkan is unique in that there is a nodo (“throat,” or small tube) inserted into the bore of the instrument.7 This construction allows the nohkan to produced a high, piercing timbre that overblows to an interval near a seventh rather than

5 Akira Tamba, The Musical Structure of Nô, trans. Patricia Matoré (Tokyo: Tokai University Press, 1981), 15. 6 Ibid., 22. 7 Ibid., 147. 7 an octave. For this reason, intervals of sevenths and ninths appear frequently in the music. Performers can also produce glissando effects by sliding the fingers, moving the position of the mouthpiece, or varying the speed of the air. Melodic cells serve as a basic guideline to performers, leaving the flutist with much freedom and artistic license. Tamba writes, “The field of pitch leaves to the flutist a great liberty, without being nevertheless entirely aleatory.”8 The length of noh performances varies considerably, with longer performances lasting over two hours.

Another type of traditional Japanese music is gagaku, or court music. Gagaku is

Japan’s oldest musical tradition with several sub-genres and variations. The music of gagaku has roots in Buddhist vocal music as well as musical practices from Korea and

China.9 Unlike noh, gagaku calls for three types of transverse flutes depending upon the context. The ryūteki has seven holes and is commonly utilized in repertoire originating from China. The six-holed komabue is the shortest and highest pitched gagaku flute, frequently used to play pieces from Korea. Finally, the kagurabue is the longest and lowest pitched flute employed in kagura, a Shinto theatrical dance. All three instruments are transverse flutes made of bamboo, and instrument makers lacquer the insides to make the sound clearer. Bonnie C. Wade describes the characteristics of gagaku flutes as follows: “Important to the flute parts in the music are the distinctive melodic ornaments and the production of pitches by the closing of only half a fingerhole.”10 Consequently,

8 Ibid., 153. 9 Steven G. Nelson, “Court and Religious Music (1): History of Gagaku and Shōmyō,” in The Ashgate Research Companion to Japanese Music, ed. Alison McQueen Tokita and David W. Hughes (Burlington, VT: Ashgate, 2008), 38. 10 Bonnie C. Wade, Music in Japan: Experiencing Music, Expressing Culture (New York: Oxford University Press, 2005), 25-27. 8 grace notes, quarter-tone effects, and other ornaments appear frequently in the music. The notation for gagaku is often tablature-based, meaning that fingerings rather than pitches are indicated on the page.

The shinobue is yet another type of transverse bamboo flute that generally contains seven holes. Shinobue are made in twelve different lengths to correspond with varying pitch levels. Primarily used in two types of ensembles, shinobue can accompany untuned instruments like drums in festival music (matsuribayashi or hayashi) or music for kabuki theatre (nagauta).11 In the latter case, the shinobue must be tuned to the voice and shamisen (three-stringed instrument) since the flute plays obbligato lines in relationship to the vocal and shamisen melodies.12

Vertical flutes also play an important role in traditional Japanese music. The shakuhachi, commonly used to evoke Japanese elements in film music, is perhaps the most well-known type of Japanese flute. Performers produce sound on the five-holed shakuhachi by blowing downward to vibrate the air reed. The Fuke sect of Buddhism played the shakuhachi as a form of meditation called suizen (“blowing meditation”) during the thirteenth century.13 Although the instrument is tuned to a pentatonic scale,

“skillful manipulation of the lips and fingers may produce all shades of the minor tones in between.”14 These playing techniques give the shakuhachi its characteristic mellow tone.

It is also essential to note that two schools of shakuhachi playing exist in Japan. The

11 Akiko Shimada, “Cross-Cultural Music: Japanese Flutes and Their Influence on Western Flute Music,” The Flutist Quarterly 34, no. 2 (Winter 2009), 28. 12 Ibid. 13 Ibid., 27. 14 Katsumi Sunaga, Japanese Music (Tokyo: Maruzen Company, 1936), 55. 9

Kinko school plays traditional music written in katakana (Japanese symbols), while the

Teizo school plays music in Western notation.15 As noted by Tsukitani Tsuneko, composers like Takemitsu began to use the shakuhachi in Western compositions in the

1960s, increasing the instrument’s popularity across the globe.16

Each of the instruments described above has unique structural qualities that impact the instrument’s resulting sound quality. The characteristics of each traditional

Japanese instrument are desirable in specific musical and theatrical contexts, and each instrument evokes a particular mood or atmosphere. As Western-style composition evolved in the twentieth century, composers created works inspired by these traditional instruments or incorporated the instruments directly into Western compositions.

Influences of Western Music in Japan

The Meiji Restoration (1868-1912) brought enormous political, economic, and musical change to Japan. Mihoko Watanabe summarizes the impacts of the Meiji

Restoration on Japanese music during that time:

The 1868 Meiji Restoration changed Japan’s social and political structure. As depicted in the 2003 movie The Last Samurai, the modernization of Japan occurred because of the defeat of the Shogunate and Samurai systems by Emperor Meiji and the opening of exchange between Japan and the rest of the world. Westernization then spread very rapidly in Japan. The Meiji government introduced Western music instruction in schools in 1880, and established the Tokyo Music School to train professional musicians seven years later.17

15 Shimada, “Cross-Cultural Music,” 27. 16 Tsukitani Tsuneko, “The Shakuhachi and Its Music,” in McQueen Tokita and Hughes, The Ashgate Research Companion to Japanese Music, 168. 17 Mihoko Watanabe, “The Essence of Mei: An Exploration of the Inspiration behind Mei through Interviews with the Composer,” The Flutist Quarterly 33, no. 3 (Spring 2008), 17. 10

Compared to other nations, then, Japan did not have access to Western music for quite some time. Western music education became dominant and rapidly began to overwhelm traditional Japanese music. In 1967, Shigeo Kishibe estimated that ninety percent of music education, TV programs, and radio programs centered around Western music.18

David Pacun writes, “At this time, traditional Japanese music was often judged to be vulgar and primitive, and varied attempts (mostly unsuccessful) were made to do away with Edo-period (circa nineteenth century) popular songs.”19 Though it certainly was not forgotten, traditional Japanese music slowly faded to the background as Western music education asserted its prominence.

At this time, Western instruments were also imported into Japan. For instance, flutist Masao Okamura imported the first Boehm flute into Japan in 1921.20 Shortly after,

Koichi Muramatsu began manufacturing Boehm flutes in Japan in 1923.21 Other companies like Miyazawa, Sankyo, and Yamaha emerged, and soon Japan became a leading flute manufacturer.

Some of the earliest notable graduates of the Tokyo Music School were Japanese composers Rentarō Taki (1879-1903) and Kōsaku (also Kósçak or Koscak) Yamada

(1886-1965). Both individuals created memorable songs and traveled to Germany for additional studies, an important trend that would continue for many years until World

War II. Yamada, who studied with Max Bruch at the Berlin Hochschule, was particularly

18 Shigeo Kishibe, “Japanese Music – Conflict or Synthesis?” The World of Music 9, no. 2 (1967), 11. 19 David Pacun, “‘Thus We Cultivate Our Own World, and Thus We Share It with Others’: Kósçak Yamada’s Visit to the United States in 1918-1919,” American Music 24, no. 1 (Spring 2006), 69. 20 Nancy Toff, The Flute Book: A Complete Guide for Students and Performers, 3rd ed. (New York: Oxford University Press, 2012), 107. 21 Ibid. 11 prolific. His song “Akatombo” is one of the most beloved folk tunes in Japan. Yamada was one of Japan’s first major symphonists, and his compositional voice was inspired by the German lied tradition. Composer Saburō Moroi (1903-1977), another Japanese graduate of the Berlin Hochschule, also composed music influenced by this Germanic tradition. While some Japanese composers studied in Germany or Austria, others chose to continue schooling in France. Tomojirō Ikenouchi (1906-1991) is one such example.

Ikenouchi studied with Henri Büsser in Paris and was subsequently inspired by impressionistic music. Luciana Galliano observes, “Yamada Kōsaku revered Richard

Strauss and Scriabin, Moroi Saburō revered German music, and Ikenouchi Tomojirō revered French music, and the music of these early composers faithfully followed the precepts, styles, and ideas of their respective models.”22 This was significant because

Yamada, Moroi, and Ikenouchi each returned to Japan after studying abroad to teach university students, passing down German and French influences to the next generation of Japanese composers.

Another major development in twentieth-century Japan was the increase in commissions by professional orchestras, allowing more individuals to compose symphonic works.23 Yoritsune Matsudaira won first prize for Theme and Variations for

Piano and Orchestra at the International Society of Contemporary Music (ISCM) in

1952. This composition linked twelve-tone techniques with gagaku, proving that a

22 Luciana Galliano, Yōgaku: Japanese Music in the Twentieth Century, trans. Martin Mayes (Lanham, MD: Scarecrow Press, Inc., 2002), 33. 23 Uenami Wataru, The Characteristics of Japanese Postwar Music (Tokyo: The Japan Foundation, 1985), 3.

12 synthesis between traditional Japanese music and Western music was possible. Toshirō

Mayuzumi’s Nirvana Symphony (1957-1958) called for three orchestras situated at different locations in a concert hall to replicate the resonance of Buddhist temple bells.

The famous composer Tōru Takemitsu gained international fame with his composition

November Steps for shakuhachi, biwa, and orchestra (1967), a particularly successful fusion of Western and Eastern compositional techniques. These works represent only a handful of the pivotal twentieth-century symphonic works in Japan.

Finally, it is essential to discuss John Cage’s influence on Japan. Cage was an

American composer who studied Zen Buddhism and became a leading figure in indeterminate (chance-controlled) composition. Cage visited Japan in 1960 and 1962, surprising Japanese composers with music that broke traditional Western rules and had no boundaries. Uenami Wataru emphasizes the impact of these visits: “To summarize, the

60s can be considered a period in which musical ‘taboo’ was considered less of a problem, and there was an expansion toward broader musical directions.”24 From this point, a revival of the interest in traditional Japanese music and the increase of new music festivals led to numerous possibilities and avenues for Japanese composers.

24 Ibid., 4. 13

Overview of Twentieth-Century Japanese Compositions for Flute

Many Japanese composers wrote solo and accompanied works for flute in the twentieth century. Earlier works from the first half of the twentieth century were almost exclusively accompanied and featured influences from the composers’ training in France or Germany. Examples of such works include Sonate pour Flûte et Piano (1954) by

Sadao Bekku, Sonatine pour Flûte et Piano (1941) by Kishio Hirao, Variations on Kono- michi (1930) by Kōsaku Yamada, and Variations on Kutsuga-naru (1943) by Ryūtarō

Hirota. The first two pieces represent the French tradition, and the latter two works reflect the composers’ Germanic training.

The first and most well-known Japanese flute concerto is the Flute Concerto, Op.

30b (1948/51) by Hisatada Otaka, who studied composition and conducting in Vienna.

The Japanese flute concerto category also contains recent works by female composers.

Hitomi Kaneko’s Concerto for Flute and Orchestra (1995) and Concerto for Flute and

String Orchestra: In Memorium György Ligeti (2004-2006) by Mari Takano are exciting and substantial contributions to the flute concerto repertoire.

The solo flute repertoire by Japanese composers is quite abundant. The first major

Japanese work for solo flute was Mei (1962) by Kazuo Fukushima (b. 1930).

Commissioned by Italian flutist Severino Gazzelloni and dedicated to German theorist

Wolfgang Steinecke, Mei was inspired by the sounds of the nohkan and not the shakuhachi – a frequent misconception.25 Fukushima includes many leaps of a seventh

25 Watanabe, “The Essence of Mei,” 19. 14

(relating to the acoustical properties of the nohkan), grace notes, quarter tones, jo-ha-kyū structure, high passages resembling the hishigi range of the nohkan, and other musical elements to replicate the sound world of the nohkan.26 The result is a deeply emotional and introverted piece that remains part of the standard solo flute repertoire. Fukushima also wrote many other compositions for flute, notably Requiem for solo flute (1956) and

Ekagra for alto flute and piano (1958).

The other major Japanese composer whose works have become staples in the standard solo flute repertoire is Tōru Takemitsu. Takemitsu’s three solo flute pieces are

Voice (1971), Air (1995), and Itinerant: In Memory of Isamu Noguchi (1989). Voice in particular employs many extended techniques, including quarter tones, glissandi, multiphonics, alternate fingerings, different types of breath sounds, key clicks, speaking, and singing.27 These techniques require virtuosity and endurance from the performer. In other works, Takemitsu marks “non vibrato” at times to contrast pure tone with a vibrating tone. All of these techniques blur the line between pitched and unpitched sonorities, a characteristic common in much twentieth-century Japanese and avant-garde flute repertoire in general.

The solo works by Fukushima and Takemitsu discussed above also incorporate

Japanese concepts like ma. Composer Toshio Hosokawa describes ma as follows:

The concept of ma, which is so important in traditional Japanese music, is time and space infused with a tension that extends from infinity to the paper where the line is drawn, a tension that is in no way “silence” in the sense of a uniform and empty space, void of any sense of direction or meaning. It is a space that is full of

26 Ibid., 18-24. 27 Toru Takemitsu, Voice pour flûte solo (Paris: Salabert, 1971), 1-3. 15

direction and rich in multiple meanings, it is a space that has become fertile like a uterus.28

Concepts like ma are integral to the daily lives of Japanese composers and performers.

However, such concepts are unfamiliar to Western audiences. Despite this obstacle, flutists performing such works must research and make an effort to assimilate such concepts into performance. An understanding of the cultural context and aesthetics of each composition is absolutely necessary in performing Japanese flute repertoire. Ma appears in the solo flute works of Fukushima, Takemitsu, Yuasa, and Ichiyanagi, just to name a few. Wataru comments that “the Japanese do not draw distinctions between living and musical space.”29 Imagination and patience will guide successful performances of these works.

Due to the limited scope of this document, it is not possible to discuss every significant flute composition by Japanese composers. However, the following list of composers serves as a valuable starting point for flutists interested in exploring this repertoire: Yuko Uebayashi, Toshio Hosokawa, Toshi Ichiyanagi, Jōji Yuasa, Yoritsune

Matsudaira, Yori-Aki Matsudaira, Minoru Miki, Ryōhei Hirose, Jō Kondō, Teruyuki

Noda, Kazuo Yamada, Takatsugu Muramatsu, Makoto Shinohara, Saburō Moroi, Makoto

Moroi, Takashi Yoshimatsu, Yoshihisa Taïra, Ichiro Nodaira, Kikuko Kanai, Fuminori

Tanada, and Jun-ichirō Taku. Please consult Appendix C for a detailed list of accompanied and unaccompanied flute works by Japanese composers.

28 Galliano, Yōgaku, 304. 29 Wataru, The Characteristics of Japanese Postwar Music, 3. 16

Chapter 3: Ikuma Dan (1924-2001)

Biographical Information

Ikuma Dan was born on April 7, 1924, in Tokyo into a noble, wealthy, and aristocratic family. Dan’s grandfather, Takuma Dan, was a prominent businessman and leader of the Mitsui Group, one of the largest corporations in the world. His uncle on his mother’s side, Kentarō Kaneko, contributed to drafting the first Japanese constitution.30

Dan was apparently inspired to become a composer after reading a book on the history of

Western music by Motoo Ōtaguro.31 As a child, Dan played piano and composed simple works for piano and voice. In 1942, he entered the Tokyo Music School, studying with

Kanichi Shimofusa (former student of Paul Hindemith), Kunihiko Hashimoto, Midori

Hosokawa, and Saburō Moroi. Outside of the academy, Dan studied with Kōsaku

Yamada.32 In 1944, Dan joined the Toyama Military Band School, where he arranged pieces for brass band and played the snare drum. Dan graduated from the Tokyo Music

School in 1945 and taught as a faculty member there from 1947 to 1950.

Known primarily as a vocal, operatic, and symphonic composer, Dan earned public recognition for his early vocal works, including Six Songs for Children (1945),

30 Maho Nakatsuji, “Dan, Ikuma,” Piano Teachers’ National Association, last modified April 21, 2018, https://enc.piano.or.jp/persons/1472. 31 Ibid. 32 Ibid. 17

Hana no Machi (Flower Town, 1947), and Zō-san (1952). Dan once said, “Songs are the diary of my heart, and the home of my work.”33 His first major accomplishment, however, was the 1952 premiere of his opera Yūzuru (The Twilight Crane), the first major, successful attempt of Japanese text setting in opera and perhaps the most influential opera in Japan’s history. Yūzuru has received hundreds of performances and won several awards, including the Kōsaku Yamada Prize for Composition, the Mainichi

Music Prize, and the Iba Opera Prize. In 1953, shortly after the success of his opera, Dan formed the Sannin no kai (Group of Three) with composers Yasushi Akutagawa and

Toshirō Mayuzumi. As Judith Ann Herd describes, this group was controversial due to its neonationalistic ideals in the wake of World War II, as well as spending their own money to hire full orchestras and choruses to perform their works.34 However, the group wanted to prove that new music could evolve by digging into Japan’s past. Dan urged Japanese composers to find ancient literary themes, musical timbres, and aesthetics to incorporate into new music. In one of his articles, Dan wrote the following:

It is not enough to write Japanese-sounding compositions using Western forms and harmonies. Those who have tried to do so have had no real or lasting success…Something new, but at the same time fundamentally Japanese, must be created…Western musical forms are based on Western ideals of logic and symmetry. These are not necessarily Eastern ideals. The East has its own ideals, and it is in relation to them that truly oriental musical forms must be evolved. In such forms will the Japanese Western-style music of the future be cast.35

33 Yoshikazu Mera, counter-tenor, liner notes to Nightingale: Japanese Art Songs, Grammofon BIS-CD- 889, 1997, compact disc, 5. 34 Judith Ann Herd, “The Neonationalist Movement: Origins of Japanese Contemporary Music,” Perspectives of New Music 27, no. 2 (Summer 1989), 132-33. 35 Ikuma Dan, “The Influence of Japanese Traditional Music on the Development of Western Music in Japan,” trans. Dorothy Britton, The Transactions of the Asiatic Society of Japan 8 (December 1978), 216- 17. 18

These principles explain Dan’s emphasis on traditional Japanese melodies in his music.

Dan’s other operas include Kikimimi-zukin (The Listening Cap), Yang Kwei-fei,

Hikarigoke (Luminous Moss), Chanchiki, Susanō, and Takeru. His significant orchestral works include six symphonies (1950, 1956, 1960, 1965, 1965, 1985) and the symphonic suite The Silk Road (1954). Other notable works include Grand March “Celebration” for wind ensemble (1959), three fantasias for violin and piano, and a bassoon quartet (1988).

A versatile composer, Dan also wrote music for the Tokyo Olympics and scores for over

100 films. Perhaps most notably, Dan composed the music for the Samurai trilogy, directed by Hiroshi Inagaki.

Outside of composition, Dan sought to improve the relationship between Japan and China, serving as chairman of the Japan-China Cultural Exchange Association.36

Additionally, he frequently taught and conducted in China. Shortly before Dan’s death,

Japan held the “Dan Year 2000” to celebrate the composer’s accomplishments. Several organizations and orchestras performed Dan’s compositions throughout the year. Dan passed away on May 17, 2001, while visiting Suzhou, China for activities related to the

Japan-China Cultural Exchange Association. In addition to his work as a composer, Dan contributed to the music world through his writings on music, notably Paipu no kemuri

(Pipe Smoke), published in twenty-five volumes. Influenced by Japanese teachers trained in the German tradition (particularly Kōsaku Yamada), Dan’s compositional style emphasizes beautiful melodies, Romantic harmonies, and a connection with Japanese

36 Nakatsuji, “Dan, Ikuma,” https://enc.piano.or.jp/persons/1472. 19 culture, evident through his involvement with the aforementioned Sannin no kai and his efforts to improve cultural relations with China.

Discussion of Select Flute Compositions

Due to the composer’s prolific nature, some of Dan’s chamber works have fallen into obscurity. Dan’s compositions for flute fall under this category, as not much is known about his flute works. To the author’s knowledge, Dan’s flute works include the following: Divertimento for mixed chorus and two flutes (1968), Flute Trio for flute, violin, and cello (1979), Yūzuru Fantasy for 12 flutes (1984, based on the composer’s opera), Nagasaki Kaido (Nagasaki Road) for mixed chorus, soprano, flute/alto flute, and piano (1986), Sonata for Flute and Piano (1986), Nocturne et Dance for flute and orchestra (1990), Hagoromo for flute and harp (1992/2000), and Chansons Malaises for mezzo-soprano, flute, and piano (2000). It is worth noting that Dan occasionally composed for traditional instruments, evident in Conversation at Night for shinobue and cello (1994) and Symphony No. 6 “Hiroshima” for orchestra, soprano, nohkan, and shinobue (1985).

Of the works listed above, substantial information exists only for Hagoromo,

Chansons Malaises, and the flute sonata. Based on the poem “Hagoromo-no-Mai”

(“Dance of the Heavenly Maid”) by Takashi Tsujii, Hagoromo is a twenty-minute, five- movement work for flute and harp. The movement titles are “Clouds,” “Water,” “Man,”

“Dance,” and “To Heaven.” Dan wrote this work in 1992 and revised the fourth

20 movement in 2000. Yoko Owada, the flutist to whom this work is dedicated, met Dan through the poet Takashi Tsujii. Owada writes the following:

This piece “Hagoromo” is special to me, since it started from my own impressions at Lake Biwa, developed into a beautiful poem by Takashi Tsujii, and evolved into a piece by Dan-sensei, blended with a touch of sensitivity to our ancestors, the Yamato clan. This was unusual for the composer…This piece makes me reconsider the various circumstances of the present world and the mystery of human existence. It makes me wonder why this maiden had to return to heaven and why we feel her loneliness is beautiful.37

Yoko Owada and Susanna Mildonian, harp, premiered both versions of the work in 1992 and 2000. At the 1992 premiere, Empress Michiko of Japan sat between Dan and Tsujii.38

Complete with extended use of whole-tone passages, Hagoromo demonstrates Dan’s lyricism and showcases soaring melodies and virtuosity in both the flute and harp lines.

Chansons Malaises, or Songs of a Malay Girl, was Dan’s final composition. The work is based on a collection of poems with the same title by Yvan Goll (1891-1950), a bilingual poet who wrote poems in both German and French. Daigaku Horiguchi translated Goll’s poetry into Japanese and introduced the work to Dan when the composer visited his home. Dan repeatedly wrote, rewrote, and postponed this composition due to large-scale commissions, and the composer actually visited Malaysia on two occasions during the 1990s.39 Dan finally completed Chansons Malaises in June of 2000, two decades after Horiguchi had died. The composer expressed regret for not finishing this piece while Horiguchi was alive.40 In this chamber work that contains well

37 Yoko Owada, flute, liner notes to Flute Message from Yoko III, ed. Carol Marleigh Kline, Fontec FOCD3482, 2001, compact disc, 13. 38 Ibid. 39 Ikuma Dan, Chansons Malaises (Tokyo: Ongaku no Tomo Sha, 2001), 2. 40 Ibid. 21 over an hour’s worth of music, Dan includes 29 out of the 40 poems in Goll’s work. Dan also includes one interlude for solo flute and one interlude for solo piano. Kazuko Nagai

(mezzo-soprano), Yoko Owada (flute), and Ayako Kotani (piano) premiered the work on

March 11, 2001, in the Yokohama Minato Mirai Hall.

Analysis of Sonata for Flute and Piano (1986)

The flute part to Dan’s flute sonata contains the following preface:

This piece was composed for Yoko Owada’s concert tour of USA in 1987 Spring and first performed by Yoko Owada (flute) and Ron Warren (piano) at the Frances and Armand Hammer Auditorium in the Corcoran Gallery of Art (Washington D.C.) on 11th February 1987, organized by the Japan Information and Culture Center.41

As shown thus far, Owada served as the impetus for Dan’s later flute compositions. She met the composer at a party in June of 1984. In August of 1986, Owada performed the flute part in Dan’s Nagasaki Kaido and was more acquainted with the composer at that point. Owada praises the elegance, sensitivity of the melodic line, and nostalgic feeling of

Dan’s flute sonata.42 When she performs this work, Owada imagines the colorful view from Dan’s home as well as elements of Chinese culture and history.43 In other words,

Owada observes Dan’s interest and passion for Chinese culture in this piece. She claims that the emotions created from this sonata comfort her and enhance her connection with

41 Ikuma Dan, Flute part, Sonata for Flute and Piano (Tokyo: Zen-On Music Co., 1990), 2. 42 Yoko Owada, flute, liner notes to Flute Message from Yoko II, Fontec FOCD3228, 1988, compact disc, 2. 43 Ibid. 22

Japanese culture.44 The sonata, lasting roughly sixteen minutes, contains two movements.

Though written most recently, Dan’s flute sonata is the most tonal and traditional in form and harmony of the three works analyzed in this document.

I. Allegro ma non troppo

Pitched in Ab major and marked “Allegro ma non troppo,” the first movement is written in standard sonata form.45 The exposition begins with a simple bass line in the left hand of the piano (five quarter notes), over which rolling sixteenth notes provide the accompaniment with a sense of forward motion. The flute enters on a sustained Eb2 on beat three in the first measure, presenting the sonata’s first theme (see Figure 1).

44 Ibid. 45 Sonata form is a standard musical structure originating from the early Classical period. The three major sections in sonata form are the exposition, development, and recapitulation. 23

Figure 1: Ikuma Dan, Sonata for Flute and Piano, Mvt. 1, First Theme46

Alternating measures of 3/4 and 2/4 time signatures create a lulling motion that evades rhythmic predictability. The flute’s second statement of the principal theme begins five bars before rehearsal 1, this time an octave higher and slightly louder. The pattern of the theme changes two measures before rehearsal 1, where the flute descends a half-step lower than expected. Slur-two tongue-two sixteenth-note patterns in the flute sequence downward over syncopated chromaticism and diminished chords in the piano on offbeats, creating a sense of playfulness after rehearsal 1. This material decays to pianissimo eleven bars after rehearsal 1. At this point, each new statement descends chromatically, repeating the C to B descent one last time before the transition material in the solo flute before rehearsal 2. The flute presents the secondary theme at rehearsal 2, marked “Poco meno messo” and set in the dominant key of Eb major (see Figure 2).

46 Dan, Flute part, Sonata for Flute and Piano, 3. 24

Figure 2: Ikuma Dan, Sonata for Flute and Piano, Mvt. 1, Second Theme47

This theme is more lyrical and less rhythmic in nature, and the uppermost voice of the piano generally descends chromatically. Dan introduces flutter tonguing on low register sustained notes, preceded by a sf attack, to add intensity to the sound. At rehearsal 4, the second theme moves to the right hand of the piano, interjected by forte sixteenth notes and thirty-second-note runs in the flute. An accelerando and crescendo in both instruments lead to a declamatory fortissimo statement at rehearsal 5, returning to the initial “Allegro ma non troppo” tempo. Three bars after rehearsal 5, Dan derives the sixteenth notes in the flute part from the piano’s material in the beginning of the movement. The flute presents several statements of the second half of the first theme, characterized by sixteenth-note triplets. After a diminuendo to a pianissimo low C1 in the

47 Ibid., 4. 25 flute part, the piano becomes more agitated with ongoing sixteenth notes, triplets, and sextuplets. The accompaniment diminuendos to ppp at rehearsal 7, where the flute joins with ascending half-steps, marked “rit.” and “con delicatezza,” to transition into the return of the second theme. This time the theme is lower and softer than its initial appearance. The theme breaks away from expectations in the sixth bar of rehearsal 7, in which the flute ornaments the melody with sixteenth notes. Additionally, the flutter tonguing has disappeared, replaced by a restatement of the second theme. Two measures before rehearsal 8, after reaching a brilliant C-major chord, the piano takes over the melody. The two instruments continue to trade the melody, and rapid quintuplets in the flute part add more flair to the music. A brief accelerando leads to another “Allegro ma non troppo” section at rehearsal 9. Here, the sixteenth notes with repeated notes at the end of each grouping return from rehearsal 1. Beginning in the fourth bar of rehearsal 9, the first note on each beat in both instruments outlines descending Eb-major scales. At rehearsal 10, the flute presents a virtuosic display of triple tonguing in two measures of fortissimo followed by two measures of subito piano playing. In the fifth bar of rehearsal

10, the sixteenth notes return, but this time the repeated notes become descending half- steps. The first note of each beat in both instruments now outlines a whole-tone scale (see

Figure 3). In the flute part, the whole-tone scale ultimately resolves on the sustained, pianissimo low C1 one bar before rehearsal 11.

26

Figure 3: Ikuma Dan, Sonata for Flute and Piano, Mvt. 1, Whole-Tone Descent48

Rehearsal 11 marks the recapitulation, the return of the first theme in the home key of Ab major. The material in both parts is identical to the beginning until the bar before rehearsal 12, in which sixteenth notes are reduced to eighth notes in the flute part.

Another alteration is presented in the following bar; the flute plays sf thirty-second notes on the last sixteenth note of each beat. This pattern repeats until rehearsal 13, where Dan introduces trills as the piano enters with the secondary theme. Three bars after rehearsal

48 Dan, Sonata for Flute and Piano, 11. 27

14, the flute reenters with the slur-two tongue-two sixteenth notes found previously in the movement. The next bar contains eight thirty-second notes per beat, the fastest note values the flute has had to play so far. Another accelerando leads to the fortissimo C- major statement last heard at rehearsal 5. This material remains the same until the seventh bar of rehearsal 15, where Dan alters the last two sixteenth notes in the flute part. The flute presents three ascending and loudening statements of the second half of the first theme, culminating in a fortissimo statement of the material from rehearsal 5. This material is in Eb major, the dominant (V) chord in Ab major. Two measures of the flute’s first rhythmic motive from the first theme (two sixteenth notes followed by an eighth note, without the tie) drive the flute part to two final statements of the declamatory material from rehearsal 5, now in the home key of Ab major and supported by sixteenth notes in the accompaniment. Three bars from the end, the flute plays two groups of sixteenth notes containing three octaves of Ab. Ab3, the highest note encountered in the movement, appears with sff and accent markings right on beats two and three. The accompaniment drops out in the penultimate bar, and the flute holds the flutter-tongued and accented tonic note (Ab), crescendoing to the release. The entire movement lasts about five minutes and thirty seconds.

II. Thema with Variations and Rondino, Andante cantabile

Proportionally, the second movement of Dan’s flute sonata is about twice as long as the first movement, lasting roughly eleven minutes. Marked “Andante cantabile,” the movement opens with the theme in the solo flute, joined by piano accompaniment two

28 beats later. The theme is in 4/4 and centered loosely around Bb minor. The presence of five accidentals results in the inclusion of all the black notes on the piano, creating a pentatonic atmosphere throughout the movement at times. Dan marks specific dynamics and swells to give the nine-bar theme a clear shape. The theme can be divided into two parts: measures 1-4 (first half) and measures 5-9 (second half). The second half of the theme, particularly the sixteenth-note pattern, resembles the second theme from the first movement (refer back to Figure 2). At rehearsal 1, the second statement of the theme,

Dan alters the accompaniment slightly to begin a beat earlier and provides more forward motion through eighth notes. Dan also subtly modifies the theme with sixteenth notes in the second and third bars of rehearsal 1 (see Figure 4).

29

Figure 4: Ikuma Dan, Sonata for Flute and Piano, Mvt. 2, First Theme49

At the first variation, marked “Allegrette” in the score, the flute enters with a sf attack that immediately diminuendos to a soft sustained note. The staccato triplets in the piano give the music a spritely character. The Db-major tonality also livens the theme. In each variation, the outline of the original theme is always present, despite the tempo or other alterations made to the flute part. Staccato articulations, sixteenth notes, triplets, and trills energize the flute part in this first variation. In this variation’s second statement, at rehearsal 2, the flute part becomes even more chaotic with sextuplets replacing sixteenth notes. The quirky and playful quality in the accompaniment is exaggerated by

Dan’s use of the piano’s upper register in the first four bars of rehearsal 2. Quick

49 Dan, Flute part, Sonata for Flute and Piano, 9. 30 resolution notes from trills ornament the flute part even further, leading to a fermata and chromatic termination notes resolving into the sustained Bb2 one bar before Variation 2.

In this bar, the piano slows down to set up the slower tempo of Variation 2, marked

“Andante con moto” with legatissimo articulations in the accompaniment.

The second variation begins with the piano, and the first bar matches the first appearance of the theme at the beginning of the movement. The flute joins on an offbeat near the end of the first bar, providing a contrapuntal line to the piano’s presentation of the theme. Although this variation is gentler than the previous one, Dan marks the flute at a mezzo-forte dynamic, meaning the sound must project. In the third bar of this variation, the accompaniment ceases, and the second and fourth sixteenth notes in each beat descend chromatically, always returning to Bb. This is the first instance in the movement where chromaticism, which played an important role in the previous movement, is apparent. Two bars later, a similar trend occurs, but this time Dan combines chromaticism with scalar motion. Each note on the beat is a scalar descent in Db major

(Ab-Gb-F-Eb-Db). After a chromatic ascent, the theme restarts, this time in the flute part.

Five bars later, the flute rests for two bars while the piano takes over the theme once again. At rehearsal 3, the flute resumes the theme again, replacing the eighth notes expected on the second beat with triplets to add rhythmic variety. In the third bar of rehearsal 3, the chromatic descent returns, but now the sixteenth notes are sextuplets.

Two bars later, the chromatic ascent from before reappears; similarly, Dan modifies the rhythm with sextuplets and thirty-second notes to add more complexity. This ascent leads

31 to the flute’s final statement of the theme, which ends on a sustained Bb1 right on

Variation 3.

Variation 3, marked “Allegretto leggiero,” is a fast variation, contrasting the extended slow variation that preceded. This variation, now in 3/4 instead of 4/4, begins with rising sixteenth notes in the piano. The flute joins a measure later with forte tongued leaps spanning up to a thirteenth, and even wider intervals occur later. The rapid change in registration and fast articulations make this variation technically difficult for the flutist.

Here, the rhythm (sixteenth rest followed by three sixteenth notes) recalls the accompaniment in the opening of the first movement. Subito dynamic changes fill this variation with playful contrasts. Four bars before rehearsal 4, the piano resumes ongoing sixteenth notes as the flute plays melodic quarter notes. In the fifth bar of rehearsal 4, the momentum in both parts begins to decline as the flute simplifies its part and the accompaniment simplifies to eighth notes. In the last two measures of the variation, the flute drops out as the piano plays two last pianissimo eighth-note statements before playing a low Eb in octaves to launch Variation 4.

Variation 4, marked “Moderato,” is characterized by an eighth note followed by two sixteenth notes; this is the rhythmic foundation of the variation. Simple quarter-note harmonies accompany the flute line for most of the variation, and the tonality is loosely based around Bb minor once again. Frequent whole-step and half-step dissonances give this variation a somber atmosphere. The second statement of the variation begins one bar before rehearsal 5, but this time the material is slightly abbreviated. The last two

32 measures of the variation contain chromatic alternations of the variation’s rhythmic motive (C versus Cb), ultimately resolving to Bb.

Variation 5 is marked “Andante maestoso,” and Dan highlights sf and accented articulations with a repetitive rhythmic foundation in the left hand. These elements, combined with the meter change to 6/4, provide senses of heaviness and monotony to this variation. In the second bar, the flute imitates the left hand’s rhythm, except the flute’s rhythm is ascending rather than descending. The bar ends with a crescendo and chromatic descent to the next downbeat. In the flute’s following statement, the imitation returns, though the interval is now a tritone instead of a perfect fifth. A chromatic ascent and crescendo at the end of the bar bring the flute to a lyrical, soaring statement of the second half of the initial theme (from measure 5), now centered in Eb major. By this point, the piano has ceased the repetitive rhythmic motive, restoring a sense of lyricism to the accompaniment once more. A brief accelerando (con moto) and poco ritardando set up the second statement of this variation at rehearsal 6. In the first and fourth bars of this statement, Dan includes a descending, mostly chromatic quarter-note line in the flute part. The accompaniment becomes fuller in the fifth bar after rehearsal 6. The flute’s next entrance imitates the piano’s rhythm and utilizes the thirty-second notes previously heard.

Eight bars after rehearsal 6, an ascending, fortissimo augmented triad brings the flute line to a high B4, the highest note encountered in the entire piece, supported by a sf A9 chord.

In the next bar, whole-tone influences become apparent in the flute’s sextuplet. The subito piano dynamic six bars before rehearsal 7 emphasizes whole-tone harmonies even more. The uppermost line in the piano plays an ascending whole-tone scale while the left

33 hand plays a descending whole-tone scale (see Figure 5). The flute joins in unison with the ascending piano line, and Dan ornaments certain notes with whole-step trills. The pattern repeats once more, culminating in an emphasis on Eb in both instruments two bars before rehearsal 7. In this spot, there is a conflict between the half-steps Cb and Bb, a theme encountered elsewhere in the piece.

Figure 5: Ikuma Dan, Sonata for Flute and Piano, Mvt. 2, Whole-Tone Material50

50 Dan, Sonata for Flute and Piano, 28. 34

The key change to Eb major and “Allegro” marking at rehearsal 7 signal the beginning of the rondino, or little rondo. In this context, a rondo is a musical form with a constantly recurring theme. The solo flute initiates this formal section with two sixteenth notes followed by an eighth note, a rhythmic motive from the fifth bar of the first movement (refer back to Figure 1). The simple quarter notes and eighth notes in the accompaniment are soft with staccato markings, essential in creating a light and playful character. Nine bars after rehearsal 7, the flute introduces the “rondino theme,” distinguished by eight sixteenth notes (see Figure 6). Dan derives the second beat of sixteenth notes from those in the opening theme; the intervals are identical (refer to measure 5 in Figure 4). In the third bar of each statement of this rondino theme, Dan simply displaces the first note by an octave. Eight bars after rehearsal 7, there is a key signature change to C major, though the harmony suggests D major. Subito dynamic changes and the piano’s upper register exaggerate the lively character of the rondino.

Twelve bars before rehearsal 8, the first note of each beat in the flute line always moves by half-step, continuing the trend of chromaticism.

35

Figure 6: Ikuma Dan, Sonata for Flute and Piano, Mvt. 2, Rondino Theme51

The flute enters with the second statement of the rondino theme at rehearsal 8.

Nine bars after rehearsal 8 until rehearsal 9, the flute plays in unison with the accompaniment on each beat, with the exception of the sixteenth notes that the flute provides. This further enhances the lively spirit of the rondino. At rehearsal 9, the flute enters with the rhythmic motive that opened the rondino section. The sixteenth-note triplets nine bars after rehearsal 9 and following originate from the first movement’s initial theme (refer back to Figure 1). Furthermore, the sixteenth-note groupings with two repeated notes between rehearsals 9 and 10 resemble those from rehearsals 1 and 9 in the first movement. Eight bars before rehearsal 10, syncopated diminished chords accompany the flute’s sixteenth notes, adding a layer of sarcasm to the music. At rehearsal 10, the piano initiates the rondino theme, shortly followed by the flute. Similar imitation between

51 Ibid., 29. 36 the two instruments ensues. Eleven bars after rehearsal 10, the first notes on each beat in the flute and piano parts form a brief ascending whole-tone scale. After the flute reaches a high Gb3 on four separate occasions, the piano drops out two bars before rehearsal 11.

The solo flute leads a ritardando into the return of the cantabile theme (from measure 5) at rehearsal 11.

The musical material at rehearsal 11 mirrors the material from measure 5, but now the flute is up an octave and marked “sempre forte.” At rehearsal 12, the recapitulation of the second movement, the flute plays one final statement of the theme in the original key before the rondino theme suddenly appears in the accompaniment at rehearsal 13. The flute joins with the rondino theme one bar later, and the theme sequences to E major at the ninth bar of rehearsal 13, now fortissimo. Four bars later, the solo piano interjects with a brief interlude in C# minor before the flute enters with the material that opened the rondino at rehearsal 14. Seven bars before rehearsal 15, the sixteenth notes in the flute part and the right hand in the piano once again outline ascending and descending whole- tone scales, respectively. The flute enters with the rondino theme one bar before rehearsal

15, and the theme becomes more and more fragmented. Yet again, the starting note of each entrance sequences through the whole-tone scale in both voices. After imitation with the piano at rehearsal 16, the flute line plays ascending chromatic material. A second statement of this material leads to the stringendo ten bars from the end, which functions as a codetta, or brief closing material, to the movement. The flute repeats the first measure of the rondino theme four times in row. In the accompaniment, the right hand of the piano reverses the order of the two beats of sixteenth notes from the flute part, giving

37 the impression that the rondino theme restarts on each passing beat. The flute line crescendos to a sustained high A3 and then drops down the octave before crescendoing to a sfff release. Accents and sff markings from the piano exaggerate the excitement of the

A-major ending, a half-step above the home key of Ab major in the first movement. Even until the end of the piece, Dan emphasizes chromatic relationships.

This analysis highlighted the thematic and rhythmic manipulations in Dan’s flute sonata, both within and between movements. As discussed previously, Dan’s compositional style is inherently melodic and lyrical, evidenced by his numerous operas, vocal compositions, and training from German-school teachers like Kōsaku Yamada.

Dan’s Sonata for Flute and Piano contains lush, Romantic-inspired harmonies, complemented by an emphasis on chromaticism and whole-tone patterns that creates a unique, expressive musical language. The two-movement structure for a sonata is atypical for the time of the piece’s conception, and the variations and rondino within the second movement are simple but memorable musical forms. These are only a few of the factors that contribute to the sonata’s unique identity, and Dan’s innate lyricism alone qualifies this sonata as a work deserving of more performances and inclusion in the standard repertoire.

38

Chapter 4: Hikaru Hayashi (1931-2012)

Biographical Information

Born on October 22, 1931, Hikaru Hayashi was one of Japan’s most prolific and successful composers. Hayashi started piano lessons at age four and began composition lessons in 1941 at age ten with Hisatada Otaka. Otaka, a well-known and respected

Japanese composer, was a close friend of Hayashi’s father. When Otaka suddenly passed away in 1951, Hayashi finished orchestrating the last movement of Otaka’s Flute

Concerto, Op. 30b.52 From a young age, Hayashi also expressed interest in opera and theatrical works, evident in his activities with groups such as the Haiyūza Theater

Company as early as 1949.53 After Otaka’s death, Hayashi studied composition with

Tomojirō Ikenouchi at the Tokyo National University of Fine Arts and Music (1951-

1953). In 1953, the same year he dropped out of school, Hayashi formed the Yagi no kai

(The Goat Group) with composers Michio Mamiya and Yūzō Toyama. Luciana Galliano describes the aesthetics of Yagi no kai as follows:

The musical poetics of this group are interesting because it tried to make a fresh start in dealing with the problem of evolving a music capable of expressing a more Japanese spirit. The idea was to make a clean break and to move away from

52 Hisatada Otaka, Concerto for Flute and Orchestra, Op. 30b, arr. Atsutada Otaka (Tokyo: Muramatsu, 2001), 3. 53 Yoko Maruyama, “Hayashi, Hikaru,” Piano Teachers’ National Association, last modified April 24, 2018, https://enc.piano.or.jp/persons/241. 39

the ideas behind nihonteki naru ongaku (the nationalist musical thought), which had been encouraged by the propaganda of the prewar years.54

The composers in this group were particularly inspired by Bartók and his work as a folk music collector.55 In 1953, Hayashi also composed his first major work, Symphony in G, which won the Grand Prize at the Art Festival of Japan in 1953 and launched the composer’s career. He began to write more large-scale symphonic works and operas, becoming music director of the Opera Theater Konnyakuza in 1972.56 A versatile composer, Hayashi also wrote over 100 film scores, composing music for many films by the director Kaneto Shindo. Perhaps most well-known, Hayashi wrote the music for

Hadaka no Shima (The Naked Island), which won the Music Award of the 1961 Moscow

Cinema Festival.

Hayashi’s music draws inspiration from all kinds of Japanese elements, including the language, poetry, and sociopolitical themes. One of the composer’s most famous works is Gembaku Shōkei (Little Landscapes of Hiroshima, 1978-2000) for mixed chorus, with text by the Japanese poet Tamiki Hara. Hara was a Hiroshima survivor who lost family members to the atomic bomb and later committed suicide. Hayashi’s choral suite makes use of tone clusters, vocal improvisation, moaning, and other effects to evoke the aftermath of the atomic bomb. Herd writes, “Hayashi recreates the landscape of

Hiroshima, the fear, hysteria, and suffering, but makes no didactic conclusions. The

54 Galliano, Yōgaku, 197. 55 Ibid. 56 Maruyama, “Hayashi, Hikaru,” https://enc.piano.or.jp/persons/241. 40 beauty of Gembaku Shōkei is its ability to allow each listener to empathize in his own way.”57 Other works incorporate similar political themes. For example, Legende for string quartet (1989) and Symphony No.3 ‘At Noon, the August Sun…’ (1990) were responses to the Tiananmen Square Protests of 1989 in China, while the Viola Concerto

‘Elegia’ (Otaka Prize, 1996) was written in the wake of the Great Hanshin-Awaji

Earthquake of 1995.

Hayashi’s output contains orchestral works, choral compositions, eclectic chamber music, and dozens of operas and theatrical works. The composer’s other notable works include Variations for Orchestra (Otaka Prize, 1956), Symphony No. 2

‘Canciones’ (1983), Gauche the Cellist (1986), Joan of Arc Wearing a Skirt (1987), I Am a Cat (1998), Piano Sonata No. 2 ‘Kigi ni tsuite’ (‘About Trees,’ 1981), and The Blue

Rock Thrush for oboe and piano (2011). Hayashi also wrote one of the earliest Japanese compositions for solo recorder, and it is possible that Hayashi was one of the first people to play the recorder in Japan, receiving a descant recorder from his father as a gift from

Vienna.58 Hayashi passed away on January 5, 2012, at the age of eighty. Influenced by

Japanese language, literature, and themes, but always rooted in neoclassic use of familiar forms, Hayashi’s compositional style is dramatic and eclectic, often eliciting emotional responses.

57 Herd, “The Neonationalist Movement,” 124. 58 Hikaru Hayashi, Sonatine for Soprano Recorder, ed. Ewald Henseler and Mayumi Adachi (Münster, Germany: Mieroprint, 2000), 13. 41

Discussion of Select Flute Compositions

Of the three composers studied in this document, Hayashi wrote the most flute works. For the sake of space, compositions with little to no background information appear only in Appendix A. During his childhood, Hayashi lived in the same household as Liliko (Ririko) Hayashi, his elder cousin.59 Liliko Hayashi (1926-1974) was a pupil of

Jean-Pierre Rampal, served as flute faculty at the Toho-Gakuen Music High School and

University, and had a successful solo and orchestral career, performing as principal flutist with the Tokyo Philharmonic. Her pupils included Yoko Owada, Shinya Koide, Soichi

Minegishi, Hirohiko Kato, and other successful Japanese flutists. Because he grew up in the same household as Liliko, Hayashi heard the sound of the flute daily. He composed pieces for his cousin to play, and Liliko would also request pieces from the composer.60

Between 1944 and 1947, the composer wrote five works dedicated to Liliko, all of which the composer premiered with Liliko: Serenade, Nocturne, Fantasia, Pastorale, and Three

Pieces.

Written on June 4, 1944, Serenade was Hayashi’s first flute composition, written when he was only twelve. The piece is in G major with a time signature of 3/4. The eighteenth-century sonata form of this piece, complete with an expressive flute cadenza, recalls the Classical style of Mozart.61

59 Soichi Minegishi, flute, liner notes to Salut D’Amour, ed. Ryoichi Yokomizo and trans. DHC, King Records KICC 68, 1982, compact disc, 8. 60 Hiroshi Arakawa, flute, liner notes to Hana no Uta: Hikaru Hayashi Flute Works, Hayashi Hikaru Office, Akadenshya ADS-003, 2002, compact disc, 4. 61 Ibid. 42

Nocturne, written on October 28, 1944, is one of Hayashi’s most charming compositions. This two-minute work is in G major with a time signature of 6/8. Hayashi wrote this piece after he departed to Yamanashi from Tokyo due to the war, and he was inspired by German and Austrian music.62

Hayashi completed his next work, Fantasia, on May 31, 1945. This seven-minute piece resembles flute and piano pieces written by French composers for the Paris

Conservatoire during the height of the Romantic era and early twentieth century. The complex, brilliant structure of this piece was influenced by Rimsky-Korsakov’s

Scheherazade.63

Next, Hayashi wrote his Pastorale in 1946. This piece is an elongated version of the composer’s Nocturne from 1944. With the help of his teacher, Hisatada Otaka,

Hayashi orchestrated this piece for flute with orchestra, later adapting it for flute and piano.64

Hayashi wrote his fifth and final early flute work, Three Pieces, in 1947, a time in which he composed and accompanied music in his school’s theatre club. The first movement, “Minuet,” is in D major. The second movement, “Pastorale,” is in a 6/8 time signature in A major, complete with a brief flute cadenza near the end of the movement.

The third movement, “Rondino,” is in F major and showcases the flute’s double-tonguing

62 Ibid. 63 Ibid., 5. 64 Toshiyuki Isogai, flute, liner notes to Two Sonatinas: Flute Music by Japanese Composers, Étendue AIQ-1006, 2015, compact disc, 4. 43 capabilities. The whole piece contains French characteristics with a hint of Gershwin flair in the harmonies.65

Hayashi’s five early flute works are published in one collection.66 Unfortunately, the collection is not yet available outside of Japan. It is the author’s hope to introduce these lyrical, memorable, simple pieces to a larger audience, as they are great contributions to flute pedagogy and repertoire in general. Several of these works are appropriate for teenage flutists and can be valuable for music education students at the college level. Hayashi planned to record these works with Liliko, but Liliko’s sudden death in the early 1970s prevented this from happening.67 To honor her memory, Hayashi released a recording of his early flute works with flutist Hiroshi Arakawa in 2002 (see

Bibliography and Appendix B).

Hayashi also arranged many popular songs for flute and piano. One example is

Seven Children (or Seven Baby Crows) Variations, based on a children’s song composed by Nagayo Motoori. Set in G major and arranged for Liliko on April 10, 1967, this piece contains a theme and three variations, with a borrowed piano part from Gabriel Fauré in the introduction.68 Additionally, Hayashi arranged his own themes from The Naked

Island for many combinations of instruments, including flute and piano.

Hayashi wrote several chamber works for flute, including The Way (1966), Child and Lines (1966), and Sky (1968) for flute and soprano. Tonally adventurous, these works contain more dissonances and freedom in form compared to Hayashi’s earlier works.

65 Arakawa, liner notes to Hikaru Hayashi Flute Works, 5. 66 Hikaru Hayashi, Works for Flute and Piano 1944-1947 (Tokyo: Ongaku no Tomo Sha, 1990). 67 Arakawa, liner notes to Hikaru Hayashi Flute Works, 2. 68 Ibid., 5. 44

Frequent grace notes, free rhythms, pitch bends, unusual intervallic leaps, and the absence of bar lines appear in these works’ flute parts. Aya for flute and harp (1970) utilizes similar techniques. In the preface to Aya, Hayashi writes, “The duration of this piece is only a guideline and does not have to be exact. The length of each measure should be played freely. Within the measures, I expect a more flexible movement in the grace notes.”69 Composed in a more tonal language, Paris 1923 for flute, guitar, and voice (2003) in eight movements is just one example of Hayashi’s eclectic chamber works. Commissioned by flutist Dai Himeda, Paris 1923 was inspired by the radical

Japanese anarchist Sakae Ōsugi and his connection to Paris.70 Unusually, Hayashi utilizes the vocalist only in the seventh movement. Hayashi’s other work for flute and guitar is

Memento (2006), written for the “Lorca Festival Memorial Concert” in memory of the poet Federico Garcia Lorca.71 Both of these compositions highlight the composer working with political themes.

Finally, after his flute sonata from 1967, Hayashi wrote two more works for flute and piano. Fantasia Johann Sebastian…2 (1985) is an interesting six-minute work for flute and piano. Written as an epilogue for Yoko Owada’s recital featuring the music of

Handel and J.S. Bach in the fall of 1985, the Fantasia is a giant conglomerate of musical quotations. The flute plays unaccompanied for most of the work; in fact, the piano joins only about a minute and a half before the end of the piece. Hayashi includes the “King’s

Theme” from J.S. Bach’s Musical Offering, BWV 1079, the B-A-C-H motive,

69 Hikaru Hayashi, Aya for Flute and Harp (Tokyo: Composer’s manuscript?, 1970), 1. 70 Dai Himeda, flute, liner notes to Hikaru Hayashi: “Paris 1923,” ed. Itsuko Ikeda and trans. Jonathan Baum, Hayashi Hikaru Office, Akadenshya ADS-007, compact disc, 2010, n.p. 71 Ibid. 45

Shostakovich’s D-S-C-H motive, Beethoven’s G#-A-F-E motive, Mozart’s C-D-F-E motive from Symphony No. 41 “Jupiter,” and a theme from Weill’s Berlin Requiem.72

This composition emphasizes Hayashi’s theatrical and humorous qualities. Finally, the 2-

Gatsu no Kaze (Wind of February) Sonatine (2011) was one of Hayashi’s final compositions. Written for Hiroki Nakayama’s flute recital in February of 2012, the sonatine contains three short movements that last around seven minutes total. Before

Nakayama had a chance to speak with the composer about the piece, Hayashi passed away in January of 2012. Nakayama recorded this piece and continues to perform it as a way to express his gratitude to the composer.73

Analysis of Sonata for Flute and Piano “Hana no Uta” (1967/68)

Written between June and November of 1967 and revised in August of 1968,

Hayashi’s Sonata for Flute and Piano is dedicated to his cousin Liliko. Hikaru and Liliko

Hayashi premiered this work on November 28, 1967, in New York’s Carnegie Recital

Hall. The notes in the score state that “spontaneity was emphasized” in the musical content, despite the work’s orthodox three-movement structure.74 In her analysis of

Hayashi’s first piano sonata (1965), Herd points out pentatonic structures and motives resembling sansagari tuning of the shamisen, a three-stringed traditional instrument.75

Because the composer considers this flute sonata similar to his first piano sonata, there

72 Owada, liner notes to Flute Message from Yoko II, 3. 73 Hiroki Nakayama, flute, liner notes to 2-Gatsu no Kaze: Hiroki Nakayama Flute Recital, Nami Records WWCC-7714, 2012, compact disc, 7-8. 74 Hikaru Hayashi, Sonata for Flute and Piano (Tokyo: Ongaku no Tomo Sha, 1968), 2. 75 Herd, “The Neonationalist Movement,” 130-32. 46 may be similar influences at play in this piece. Although deciphering specific pentatonic patterns and potential relationships to the composer’s first piano sonata may be enlightening, the following analysis focuses more on the flute line and its relationship to the accompaniment.

I.

The first movement, marked quarter note equals 80~96 and set in 12/8, begins with four measures of forte, jazz-like chords in the piano. In the third bar, the rhythmic activity increases in the left hand of the piano. Both the upper and lower staves of the piano are notated in bass clef, and the range is particularly low in the lower staff. The result is that the musical material in the upper staff sounds like it is on the beat due to its higher range, even though the chords begin after an eighth rest (see Figure 7). This aural illusion creates a sense of rhythmic instability that is present throughout the entire movement and contributes to the improvisatory nature of the music. The lowest two voices in the piano remain unchanged throughout the entire movement, with the exception of measures 41-54. These chords are the ostinato bassline. Throughout the movement, the composer divides the 12/8 bars in half with a vertical dotted line, probably to assist performers in reading the music.

47

Figure 7: Hikaru Hayashi, Sonata for Flute and Piano, Mvt. 1, Opening76

In the fourth bar, the flute enters with a quick ascent to A2, which is marked “non vibrato.” The performer gradually adds vibrato to the sound as the sustain reaches its

76 Hayashi, Sonata for Flute and Piano, 3. 48 conclusion. In these opening few bars, the flute generally changes rhythms on offbeats, and this syncopation contributes to the irregularity and unpredictability of the music.

Grace notes, a downward pitch bend in measure 9, two quarter-tones, and a pianissimo

“non vibrato” marking add more layers of complexity to the music (see Figure 7).

Hayashi said that he wrote this movement imagining the flutist playing with a rough sound over the piano ostinato, in the manner of the great jazz saxophonist John

Coltrane.77 This statement further supports the improvisatory nature of the flute line. The vibrato specifications recall similar methods used by Japanese composers like Takemitsu and Yuasa to evoke traditional instruments. It is possible that Hayashi attempted to attain similar results here. After the flute’s first statement, a dissonant ascending line in the right hand of the piano in measure 14, hemiolas, and dissonant tremolos break up the regularity of the chordal accompaniment heard thus far.

At measure 17, the flute enters with a second statement of its first theme, breaking away from the original material only at the end of bar 20. Here, taking the grace notes into account, the flute line descends chromatically to G2. A diminuendo to piano on a sustained D2 without vibrato precedes a crescendo to accented syncopations in bar 26.

Around bar 29, the piano texture becomes denser and gradually begins to interact more with the flute part. For instance, the piano’s accented eighth notes in measures 33-34 are in unison with the flute line. Throughout this section, there are many leaps of sevenths and ninths in the flute part, especially between grace notes and their principal note. As stated earlier, sevenths and grace notes are common in nohkan music, so Hayashi’s

77 Arakawa, liner notes to Hikaru Hayashi Flute Works, 6. 49 repeated use of this interval might draw inspiration from this tradition. Another “non vibrato” sustain in the flute part in bar 37 begins to grow dynamically and with the addition of vibrato, leading into pentatonic runs in bars 39-40. The pentatonic patterns, which in this case are the black notes on the piano, begin as quintuplets but gradually increase to octuplets (see Figure 8).

Figure 8: Hikaru Hayashi, Sonata for Flute and Piano, Mvt. 1, Pentatonic Scales78

At bar 41, the flute enters with a variation of the material from bar 31, and the chordal ostinato finally ceases for the first time in bar 43. Here, the accompaniment is incredibly thick and dissonant, and the uppermost voice is in unison with the flute. The general outline of measures 43-45 is a chromatic descent. A brief flutter-tongued descent in the flute leads to a sweeping pentatonic run in measure 46. Similar runs follow in the next three bars, with the upper voice of the accompaniment playing in unison with the

78 Hayashi, Sonata for Flute and Piano, 5. 50 flute. Bars 50-54 fragment this material further, and Hayashi emphasizes chromatic ascents in both the flute and accompaniment.

At measure 55, the chordal ostinato from the first half of the work returns, and this section functions as a recapitulation of sorts. The flute enters with the leap of a ninth to a sustained A3, the highest note yet encountered in the piece. Interestingly, Hayashi does not specify vibrato indications on this sustained note, even though it is identical to similar places in the beginning of the work. Performers may wish to manipulate the vibrato similarly at this moment. In bar 59, rather than returning to the beginning material as expected, Hayashi alters the articulations and rhythms of the sustained note to add a sense of urgency before the arrival to a Bb3, the highest note in the movement, in bar 61.

The flute line continues to emphasize the eighth-sixteenth-note rhythm for several measures with forte and hectic upper-register interjections from the piano.

The dynamic shift to mezzo-forte in both voices in bar 72 signals a change in mood and atmosphere. The flute sustains a low C1 before playing an unrhythmic flurry of technique against the familiar piano ostinato. The second statement at bar 75 is softer and more abbreviated, and two bars later, the material becomes much more augmented. Only the first three notes of the pattern (C-Eb-F) are present here, and the flute diminuendos to ppp, its softest dynamic yet. The movement closes with a seventeen-bar piano solo. The chords in both hands of the piano remain unchanged, maintaining the familiar harmonies.

Instead, Hayashi manipulates this material through a gradual crescendo, occasional octave displacements, and tremolos, which begin in measure 85 and cease in measure 95.

In measure 87, the dynamic increases to forte, and the right hand jumps up an octave.

51

Two bars later, the dynamic intensity climaxes at fortissimo, and the first chord of the right hand jumps an additional octave higher. After this climactic moment, the chordal material decays until the last bar of the movement, marked ppp. The final bar also contains a ritardando and fermatas on the last chords. The entire movement lasts about four minutes and thirty seconds.

II. Andante

The next movement begins attacca from the end of the first movement. Marked quarter note equals 60~72 and written in 6/4, the second movement exhibits a calmer character with simpler accompaniment and longer melodic lines. The opening measure contains three ascending half notes in the piano’s right hand (E-B-D#) and three descending half notes in the left hand (A-F#-C#). After accounting for octave displacements, these notes form three intervals: a perfect fifth, a perfect fourth, and a major second. This contrary motion leads to the downbeat of the second measure, where all six notes combine to form one chord (see Figure 9). The flute enters with a lyrical low-register melody containing mostly major, minor, and augmented seconds. In bar four, the left hand plays a chord containing two perfect fifths, while the right hand plays a chord with two perfect fourths. Hayashi once said that he enjoyed the sounds of melodic seconds and fourths because they recalled traditional Japanese music.79 Even within the first four bars of this movement, Hayashi’s preference for intervals of the second and fourth is clear.

79 Herd, “The Neonationalist Movement,” 132. 52

Figure 9: Hikaru Hayashi, Sonata for Flute and Piano, Mvt. 2, Opening80

In bar 6, Hayashi ornaments the flute line with grace notes, a feature borrowed from the first movement. In the same bar, after the flute plays a tritone, the piano returns to the contrary motion from the first bar. Here, however, the roles between the two hands are reversed: the bottom line ascends while the top voice descends. Like in the previous movement, the flute part contains many sustained notes, usually marked with a diminuendo. Measure 10, “Piu mosso,” marks the second section of the piece. The flute’s entrance is fortissimo, and specific swells enhance the expression and shape of the line.

The interval of the minor third (Eb to Gb) is central in this material. In bar 13, the flute statement extends upward to include two rising minor thirds. In the next bar, as both instruments begin to crescendo and accelerate, Hayashi expands the flute’s intervals to two rising perfect fourths (A-D-G). This material peaks at measure 17, the first true

80 Hayashi, Sonata for Flute and Piano, 10. 53 fortissimo moment in the piece, marked quarter note equals 120. Underneath flute sustains, the piano resumes the contrary motion, now chordal. Both piano lines are harmonized in thirds, and there is much dissonance between the two voices. As this material begins to slow down and decay, the flute descends in range and plays several minor thirds, seconds, and perfect fourths.

In bar 24, the piano introduces a playful rhythmic motive (four thirty-second notes leading to an eighth note) that always terminates with an interval sounding a minor ninth or minor seventh. At this point, Hayashi continues to explore expression on sustained notes in the flute part. The flute finally presents more rhythmic material in measure 28, imitating the piano’s rhythmic motive from bar 24. The piano ornaments this rhythmic material with grace notes in bar 30 before introducing a flurry of notes that descends to dissonant tremolos in bar 33. This moment, marked “Senza tempo,” signals the flute’s cadenza. The cadenza, devoid of bar lines for the most part and accompanied only by tremolos in the piano, allows the flutist to play with much artistic license and freedom. Within the first part of the cadenza, between the flute’s sustained E3 and F2,

Hayashi emphasizes intervals like the major and minor seconds, minor thirds, perfect fourths, and sevenths once again. Hayashi also hints at pentatonic harmonies, which become more evident in the middle of bar 34 (see Figure 10). Following the sustained

A1, the flute presents the notes B, D, E, and G in sequential patterns, forming a pentatonic scale. After an accelerating pattern (Bb-A-G-E), in which the “ad-lib” marking allows performers to choose the speed and repetition, the flute leaps up a minor seventh to land on a sustained D3 on the downbeat of bar 35. This bar emphasizes the minor

54 third, major and minor seconds, and perfect fourths, ending with a leap of a seventh to bar 36. After the sustained F3, the flute begins a tongued, mostly chromatic passage that ascends and crescendos to a fortissimo sustained C4, the highest note encountered in the piece. This is the peak of the movement, and the murmuring accompaniment also crescendos to fortissimo. In the rest of bar 37, the flute presents fragmented statements highlighting intervals of the second and seventh.

Figure 10: Hikaru Hayashi, Sonata for Flute and Piano, Mvt. 2, Cadenza, m. 3481

The recapitulation occurs in bar 38 and remains mostly identical to the opening material, with the exception of a new obbligato line in the right hand of the piano in bar

39. Bar 47 mirrors the material from measure 10, except the flute introduces ornamental

81 Ibid., 12. 55 grace notes earlier than the previous time. The musical material remains the same until measure 60, which marks the movement’s coda and a shift in tempo to quarter note equals 80. On the last two quarter notes of the flute’s descending line, the piano enters with the same thematic fragment as the flute, changing rhythmic values for variety. The flute stays in the low register in bars 62-64, and the piano texture remains chordal and sparse. The flute rejoins in the last bar with a descending minor seventh followed by an ascending minor ninth (spelled as an augmented octave). In the left hand of the piano, the perfect fifth (A-E) recalls the same interval and notes that opened the movement. Taking the flute part into consideration, the final chord is an eerie AM7 chord. Lasting just under six minutes, the second movement is the longest and slowest movement in the sonata.

III.

Marked dotted quarter note equals 120, the third movement proceeds directly from the ending of the second movement (attacca). This movement was inspired by

“Hana no Uta,” a song written by Hayashi in remembrance of the Argentine Marxist revolutionary Che Guevara, who died in October of 1967.82 In Japan, this sonata often has the subtitle “Hana no Uta,” and this is where the subtitle originates. The lyrics in

Hayashi’s song describe a woman singing a song without words during the coldest, snowiest night in winter in order to remember the song of flowers. Hayashi includes the original song and lyrics in the upper corner of the score. This melodic material provides the foundation for the movement, though Hayashi alters the rhythm significantly. Much

82 Arakawa, liner notes to Hikaru Hayashi Flute Works, 6. 56 to the dismay of some performers, Hayashi does not indicate time signatures in this movement, even though almost every bar is in a different meter (see Figure 11). For instance, the first twelve bars (the first full statement of the theme) would be notated and grouped as follows: 8/8, 12/8 (7+5), 8/8, 10/8 (7+3), 8/8, 11/8 (7+4), 8/8, 10/8 (7+3), 8/8,

11/8 (7+4), 8/8, and 13/8 (7+6). The only predictable pattern is the appearance of an 8/8 bar every other measure.

Figure 11: Hikaru Hayashi, Sonata for Flute and Piano, Mvt. 3, Opening83

83 Hayashi, Sonata for Flute and Piano, 15. 57

Because it is borrowed from a song, the main theme is memorable and relatively simple, with many whole-steps and half-steps. The staggered entrances in the first measure in the accompaniment produce a canonic effect, and the ongoing marcato eighth notes propel the movement forward. Grace notes return once again in this movement to ornament the melodic line. In measure 13, which is mistakenly labelled box “1” in both the flute and piano parts, the flute exits while the piano modifies the theme with sixteenth notes. Harmonies of seconds and sevenths create tension before the flute enters with a second statement of the theme in measure 27. The second statement is identical to the beginning until measure 38, where a surprising rhythmic gesture replaces the expected arrival on the tonic note (D). Instead, the theme resolves an octave lower on D1 on the downbeat of measure 40. This bar signals a new section in the piece, marked notably by the temporary establishment of a regular meter (6/8). Dissonant syncopations in the accompaniment in bar 42 set up new material in the flute in bar 44. Hayashi explores fragmentation through the use of three triplets, a rhythmic motive derived from the main theme. Ffp sustained notes in the flute allow the piano to interject with playful statements. The second gesture in bar 46 is harmonized in perfect fourths in the right hand. After conflicts between half- and whole-steps (E versus Eb, D versus Db), the flute presents material in bars 50-53 that recalls measures 20-24 in the first movement, one of many moments that brings full-scale clarity to the sonata.

Thematic fragmentation continues and leads into an articulated whole-tone flute passage in bars 59-62, culminating in a ffp high Ab3. In bar 63, the dissonant 4:6 syncopation in the piano, which starts pianissimo and crescendos to fortissimo, disrupts

58 the comfortable triplet pulse previously established. The flute interjects with triplets on high Bb3 before the piano once again launches the theme in measure 74. During this interlude, Hayashi modifies the theme by turning the ascending notes from the theme into straight triplets. At this point, the meters are primarily 9/8 and 6/8. When the flute enters with this newer material in the low register in measure 87, the previous metric distortion resumes once more, beginning with a bar of 7/8. The two instruments continue to imitate each other with ongoing eighth notes.

Another brief piano interlude in measure 101 crescendos to the flute’s next entrance in measure 112. Repeated high G’s lead to an accented Bb3 in unison with the piano, emphasizing the interval of the minor third. A similar pattern occurs in the following bar with G and C, outlining a perfect fourth. The flute returns with this repeated-note material in measure 121, now transposed down a seventh. Hayashi emphasizes the same intervals as before, adding a brief tritone (A-Eb) before highlighting the major seventh (A-G#) for four bars. In measure 128, a brief solo passage from the piano, complete with a ritardando in the last bar, sets up the recapitulation in measure

139. The flute returns with the original, unmodified theme from the beginning of the movement.

The recapitulation remains identical to the beginning of the piece until measure

160, where the flute enters slightly earlier than expected to lead into the second statement of the theme in bar 161, erroneously marked as “191” in the piano score (but correct in the flute part). In this statement of the theme, the material does not change until measure

172. The flute repeats a rhythmic motive from the theme and sequences upward to a

59 chromatic scale in measure 174. Hayashi marks a brief pause in both instruments before the new material in measure 175. The accents in the extremely low register of the piano and metric alterations create an exciting energy before the flute’s entrance in bar 177.

The flute plays a fragment from the theme three times, and each subsequent statement sequences upward by a half-step (C-C#-D). The flute sustains a middle D2 for many measures as this material decays. In measure 186, a rallentando and ascending figure in the piano with a whole-tone scale outline leads into the tempo change (dotted quarter note equals 48) at measure 188.

In this brief, four-measure lyrical section, the flute presents the main theme in a quasi-pentatonic tonality. The slow tempo and sparse accompaniment suggest a reference to the sonata’s second movement. The original tempo returns at the codetta in bar 192, and the flute sustains an Eb2 while the piano plays ongoing eighth notes in contrary motion, another reference to the second movement. Five bars before the end of the movement, the material from measures 112-113 returns, though this time the uppermost notes outline chromatic half-steps instead of whole-steps. After a momentary pause, an ascending, quasi-octatonic flute passage accompanied by descending chords in the piano ends the movement in the home tonality of D. Lasting just over five minutes, the third movement provides a memorable theme, rhythmic unpredictability, and excitement.

Though traditional in many ways, Hayashi’s Sonata for Flute and Piano contributes several unique elements to the flute repertoire. The improvisatory nature of the flute line in the first movement, complete with effects like grace notes and pitch bends that evoke traditional Japanese flute music, combines with the dissonant piano

60 ostinato to create a memorable atmosphere. In the second movement, Hayashi explores contrasts through reduced accompaniment, an emphasis on intervallic relationships and manipulations, and a virtuosic flute cadenza. Hayashi reuses a memorable song in the third movement, combined with extremely intricate and bizarre rhythmic alterations, to bring the sonata to an exciting close. Hayashi’s love for the flute, influenced by the beautiful playing of his cousin Liliko, is transparent in this work. A mature, highly virtuosic work for both instruments, Hayashi’s Sonata for Flute and Piano is an intense, dramatic, and improvisatory work deserving of more performances from flutists at the graduate level and beyond.

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Chapter 5: Akira Tamba (b. 1932)

Biographical Information

Akira Tamba is a Japanese composer and musicologist who currently resides in

Paris, France. Born in Yokohama on December 5, 1932, Tamba grew up in a musical family. Tamba’s father sung utai (singing parts in noh music), and his mother played violin while sitting on tatami mats.84 This environment inspired Tamba to become a composer, and he graduated from the Tokyo University of the Arts in 1958, studying composition with Tomojirō Ikenouchi. When Tamba expressed interest in studying abroad, Ikenouchi advised him to study in Paris. After receiving French government scholarships, Tamba moved to France to study at the Paris Conservatoire. His primary composition teachers were Tony Aubin and Olivier Messiaen. On Messiaen’s recommendation, Tamba joined composer Pierre Schaeffer’s Groupe de Recherches

Musicales, where the composer studied musique concrète.85 At the advice of Messiaen,

Tamba also began researching noh theatre and was later appointed research director at the

French National Center for Scientific Research (CNRS). Tamba’s awards include first prize in the Divonne-les-Bains International Competition (1962), First Prize in composition at the Paris Conservatoire (1963), the Lily Boulanger Prize (1963), and the

84 Takatoshi Hirano, “Tamba, Akira,” Piano Teachers’ National Association, last modified April 24, 2018, https://enc.piano.or.jp/persons/421. 85 Ibid. 62 honor of “Akira Tamba Day” held by Radio France (1979). Tamba’s two major publications, both of which earned him doctorate degrees from the University of Paris, are La structure musicale du Nô (The Musical Structure of Noh, 1971), and La théorie musicale japonaise du 8e à la fin du 19e siècle (The Japanese Musical Theory from the

8th Century to the 19th Century, 1984). Tamba is best known as a pioneer in traditional

Japanese music research, and he continues to write, compose, and teach today. His wife,

Irène Mecz, is a linguist.

Inspired by both the twentieth-century French tradition and Japanese traditional music, Tamba has written compositions for a diverse range of instrumental combinations.

He has written frequently for traditional Japanese instruments in his Interférence compositions. These works include Interférence I for shamisen, koto, and shakuhachi

(1980), Interférence II for soprano, shamisen, two kotos, and shakuhachi (1981),

Interférence III for two kotos and shakuhachi (1987), and Interférence IV for koto and shakuhachi (1990).

Tamba has also written vocal, orchestral, and chamber works. Examples of prominent vocal works are Deux Poèmes de Baudelaire for voice and orchestra (1965-

1966) and the opera Shiramine (2000-2008), which premiered in 2014 and was inspired by noh theatre. Tamba’s orchestral compositions include Sunyata for three orchestral groups (1972), Mandala for piano and orchestra (1982), and Orion for cello and orchestra

(1991). The composer’s eclectic chamber works include Tahata for string quartet and potentiometer (1969), Chant du Monde for organ and percussion (1973-1974), Accalmies for six ondes Martenot (1978), La Forêt Surréelle for two recorders and tape (1993), and

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Ondomorphies for twelve ondes Martenot (1998). Tamba’s works combine French orchestration and compositional techniques with elements of traditional Japanese music, particularly the structure and rhythm of noh music. Even Tamba’s early compositions have French influences since his first composition teacher, Ikenouchi, studied with Henri

Büsser in Paris.

Discussion of Select Flute Compositions

Due to his extensive work as a musicologist and researcher, Tamba is not a particularly prolific composer compared to the likes of Hikaru Hayashi. Consequently,

Tamba wrote only a limited number of flute compositions. His major flute work, the

Sonata for Flute and Piano from 1957, was later arranged for flute and strings as

Concerto da Camera (1962). Tamba’s other work for flute and piano, Pièce a Danser

(1963), is a five-minute piece that completely contrasts the composer’s virtuosic flute sonata. In this piece, Tamba showcases the flute’s lyrical qualities, and the range remains almost entirely in the middle and low registers of the flute. From a pedagogical standpoint, this is a great example of an accessible lyrical work for younger players, and the accompaniment is simple and primarily chordal. Tamba’s other flute compositions are chamber works about which little is known. Compositions in this category include Ennea for flute, clarinet, string quartet, bass, piano, and soprano (1975), Vision Vocale II for flute, percussion, trombone, cello, and soprano (1976), Inflexions for wind quintet (1982), and Crépuscule d’un Faune for flute, clarinet, and piano (2016).

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Analysis of Sonata for Flute and Piano (1957)

Tamba’s flute sonata was dedicated to Hirohiko Kato (1937-1963), flutist, and

Tadashi Kitagawa, pianist. Kato, a pupil of Jean-Pierre Rampal, Gaston Crunelle, and

Liliko Hayashi, was a rising flutist who won the First Prize in flute at the Paris

Conservatoire in 1960. Kato performed Tamba’s flute sonata on December 17, 1962, on a solo recital in Paris. Tragically, Kato died in 1963 at the age of 26 while on vacation in the Alps. Though dedicated to Kato, the piece was actually premiered by the composer’s friend, flutist Tsuyoshi Koizumi.86 According to the composer, the sonata was not well received by his peers.87 This is likely because the work is based on the highly dissonant interval of the tritone, among other elements. The famous Japanese flutist Shinya Koide also met Tamba and performed his flute sonata in Fontainebleau.88

I. Moderato con moto

Although set in one continuous movement, Tamba’s flute sonata has four distinct formal divisions. The first section of this sonata is a twelve-measure cadenza for solo flute in which Tamba presents many intervallic and rhythmic cells that construct the entire piece. Tamba indicates a relatively slow tempo (quarter note equals 60-63) and marks “Solo a piacere,” allowing the soloist expressive freedom. The flute enters with a rhythmic figure on a repeated B2 that serves to signal the return of the opening material

86 Nakayama, liner notes to Hiroki Nakayama Flute Recital, 6. 87 Ibid. 88 Shinya Koide, flute, liner notes to Japanese Music for Flute, King Records KICC 124, 1971, compact disc, 2. 65 later in the piece. In the following bar, Tamba introduces a rhythmic cell central in the composition of this piece: a dotted eighth note followed by two thirty-second notes (see

Figure 12). The last interval of this rhythmic cell, A to Eb, is a tritone, the most important interval in this work.

Figure 12: Akira Tamba, Sonata for Flute and Piano, Cadenza89

Starting from the B-natural in bar 2, Tamba writes a twelve-tone row without interruption (B-Bb-A-Eb-D-G-Ab-F#-E-C-C#-F). Though not strictly serial, the sonata contains many twelve-tone elements melodically and harmonically. Grace notes appear in the third and fourth bars, and the last two sets outline the interval of a seventh, another

89 Akira Tamba, Sonate pour Flûte and Piano (Paris: Durand, 1972), 1. 66 critical interval in this work. Bars 4 and 5 contain material similar to bars 2 and 3, though the intervallic relationships do not follow the twelve-tone pattern strictly. The alteration of 4/4, 5/4, and 6/4 bars gives the cadenza an improvisatory character. Tritones and sevenths continue to appear gratuitously throughout the cadenza. As the flute trills in the eighth measure, Tamba incorporates sudden leaps to the upper register, emphasized by accents and sf markings, to create more drama. In measure 10, the flute plays two-note groupings of whole-steps, the outline of which is an ascending chromatic scale. The septulet at the end of the bar switches to strictly chromatic material that peaks at B3 in the next measure. This bar mirrors the opening of the piece, except the flute is fortissimo and up an octave. A diminuendo and fermata signal the end of the cadenza.

II. Molto Allegro

The second section of the work, marked quarter note equals 126-132, begins with the rhythmic motive from the second bar of the cadenza. In the accompaniment, chords in each staff highlight both tritones and sevenths (see Figure 13). For instance, the first two notes in the chord in the left hand (A-D#-G) outline a tritone, while the outer notes outline a seventh. A similar pattern appears in the right-hand chord, except the tritone is at the top of the chord (C-F-B). Tritones and sevenths appear abundantly in the accompaniment throughout this section, both in chords and melodic relationships.

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Figure 13: Akira Tamba, Sonata for Flute and Piano, Molto Allegro90

The flute continues to repeat statements of the rhythmic motive. Fourteen bars before rehearsal 1, the flute introduces more lyrical content at a slightly slower tempo

(quarter note equals 120), marked “con moto.” The rhythm recalls the slow triplets in the introduction, and the intervals resemble the material from measure 7. The slurs and legato articulations in the flute line establish a momentary contrast in character before the

“Molto Allegro” material returns eleven bars before rehearsal 1. Here, Tamba places the flute in its upper register, ascending to B4 in the following measure. Sff trills in the flute, the first two being a tritone apart, momentarily interrupt the texture before another return of the “Molto Allegro” motive at rehearsal 1. Tamba introduces articulated sixteenth notes in the flute five bars later, and the two-note patterns in these sixteenth notes are

90 Ibid. 68 always tritones. Another return to the “con moto” material appears a few bars later, and a return of the sff trills signals a transition to the following “Meno mosso” section four bars before rehearsal 2. During these four bars, the solo piano plays lyrical triplets with short pauses across the bar lines.

At rehearsal 2, the flute repeats the material from the opening of the cadenza, now forte and transposed up a fourth. A sudden sweeping gesture, marked at the “Molto

Allegro” tempo, interrupts this material, and the flute crescendos to a fff sustained high

Bb3 seven bars after rehearsal 2. As the flute rests, the piano propels the rhythmic integrity with upper-register triplets, supported by extremely low notes in the left hand of the piano. The “meno mosso” material returns one measure before rehearsal 3, preceded by a molto ritardando. Tamba manipulates the “con moto” material slightly by introducing a quintuplet on the downbeat of rehearsal 3 in the flute part. The fourth bar of rehearsal 3, marked “Moderato con moto,” returns to the cadenza material last heard at rehearsal 2. The accompaniment ceases nine bars after rehearsal 3, and the flute repeats the cadenza material from measures 8 and 9, now transposed up a whole-step. Slow syncopations outlining a tritone and perfect fourth signal the end of the flute part. At the pickup to rehearsal 4, the piano plays low, dense, dissonant chords, marked piano and then pianissimo, to lead into the next section of the work.

III. Lento misterioso

The third section of the sonata begins three bars after rehearsal 4 with eight bars of mysterious, dissonant piano chords. Beginning ppp, the quietest dynamic in the piece,

69 this material serves as a stark contrast to the low-register chords from rehearsal 4. Tamba notates both staves in treble clef, and the composer utilizes the piano’s extreme range in the upper register in the right hand. The indication to use the soft pedal highlights the intimate change in character. Similar to the chords from the “Molto Allegro” section,

Tamba emphasizes the intervals of the tritone and seventh in this section (see Figure 14).

Figure 14: Akira Tamba, Sonata for Flute and Piano, Lento misterioso91

The flute enters at rehearsal 5 with an ascending tritone. Almost every single interval in the flute part in this entire section is a tritone or seventh. Low-register flutter tonguing outlining sevenths adds another mysterious color and effect to this ethereal slow section. Interestingly, Tamba adds a third staff in the piano part on pages seven and eight in the score in order to bring out fleeting ascending lines. This factor draws attention to

91 Ibid., 7. 70 the thickness of the texture. An accelerando and crescendo three bars before rehearsal 6 bring this material to a brief peak at forte, and the flute ascends to a high B4. A ritardando and diminuendo lead to the second statement of this section three bars after rehearsal 6. The material begins to differ on the last beat seven bars after rehearsal 6.

Alternating two-note slurs of descending and ascending sevenths, a diminuendo, and ritardando bring this section of the work to a close, ending with a fermata seven bars before rehearsal 7.

IV. Allegro vivo

Beginning the sixth measure before rehearsal 7, the “Allegro vivo” is marked quarter note equals 132, the fastest tempo indicated in the piece. The opening flute gesture (sixteenth rest followed by three sixteenth notes) resembles a rhythmic motive in the previous “Lento” section (eighth rest followed by three eighth notes). In other words,

Tamba uses rhythmic diminution to tie this section to the previous musical material (see

Figure 15). Additionally, Tamba derives the syncopated figure from beats two and three in this measure from the very opening of the piece, except an eighth note now replaces the eighth rest. These compositional techniques enhance the sonata’s thematic and rhythmic unity.

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Figure 15: Akira Tamba, Sonata for Flute and Piano, Allegro vivo92

The piano texture at the “Allegro vivo” starts off rather sparse with an ascending tritone, and it quickly becomes more complex at rehearsal 7, imitating the ongoing sixteenth notes in the flute. Chromatic patterns are abundant in both instruments in this section, and the piano remains primarily in the extreme upper register in the right hand.

In the second bar of rehearsal 8, the sixteenth-note triplet figure in the flute part originates from the opening cadenza, specifically measure six. At this point, the flute is in its highest range, and the sixteenth notes gradually crescendo. Accents in both parts and sff markings in the accompaniment provide additional excitement and intensity. The original articulations of the “Allegro vivo” material return at rehearsal 9, and the flute part sequences constantly. An ossia (optional) flute line appears six bars after rehearsal 9.

92 Ibid., 9. 72

This ossia is very similar to the printed material; the ossia simply starts the sequence of articulated eighth notes two beats earlier. The last interval between the grace notes and the principal notes in the bar before rehearsal 10 always outlines a tritone. The sf and accent markings drive this ascending chromatic line to rehearsal 10, where the articulated sixteenth notes from the fifth bar of rehearsal 1 return. Yet again, the intervals in each grouping outline a tritone, and a rapid crescendo brings this material to an accented, fff sustained high C#4 in the flute part, one of the most exciting moments in the piece. After this climactic moment, the flute plays material similar to the “con moto” sections in the second part of the sonata; this material, however, ultimately derives from the opening cadenza. A three-bar “Lento” section, marked “a piacere” and quarter note equals 60-63 in the solo flute, recalls the low-register sustains and triplet rhythm from the opening cadenza. This material leads into the “Meno mosso” tempo change at rehearsal 11.

At rehearsal 11, Tamba incorporates the material from four bars before rehearsal

2, the previous “Meno mosso” section. This time, the material is transposed slightly higher, and ritardandos replace the fermatas across the bar lines. In the fourth bar of rehearsal 11, the tempo increases to quarter note equals 80, and Tamba marks “Piu mosso espressivo.” The piano plays a thickly scored interlude that becomes fff and heavily accented three bars before rehearsal 12. This material decays to set up the flute’s entrance and the meter change to 9/8 at rehearsal 12. This is the first time Tamba employs a compound meter in the sonata, adding rhythmic variety to previously heard thematic material. The flute line at rehearsal 12 is a manipulation of material from the “con moto” sections in the second part of the sonata, as well as the opening cadenza. Specifically, this

73 material relates to the opening two bars of the cadenza, except instead of descending to

Eb1 as expected, the line ascends to Eb2. Dynamic swells and an “espressivo” marking make this one of the more lyrical sections in the piece. Tamba continues to sequence and fragment this material until the fifth bar of rehearsal 14, where the chromatic figures and sustained trill in the flute line evoke similar ideas from the opening cadenza. The accompaniment from the sixth bar of rehearsal 14 until one bar before rehearsal 15 mirrors the same material from the “Piu mosso espressivo” before rehearsal 12. At rehearsal 15, both the flute and accompaniment are transposed up a whole-step from rehearsal 12. The material proceeds in a similar fashion until the second bar of rehearsal

16, where trills and accented, chromatic sixteenth notes start to break up the texture. Both instruments return to simple meter in the fourth bar of rehearsal 16, and descending tritones lead to the flute’s soft, ascending chromatic scale to end this section.

The “Allegro vivo” returns at rehearsal 17, beginning with pickups in the left hand of the piano. The sixteenth notes resemble the pattern from rehearsal 7, and the octaves in the piano heighten the dramatic character. The flute enters with sixteenth notes at rehearsal 18. Although this material is identical to the material from rehearsal 8, the high registration, accents, and rhythms significantly contrast the material from the previous compound-meter section. The music remains unchanged until three bars before rehearsal 20. The flute continues to explore the triplet rhythm and plays an ascending chromatic scale to high C4 at the downbeat of rehearsal 20. The tritone double-tonguing returns two bars later, and the flute crescendos to fff on a high F#, prepared by a grace note outlining the interval of a seventh. This passage replicates the climactic ascent to

74 high C#4 from five bars before rehearsal 11. In fact, the following three bars are almost identical to the passage before rehearsal 11, with the exception that the notes three bars before rehearsal 21 are slightly different than the first time. As the flute finishes this material, a sudden accelerando and manipulation of the triplet motive lead to a “Molto

Presto” codetta. Here, the solo flute plays two bars of tongued sixteenth notes.

Surprisingly, the intervallic relationships between the repeated notes do not outline tritones as they do elsewhere in the piece. The flute crescendos to a fff sustained high D4, one of the instrument’s highest notes. The accompaniment rejoins at this climactic moment two bars before the end, and the final chord contains a C# to clash as a tritone against the G in the flute and other voices in the piano.

Though technically difficult and virtuosic for both instruments, Tamba’s Sonata for Flute and Piano is a thoughtful and dramatic contribution to the flute repertoire.

Similar in scope to the well-known Ballade by Frank Martin, this work is set in one continuous movement with several contrasting sections. Tamba’s thematic, melodic, temporal, and motivic manipulations create a structurally cohesive and memorable work.

The emphasis on tritones, sevenths, and chromaticism reflects Tamba’s influence by the modern harmonies from composers living in mid-twentieth-century France, and this type of musical language is an important contribution to the flute repertoire.

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Chapter 6: Conclusions

This document analyzed three substantial flute sonatas by Ikuma Dan, Hikaru

Hayashi, and Akira Tamba, three major Japanese composers. Background information on traditional Japanese flute music, the influences of Western music in Japan, and characteristics of Japanese flute repertoire in general provided a contextual foundation for the composers and works in this document. Research on each composer’s life, flute works, and musical style informed the analyses that followed. Musical analyses of the three flute sonatas revealed the unique characteristics of each composer’s musical language. Ikuma Dan’s flute sonata exudes innate lyricism and mastery of thematic manipulation, traits inherited from the composer’s German-school training with Yamada and others. Flutists preparing this work have the opportunity to showcase great expression, supported by tonal and whole-tone harmonies, and to explore a somewhat untraditional formal structure through the composer’s use of theme and variations within a sonata movement. Hikaru Hayashi’s admiration for the flute, influenced by his connection with Liliko Hayashi, comes across in his flute sonata, a work full of jazzy, virtuosic, and theatrical flute writing with hints of nohkan inspiration. In general, many flutists have little to no experience with imitating jazz or nohkan playing styles, so programming this work allows performers to explore these different styles. Akira

Tamba’s flute sonata presents much drama and contrast through the use of tritones,

76 sevenths, and chromaticism, a harmonic language influenced by the composer’s twentieth-century French-school training with Ikenouchi. Within the course of twelve minutes, flutists performing this work can communicate a wide spectrum of emotions, and familiarity with dodecaphonic elements and more untraditional intervals like tritones and sevenths is important to develop. All three works demonstrate a unique musical and compositional perspective that diversifies the flute sonata repertoire, and each work deserves a place in the standard flute repertoire for this reason. It is my wish that others will observe the qualities I admire in these works, and I hope that these compositions will gain more respect, public awareness, and performances in the future.

Suggestions for Further Research

As mentioned previously, there were significant limitations in this research. With the exception of certain liner notes and scores obtained from Japan, most of the resources consulted during this research were English-language materials. Obtaining and translating

Japanese-language sources, many of which are unavailable outside of Japan, would reveal further insights and a more comprehensive understanding of the composers and works in this document. This is especially true for the lesser-known flute compositions by the composers in this document. Further information regarding the compositional context and availability of these works is desired.

To share my research with a wider audience, I plan to record many of the flute works by Dan, Hayashi, and Tamba, specifically the three flute sonatas analyzed in this document. These works are strong, thoughtful, and dramatic contributions to the 77 repertoire, and I believe they deserve to be shared with a broader audience. Further developments include finding ways to bring repertoire unavailable outside of Japan to the

United States and other countries. Simplifying accessibility to these works will result in increased awareness and more performances from flutists across the globe. On a wider scope, I plan to continue my research and growing interest in twentieth- and twenty-first- century Japanese flute repertoire. The works in this document represent such a small margin of Japanese literature for flute, and there are still many works from both prominent and obscure composers that are unrecorded. Recording such works is a goal of mine. Delving into the historical, stylistic, and emotional contexts of these sonatas has deepened my understanding and enhanced my own emotional connection with these works. Such research benefits performance in numerous ways. My wish is for others to follow in the same pursuit with any repertoire that speaks to their souls. Increasing the awareness and availability of flute repertoire across the globe is necessary for current and future generations of flutists.

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Bibliography

Dan, Ikuma. “The Influence of Japanese Traditional Music on the Development of Western Music in Japan.” Translated by Dorothy Britton. The Transactions of the Asiatic Society of Japan 8 (December 1978): 201-17.

Galliano, Luciana. Yōgaku: Japanese Music in the Twentieth Century. Translated by Martin Mayes. Lanham, MD: Scarecrow Press, Inc., 2002.

Herd, Judith Ann. “The Neonationalist Movement: Origins of Japanese Contemporary Music.” Perspectives of New Music 27, no. 2 (Summer 1989): 118-63.

Hirano, Takatoshi. “Tamba, Akira.” Piano Teachers’ National Association. Last modified April 24, 2018. https://enc.piano.or.jp/persons/421.

Kishibe, Shigeo. “Japanese Music – Conflict or Synthesis?” The World of Music 9, no. 2 (1967): 11-21.

Maruyama, Yoko. “Hayashi, Hikaru.” Piano Teachers’ National Association. Last modified April 24, 2018. https://enc.piano.or.jp/persons/241.

Nakatsuji, Maho. “Dan, Ikuma.” Piano Teachers’ National Association. Last modified April 21, 2018. https://enc.piano.or.jp/persons/1472.

Nelson, Steven G. “Court and Religious Music (1): History of Gagaku and Shōmyō.” In McQueen Tokita and Hughes, The Ashgate Research Companion to Japanese Music, 35-48.

Pacun, David. “‘Thus We Cultivate Our Own World, and Thus We Share It with Others’: Kósçak Yamada’s Visit to the United States in 1918-1919.” American Music 24, no. 1 (Spring 2006): 67-94.

Shimada, Akiko. “Cross-Cultural Music: Japanese Flutes and Their Influence on Western Flute Music.” The Flutist Quarterly 34, no. 2 (Winter 2009): 26-30.

Sunaga, Katsumi. Japanese Music. Tokyo: Maruzen Company, 1936.

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Tamba, Akira. The Musical Structure of Nô. Translated by Patricia Matoré. Tokyo: Tokai University Press, 1981.

Toff, Nancy. The Flute Book: A Complete Guide for Students and Performers. 3rd ed. New York: Oxford University Press, 2012.

Tokita, Alison McQueen, and David W. Hughes. The Ashgate Research Companion to Japanese Music. Burlington, VT: Ashgate, 2008.

Tsuneko, Tsukitani. “The Shakuhachi and Its Music.” In McQueen Tokita and Hughes, The Ashgate Research Companion to Japanese Music, 145-68.

Wade, Bonnie C. Music in Japan: Experiencing Music, Expressing Culture. New York: Oxford University Press, 2005.

Watanabe, Mihoko. “The Essence of Mei: An Exploration of the Inspiration behind Mei through Interviews with the Composer.” The Flutist Quarterly 33, no. 3 (Spring 2008): 16-24.

Wataru, Uenami. The Characteristics of Japanese Postwar Music. Tokyo: The Japan Foundation, 1985.

Musical Scores

Dan, Ikuma. Chansons Malaises. Tokyo: Ongaku no Tomo Sha, 2001.

———. Divertiment for Mixed Voices and Two Flutes. Tokyo: Kawai Gakufu, 1969.

———. Sonata for Flute and Piano. Tokyo: Zen-On Music Co., 1990.

Hayashi, Hikaru. Aya for Flute and Harp. Tokyo: Composer’s manuscript?, 1970.

———. Sky for Soprano and Flute. Tokyo: Ongaku no Tomo Sha, 1971.

———. Sonata for Flute and Piano. Tokyo: Ongaku no Tomo Sha, 1968.

———. Sonata for Piano. Tokyo: Ongaku no Tomo Sha, 1967.

———. Sonatine for Soprano Recorder. Edited by Ewald Henseler and Mayumi Adachi. Münster, Germany: Mieroprint, 2000.

———. Tori no Uta for Mixed Voices with Piano and Japanese Flute. Tokyo: Zen-On Music Co., 1983. 80

Otaka, Hisatada. Concerto for Flute and Orchestra, Op. 30b. Arranged by Atsutada Otaka. Tokyo: Muramatsu, 2001.

Takemitsu, Toru. Voice pour flûte solo. Paris: Salabert, 1971.

Tamba, Akira. Concerto da Camera pour Flûte et Orchestre à Cordes. Paris: Éditions Rideau Rouge, 1972.

———. Pièce a Danser pour Flute et Piano. Paris: Alphonse Leduc, 1965.

———. Sonate pour Flûte and Piano. Paris: Durand, 1972.

Recordings

Arakawa, Hiroshi, flute. Hana no Uta: Hikaru Hayashi Flute Works. Tokyo: Hayashi Hikaru Office, Akadenshya ADS-003, 2002, compact disc.

Himeda, Dai, flute. Hikaru Hayashi: “Paris 1923.” Tokyo: Hayashi Hikaru Office, Akadenshya ADS-007, 2010, compact disc.

Isogai, Toshiyuki, flute. Two Sonatinas: Flute Music by Japanese Composers. Nagoya, Japan: Étendue AIQ-1006, 2015, compact disc.

Koide, Shinya, flute. Japanese Music for Flute. Tokyo: King Records KICC 124, 1971, compact disc.

Mera, Yoshikazu, counter-tenor. Nightingale: Japanese Art Songs. Djursholm, Sweden: Grammofon BIS-CD-889, 1997, compact disc.

Minegishi, Soichi, flute. Salut D’Amour. Tokyo: King Records KICC 68, 1982, compact disc.

Nakayama, Hiroki, flute. 2-Gatsu no Kaze: Hiroki Nakayama Flute Recital. Tokyo: Nami Records WWCC-7714, 2012, compact disc.

Owada, Yoko, flute. Flute Message from Yoko II. Tokyo: Fontec FOCD3228, 1988, compact disc.

———. Flute Message from Yoko III. Tokyo: Fontec FOCD3482, 2001, compact disc.

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Appendix A: List of Flute Works by Dan, Hayashi, and Tamba

Ikuma Dan (1924-2001)

Divertimento for mixed chorus and two flutes (1968)

Flute Trio for flute, violin, and cello (1979)

Yūzuru Fantasy for 12 flutes (1984) Based off the composer’s opera of the same title.

Nagasaki Kaido for mixed chorus, soprano, flute/alto flute, and piano (1986)

Sonata for Flute and Piano (1986)

Nocturne et Dance for flute and orchestra (1990)

Hagoromo for flute and harp (1992/2000)

Chansons Malaises for mezzo-soprano, flute, and piano (2000)

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Hikaru Hayashi (1931-2012)

Serenade for flute and piano (1944)

Nocturne for flute and piano (1944)

Fantasia for flute and piano (1945)

Pastorale for flute and piano (1946) Extended version of Hayashi’s Nocturne. Another version exists for flute and orchestra.

Three Pieces for flute and piano (1947) I. Minuet II. Pastorale III. Rondino

The five works listed above are available in the following collection:

Hayashi, Hikaru. Works for Flute and Piano 1944-1947. Tokyo: Ongaku no Tomo Sha, 1990. ODM-1200

Sonata for Flute, Viola, and Piano (1951)

The Way for flute and soprano (1966)

Child and the Lines for flute and soprano (1966)

Sky for flute and soprano (1968)

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Sonata for Flute and Piano “Hana no Uta” (1967/68)

Aya for flute and harp (1970)

Shirabe for three flutes (1974)

America Suite for flute, clarinet, cello, piano, and percussion (1983)

Tori no Uta for mixed voices with piano and Japanese flutes (1983)

Fantasia Johann Sebastian…2 for flute and piano (1985)

Paris 1923 for flute, guitar, and voice (2003)

Memento for flute and guitar (2006)

2-Gatsu no Kaze (Wind of February) Sonatine for flute and piano (2011)

Miscellaneous

Variations for Flute and Piano I. Aka-tombo (Red Dragonfly) II. Yoimachi-gusa (Evening Primrose) III. Hana (Cherry Blossom)) IV. Nanatsu-no-ko (Seven Children) (1967)

These four variations on children’s songs are available in the following collection:

Hayashi, Hikaru. Variations for Flute and Piano. Tokyo: Japan Flute Club, 2007. JFC 242.

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Two Duets for Two Flutes (Tokyo: Japan Flute Club, 2012. JFC 289.)

Akatonbo by Kōsaku Yamada; arr. Hikaru Hayashi for flute and harp

The Naked Island for flute and piano (1960, arr. 2001) Main theme from The Naked Island arranged for flute and piano by Hayashi.

Akira Tamba (b. 1932)

Sonata for Flute and Piano (1957)

Concerto da Camera for flute and strings (1962) This is an orchestral arrangement of Tamba’s Sonata for Flute and Piano.

Pièce a Danser for flute and piano (1963)

Ennea for flute, clarinet, string quartet, bass, piano, and soprano (1975)

Vision Vocale II for flute, percussion, trombone, cello, and soprano (1976)

Inflexions for wind quintet (1982)

Crépuscule d’un Faune for flute, clarinet, and piano (2016)

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Appendix B: Discography of Flute Works by Dan, Hayashi, and Tamba

Ikuma Dan (1924-2001)

Nagasaki Kaido for mixed chorus, soprano, flute/alto flute, and piano (1986)

Yoko Owada, flute.

Nagasaki Kaido: Ikuma Dan Choral Works. JASRAC 3SCD-0010, 2012, compact disc.

Sonata for Flute and Piano (1986)

Yoko Owada, flute.

Flute Message from Yoko II. Tokyo: Fontec FOCD3228, 1988, compact disc.

Hagoromo for flute and harp (1992)

Yoko Owada, flute. Susanna Mildonian, harp.

Flute Message from Yoko III. Tokyo: Fontec FOCD3482, 2001, compact disc.

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Chansons Malaises for mezzo-soprano, flute, and piano (2000)

Ritsu Munakata, flute. Sadako Seki, mezzo-soprano. Yoshio Tsukada, piano.

Ikuma Dan: Chansons Malaises (Songs of a Malay Girl). Tokyo: Troika TRK-113, 2002, compact disc.

Yoko Owada, flute. Kazuko Nagai, mezzo-soprano. Ayako Kotani, piano.

Ikuma Dan: Chansons Malaises. Tokyo: Camerata CMCD 20107-20108, 2011, 2 compact discs.

Hikaru Hayashi (1931-2012)

Serenade for flute and piano (1944)

Hiroshi Arakawa, flute.

Hana no Uta: Hikaru Hayashi Flute Works. Tokyo: Hayashi Hikaru Office, Akadenshya ADS-003, 2002, compact disc.

Toshiyuki Isogai, flute.

Two Sonatinas: Flute Music by Japanese Composers. Nagoya, Japan: Étendue AIQ-1006, 2015, compact disc.

Hiroki Nakayama, flute.

2-Gatsu no Kaze: Hiroki Nakayama Flute Recital. Tokyo: Nami Records WWCC-7714, 2012, compact disc.

87

Nocturne for flute and piano (1944)

Hiroshi Arakawa, flute.

Hana no Uta: Hikaru Hayashi Flute Works. Tokyo: Hayashi Hikaru Office, Akadenshya ADS-003, 2002, compact disc.

Toshiyuki Isogai, flute.

Two Sonatinas: Flute Music by Japanese Composers. Nagoya, Japan: Étendue AIQ-1006, 2015, compact disc.

Hiroki Nakayama, flute.

2-Gatsu no Kaze: Hiroki Nakayama Flute Recital. Tokyo: Nami Records WWCC-7714, 2012, compact disc.

Fantasia for flute and piano (1945)

Hiroshi Arakawa, flute.

Hana no Uta: Hikaru Hayashi Flute Works. Tokyo: Hayashi Hikaru Office, Akadenshya ADS-003, 2002, compact disc.

Soichi Minegishi, flute.

Music for Flute. Tokyo: King Records KICC 125, 1994, compact disc.

Salut D’Amour. Tokyo: King Records KICC 68, 1982, compact disc.

88

Pastorale for flute and piano (1946)

Toshiyuki Isogai, flute.

Two Sonatinas: Flute Music by Japanese Composers. Nagoya, Japan: Étendue AIQ-1006, 2015, compact disc.

Soichi Minegishi, flute.

Music for Flute. Tokyo: King Records KICC 125, 1994, compact disc.

Three Pieces for flute and piano (1947)

Hiroshi Arakawa, flute.

Hana no Uta: Hikaru Hayashi Flute Works. Tokyo: Hayashi Hikaru Office, Akadenshya ADS-003, 2002, compact disc.

The Naked Island for flute and piano (1960, arr. 2001)

Hiroshi Arakawa, flute.

Hana no Uta: Hikaru Hayashi Flute Works. Tokyo: Hayashi Hikaru Office, Akadenshya ADS-003, 2002, compact disc.

The Naked Island for flute and guitar (arr. Wim Hoogewerf)

Dai Himeda, flute.

Hikaru Hayashi: “Paris 1923.” Tokyo: Hayashi Hikaru Office, Akadenshya ADS-007, 2010, compact disc.

Seven Children (or Seven Baby Crows) Variations for flute and piano (1967)

Hiroshi Arakawa, flute.

Hana no Uta: Hikaru Hayashi Flute Works. Tokyo: Hayashi Hikaru Office, Akadenshya ADS-003, 2002, compact disc.

89

Sonata for Flute and Piano “Hana no Uta” (1967/rev. 1968)

Hiroshi Arakawa, flute.

Hana no Uta: Hikaru Hayashi Flute Works. Tokyo: Hayashi Hikaru Office, Akadenshya ADS-003, 2002, compact disc.

Liliko Hayashi, flute. Hikaru Hayashi, piano.

Contemporary Flute Music in Japan. Tokyo: Toshiba TA-7029, 1970, LP.

Yoko Owada, flute.

Flute Message from Yoko I. Tokyo: Fontec Records FOCD 3227, 1984, compact disc.

The Way for flute and soprano (1966)

Masami Nakagawa, flute. Yumi Aikawa, soprano.

Flute Music Today. Tokyo: Camerata 32CM-118, 1995, compact disc.

Masami Nakagawa, flute.

Hikaru Hayashi Works. Tokyo: Camerata Contemporary Archives, 2007, compact disc.

Child and the Lines for flute and soprano (1966)

Masami Nakagawa, flute. Yumi Aikawa, soprano.

Flute Music Today. Tokyo: Camerata 32CM-118, 1995, compact disc.

Masami Nakagawa, flute.

Hikaru Hayashi Works. Tokyo: Camerata Contemporary Archives, 2007, compact disc.

90

Sky for flute and soprano (1968)

Masami Nakagawa, flute. Yumi Aikawa, soprano.

Flute Music Today. Tokyo: Camerata 32CM-118, 1995, compact disc.

Masami Nakagawa, flute.

Hikaru Hayashi Works. Tokyo: Camerata Contemporary Archives, 2007, compact disc.

The following three works were arranged for voice, flute, and guitar by Wim Hoogewerf:

The Aquarium without Fish (1976)

Catch Ya Later, Shanghai (1976)

For Three Billion Five Hundred Million Years the Circus Goes On (1976)

Dai Himeda, flute. Jun Arai, voice. Wim Hoogewerf, guitar.

Hikaru Hayashi: “Paris 1923.” Tokyo: Hayashi Hikaru Office, Akadenshya ADS-007, 2010, compact disc.

Fantasia Johann Sebastian…2 for flute and piano (1985)

Yoko Owada, flute.

Flute Message from Yoko II. Tokyo: Fontec FOCD3228, 1988, compact disc.

Fantasia Johann Sebastian…2 for flute and guitar (arr. Wim Hoogewerf)

Dai Himeda, flute. Wim Hoogewerf, guitar.

Hikaru Hayashi: “Paris 1923.” Tokyo: Hayashi Hikaru Office, Akadenshya ADS-007, 2010, compact disc.

91

Paris 1923 for flute, guitar, and voice (2003)

Dai Himeda, flute. Jun Arai, voice. Wim Hoogewerf, guitar.

Hikaru Hayashi: “Paris 1923.” Tokyo: Hayashi Hikaru Office, Akadenshya ADS-007, 2010, compact disc.

Memento for flute and guitar (2006)

Dai Himeda, flute. Wim Hoogewerf, guitar.

Hikaru Hayashi: “Paris 1923.” Tokyo: Hayashi Hikaru Office, Akadenshya ADS-007, 2010, compact disc.

2-Gatsu no Kaze Sonatina (“Wind of February” Sonatina) for flute and piano (2011)

Hiroki Nakayama, flute.

2-Gatsu no Kaze: Hiroki Nakayama Flute Recital. Tokyo: Nami Records WWCC-7714, 2012, compact disc.

Miscellaneous:

Akatonbo (1927) by Kōsaku Yamada; arr. flute and harp by Hayashi (19??)

Yoko Owada, flute. Carrol McLaughlin, harp.

Flute and Harp Treasury. Tokyo: Yamaha YCD-271, 1996, compact disc.

So-u-mon for utai, tsuzumi, and flute by Hideo Kanze; flute part by Hayashi (late 1950s)

Yoko Owada, flute.

Flute Message from Yoko III. Tokyo: Fontec FOCD3482, 2001, compact disc.

92

Akira Tamba (b. 1932)

Sonata for Flute and Piano (1957)

Hirohiko Kato, flute. Tadashi Kitagawa, piano.

The Artistry of Hirohiko Kato: Concert d'oeuvres pour Flute et Piano. Tokyo: Toshiba Records TA-6045, 1964?, LP. Reissue: Toshiba TA-7331. Recording from Kato’s recital in Paris on December 17, 1962.

Hiroki Nakayama, flute. Yuka Narita, piano.

2-Gatsu no Kaze: Hiroki Nakayama Flute Recital. Tokyo: Nami Records WWCC-7714, 2012, compact disc.

Yoshiki Nose, flute. Shinji Urakabe, piano.

Akira Tamba Chamber Works. ALM Records ALCD-6005, 2018, compact disc.

Concerto da Camerata for flute and string orchestra (1962)

Shinya Koide, flute. Hiroshi Wakasugi, conductor.

Japanese Music for Flute. Tokyo: King Records KICC 124, 1971, compact disc; version for LP also exists.

“Ennea” for flute, clarinet, string quartet, bass, piano, and soprano (1975)

Yoshiki Nose, flute.

Akira Tamba Chamber Works. ALM Records ALCD-6005, 2018, compact disc.

93

Crépuscule d’un Faune for flute, clarinet, and piano (2016)

Yoshiki Nose, flute. Takeo Kimura, clarinet. Shinji Urakabe, piano.

Akira Tamba Chamber Works. ALM Records ALCD-6005, 2018, compact disc.

94

Appendix C: Bibliography of Flute Works by Japanese Composers

This appendix contains hundreds of accompanied and unaccompanied works for flute, including concertos, works with electronics, and works for piccolo, alto, bass, and contrabass flutes. Over two hundred composers from the early twentieth century to the present are represented in this list. Due to the limited scope of this document, I excluded chamber music works and publication information from this list. Although many works in this list are published, few works are readily available outside of Japan. Additionally, several works appear to be unpublished, though music can be obtained in some instances by contacting the composer.

The following list is organized alphabetically by composers’ last names. Works under each composer are arranged chronologically. Composition dates are approximate and represent either the year of composition or the year of publication. Works with unknown composition or publication dates were left blank. In compiling this list, I consulted many print repertoire catalogs and online resources, including but not limited to the following companies’ websites: MotherEarth Publishing Co., Muramatsu Japan,

Theodore Front Musical Literature, Presto Sheet Music, Schott, online music catalogs published by Suntory, and WorldCat. General internet searches and individual composers’ websites provided further information.

95

Abe, Kōmei (1911-2006)

Sonata No. 1 for flute and piano (1942)

Abe, Kyoko (b. 1950)

Poesie for solo flute (1989)

Mouvement for solo flute (1989)

Aoki, Shozo (b. 1951)

Microcosm II for flute and piano (1984)

Aoki, Takayoshi (b. 1951)

Juso II for solo flute (1974)

Arima, Reiko (b. 1933)

Rusen for shinobue or flute and piano (1977)

Asakawa, Haruo (b. 1942)

Flute-Sonaro “Budapest” for solo flute (1973)

Bandoh, Yûta (b. 1991)

Humoresque [Animation III] for solo flute (2011)

Mismatch M/D.G. for flute and strings (2013)

Bekku, Sadao (1922-2012)

Sonatine for flute and piano (1954)

Petit pastoral for flute and piano (1983)

Censhu (Senshū), Jirō (b. 1934)

Sonatine No. 2 “In the Soul of Grasses” for flute and piano (1986)

Greensleeves Variations for flute and piano (1988)

96

Dojo, Miwa (b. 1982)

Egushi for flute and piano (2012)

Emura, Tetsuji (1960-2007)

Intexterior No. 1, Op. 5 for solo flute (1991)

Ryo an’ G. 1, Op. 27 for alto flute and piano (2002)

Endō, Masao (b. 1947)

辟 (Heki) for solo flute (1971)

Spring of the Radiance for flute and piano (1989)

The Gate of Wind for flute and piano (2008)

Etō, Keiko (b. 1953)

Konzertstuck for solo flute (2003)

Fujii, Kazuoki (b. 1955)

Aya for flute and piano (1984)

Fujikura, Dai (b. 1977)

Poison Mushroom for flute and electronics (2003)

Glacier for bass flute (2010)

Flute Concerto (2015) – doubles piccolo, bass flute, and contrabass flute

Lila for solo flute (2015) – doubles contrabass/bass fl; based on Flute Concerto

Fukuda, Akira (b. 19??)

Sonata for Flute and Piano No. 2 (1980)

97

Fukui, Tomoko (b. 19??)

A Color Song on B for solo flute (1995)

Color Song V for solo piccolo (2015)

Fukushi, Norio (b. 1945)

Zone for flute, strings, and percussion (1972)

Ring for solo piccolo (1984)

Toward the Transparent Sky for solo alto flute (2002)

Against the Island of Sleepiness for solo flute (2008)

Fukushima, Kazuo (b. 1930)

Requiem for flute solo (1956)

Ekagra for alto flute and piano (1958)

Three Pieces from “Chu-u” for flute and piano (1958) – second piece for solo fl.

Kadha Karuna for flute and piano (1959)

Mei for solo flute (1962)

Hi-kyo (Flying Mirror) for flute/alto flute, piano, percussion, and strings (1964)

Shun-San (The Spring Glory) for flute solo (1969)

Rai for flute and piano (1971)

Gambe, Kazuhiro (b. 1955)

Three Romances, Op. 24 for flute and piano (1991)

Sonatine, Op. 28 for flute and piano (1994)

Goya, Masatora (b. 1987)

Inner Voice for solo flute

98

Hachimura, Yoshio (1938-1985)

Maniera, Op. 14 for solo flute (1980)

Hamanaka, Moritoshi (b. 1960)

Ban-Shu for flute and piano (1994)

Hara, Hiroshi (1933-2002)

Sonatine for flute and piano (1978)

Harada, Keiko (b. 1968)

In for bass flute and piano (2000)

Bone++ for solo bass flute (2000)

Harada, Yusuke (b. 1963)

Menuetto for flute and piano (2013)

Aria for flute and piano (2014)

Wind for flute and piano (2014)

Hayakawa, Kazuko (b. 1944)

Insistence II for flute solo (1983)

Hayasaka, Fumio (Humiwo) (1914-1955)

Ballad for flute and piano (1945)

Hirano, Ichiro (b. 1974)

Shinkirô I for unaccompanied flute (2006)

Shinkirô Concerto for flute/bass flute/piccolo, strings, and percussion (2014)

99

Hirao, Kishio (1907-1953)

Flute Suite for flute and piano (1940)

Sonatine for flute and piano (1941)

Hirose, Ryōhei (1930-2008)

Sonata for flute and harpsichord (1964)

Pāramitā for alto flute solo with accompaniment of organ-point (1973)

Hymn for flute solo (1982) – originally for alto recorder (1979)

Breeze Singing on the Lake for solo flute (1982)

Come around the Wind for flute and piano (2006)

Hirota, Ryūtarō (1892-1952)

Variations on Kutsuga-naru for flute and piano (1943)

Hisatome, Tomoyuki (b. 1955)

Flutick-Tack for flute and harpsichord (1989)

Homma (Honma), Masao (1930-2008)

Fukyo for solo flute (1976/rev. 1995)

Jakkyō II for flute and piano (1986)

Hori, Etsuko (b. 1943)

Hiten No Fu for flute solo (2000)

Tamazusa for piccolo solo (2015)

Hoshina, Hiroshi (b. 1936)

Le Rêve féerique for flute solo (1994)

Oraison et Jeux – sous un rai lumineux for flute and wind band (2019)

100

Hosokawa, Toshio (b. 1955)

Sen I for solo flute (1984/rev. 1986)

Per Sonare for flute concerto (1988)

Vertical Song I for solo flute (1995)

Atem-Lied for solo bass flute (1997)

Voyage V for flute concerto (2001)

Arrangement of Kuroda-Bushi for solo alto flute (2004)

Lied for flute and piano (2007)

Ichiba, Kōsuke (1910-2002)

3 Pieces for solo flute (1994)

Ichikawa, Kageyuki (b. 1969)

Cartes Postales: 6 Melodies Celebres pour Flute et Piano (2014)

Ichiyanagi, Toshi (b. 1933)

Kaze no Iroai (Wind Nuance) for solo flute (1980)

Wind Stream for solo flute (1989)

Interplay for flute and string orchestra (1992)

Still Time IV: In Memory of Toru Takemitsu for solo flute (1996)

In a Living Memory for solo flute (2000)

Iinuma, Nobuyoshi (b. 1938)

3 Pieces for flute and piano (1999)

101

Ikebe, Shin’ichirō (b. 1943)

Strata II for flute solo (1988)

Silence…Lui, Ou? Coucou for flute and piano (1999)

Sitting on the Sand, Face to Face concerto for flute and orchestra (2003)

A Flute Sleeps, and She Dreams for solo flute (2004)

Ikeda, Shoyo (b. 19??)

Fantasy “Shimbara” Duo for flute (violin, clarinet, shakuhachi) and piano (1998)

Ikenouchi, Tomojirō (1906-1991)

Sonata for flute and piano (1945)

Imahori, Takuya (b. 1978)

Synchronisation II for flute and piano (2005)

Reflet dans les images for flute and electronics (2009)

Inamori, Yasutaki (b. 1978)

William Wilson for flute and piano (2007)

Loose Memory for solo flute (2007)

Intimate Night for alto flute and lighting (2008)

Distorted Memory for flute and piano (2010)

Mumbling Flute for flute solo (2012)

Irino, Yoshirō (1921-1980)

Sonatina for flute and piano (1946)

Three Improvisations for solo flute (1972)

102

Isaji, Sunao (b. 1968)

Yoru no Uragawa for solo flute (1994) – doubles piccolo and alto flute

Kikei no ten-nyo/Shichiseki for flute and orchestra (1994) – doubles piccolo

“KO…” “OK!” for flute and piano (1995)

Waraukado for flute and piano (2012)

八角塔の横笛夫人 for solo flute (2012)

Ishida, Ichirō (1909-1990)

Flûte de fête for flute and piano (1960)

Three Movements for solo flute (1971)

Ishihara, Tadaoki (b. 1940)

Musica per Flauto e Pianoforte ‘69 (1969)

Ishii, Kan (1921-2009)

The Music for Flute for solo flute (1972)

Ishii, Maki (1936-2003)

Sen-Yō for flute solo (1980)

Itamoto, Katsuto (1950-2015)

Fukamiru for solo alto flute (2012)

The Sounds of “Okuri-bue” Wouldn’t Reach You Already for flute and pno (2013)

Ito, Hidenao (b. 1933)

Apocalypse for flute and piano (1965)

Music for Unaccompanied Flute (1971)

103

Ito, Yasuhide (b. 1960)

Flute Sonata (1978)

Berceuse de la Poupee for flute and piano (1978)

Menuet for flute and piano (1978)

Noel mon chat for flute and piano (1978)

À la suite classique for flute and piano (1999)

Variations on a Theme by Rameau for flute and piano (1999)

Sonata in One Movement for flute and piano (2000)

Révélasion d'Août for flute and piano (2000)

Gelato con Caffe for flute and piano (2002)

Concerto for flute d’amore in Bb (or C flute) and band (2004)

Concerto for flute d’amore in Bb (or C flute) and strings (2005)

Please consult the composer’s website for additional flute works and

arrangements: https://www.itomusic.com/english/works-and-publishing/

Itoh, Hiroyuki (b. 1963)

Figuration II for flute and piano (1986)

Salamander I for solo piccolo (1995)

Salamander Ib for solo flute (2005)

Itoh, Takuma (b. 1984)

Trade Winds for flute and piano (2012)

Kai, Naohiko (b. 1932)

Andante for flute and piano (1961)

104

Kai, Sesshu (1938-1978)

Brillancy for flute and piano

Musik für solo Flöte (1975)

Kaminaga, Sadayuki (b. 1955)

Atmosphere, Op.1 No.12 for flute and piano (2003)

Kanai, Kikuko (1911-1986)

Variations on Tensagunu-hana for flute and piano (1974)

Kaneda, Shigenari (b. 1942)

Live for flute and piano (1984/rev. 1988)

Kaneko, Hitomi (b. 1965)

Promethee (Prometheus) for flute and piano (1988)

Centrifuge for solo flute (1994/rev. 1996)

Concerto for flute and orchestra (1995)

Kanetoh, Yutaka (b. 1931)

Essay #2 for flute and piano (2002)

Kan-no, Shigeru (b. 1959)

Wille for flute and harpsichord or piano (1996)

Vierdreiunddreissig for solo alto flute (2007)

Kawakami, Osamu (b. 1979)

天牛 for flute and piano (2004)

Physalia Physalis for alto flute and piano (2010)

貂 for solo flute (2016)

105

Kawamura, Shoichiro (b. 1941)

Time Link for flute solo (2008)

Kawasaki, Masaru (1924-2018)

Sonata No. 1 for flute and piano (1958)

Sonata No. 2 for flute and piano (1961)

Essay on a Day for flute and piano (1963)

Two Pieces (Movements) for solo flute (1973)

Warabe-Uta for flute and piano (1975)

Uta-Vocalize Japanesque for flute and piano (1985)

La Lagrima for flute and piano (1988)

Three Lyric Pieces for flute and piano (1991-1995)

Fantastic Composition for flute and piano (1995)

Piccolo Concerto (2010)

Please consult the composer’s website for additional flute works:

https://sites.google.com/site/masarukawasaki/e_pub_list

Kawashima, Motoharu (b. 1972)

Manic Psychosis I for solo flute (1991-1992)

Flotenkonzert for flute and chamber ensemble (1999)

Manic Psychosis IV for piccolo and small ensemble (2006)

Kawasoi, Tatsuya (b. 1962)

Arrow-Cycle III for solo flute (2000)

106

Kikkawa, Kazuo (b. 1954)

Prelude I, II for solo flute (1978)

Poo-tee-weet: Postlude for solo flute (1980)

Kikuchi, Kenji (b. 1964)

Sonata for flute and piano (1993)

Kino, Seiichiro (b. 1946)

Chrono I for solo flute (198?)

Kinowaki, Dogen (b. 1969)

Ascender for alto flute and electronics (2011)

Kishino, Malika (b. 1971)

Himmelwärts II / Vers Le Ciel II for flute, percussion, and 16 strings (2007)

Monochromer Garten VIII for solo alto flute (2016)

Kitazume, Hiromichi (b. 1987)

Spontaneous Motion for solo flute (2006/2009)

Sparking for solo flute with kazoo inserted into the foot joint (2011)

Kitazume, Michio (b. 1948)

Pair Work for flute and piano (1996)

Kitazume, Yayoi (b. 1945)

Ének X for alto flute and piano (2009)

Kiyokawa, Shin-ichi (1945-2009)

Concertino for flute and piano (2006)

107

Kiyose, Yasuji (1900-1981)

Lento and Allegro for flute and piano (1937)

Kobashi, Minoru (b. 1928)

Shikyoku for flute and piano (2008)

Kobayashi, Hideo (1931-2017)

An Experiment on Flute for solo flute (1972)

Kobayashi, Ken-Ichiro (b. 1940)

Tentatio 1 (Taku) & Tentatio 2 (Reibo) for solo flute (1978)

Flute Concerto: 4 Chapters (1984)

Koda (Kouda), Hiroshi (b. 1947)

Brown Morning for flute and piano (2003)

Kondō, Jō (b. 1947)

Walk for flute and piano (1976)

Serenata Secca con Obbligato for flute/bass flute and 13 instruments (1991)

Pergola for flute and piano (1994)

Kondo, Kei (b. 1970)

Un Vieil Homme Japonais (Okina) Danse Sur la Terre for flute and piano (1999)

Konishi, Nagako (b. 1945)

Elegy for flute and orchestra (1983)

Kubo, Mayako (b. 1947)

Aktionen for flute and piano (1979)

108

Kubo, Yoko (b. 1956)

Hymne for piccolo and piano (2005)

Exubérance for flute and piano (2010)

Matsuri for flute and piano (2017)

Kunieda, Harue (b. 1958)

Breathing for flute and piano (2002)

Easter Egg for flute and piano (2011)

Easter Egg II for flute and piano (2012)

Kurauchi, Naoko (b. 1963)

Ki for the Memory of Hiroaki Zakoji for solo flute (1987)

Duo for flute and piano (1987)

Room for flute solo (1994)

Jasmine for flute solo (2011)

The Days of the Light－Awakening Link of Us for flute and chamber orch. (2012)

Where We Are for piccolo and toy piano (2013)

M, LCM II (Minimal, Lowest Common Multiple II) for flute and piano (2017)

Masumoto, Kikuko (b. 1937)

Ranjoh for flute solo (1983)

Matsudaira, Yori-Aki (b. 1931)

Rhymes for Gazzelloni for solo flute (1965-1966) – doubles percussion

Brilliancy for flute and piano (1978)

Engraving I & II for flute and piano (1989)

109

Matsudaira, Yoritsune (1907-2001)

Sonatine for flute and piano (1936)

Somaksah (Somakusha) for solo flute (1961)

Serenata per flauto e strumenti (1962)

Matsumoto, Naoyuki (b. 1976)

Mistic Waves for flute and chamber orchestra (2013)

Matsumura, Teizo (1929-2007)

Poème II for shakuhachi solo (1972) – sometimes performed as flute solo

Matsunaga, Michiharu (b. 1927)

Transformation for flute and piano (1991)

Mountain Pears for solo flute (2002)

Matsuoka, Takashi (b. 1950)

Pietà for flute solo (1988)

Matsushita, Isao (1951-2018)

Flute Concerto “JODO” (2018)

Matsushita, Shin’ichi (1922-1990)

Etoile de Chaldéen for flute and piano (1960)

Miki, Minoru (1930-2011)

Autumn Fantasy for flute and piano (1980) – originally for shakuhachi and koto

Fantasy of Flowers for flute and piano (2001)

110

Minemura, Sumiko (b. 1941)

Dialogue I for flute and piano (1972)

Mai for solo flute (1984)

Miwa, Masahiro (b. 1958)

Gesänge einer Imaginären Fernöstlichen Insel II for flute and piano (1991)

Miyake, Haruna (b. 1942)

Three Fantasies for flute and piano (1965)

The Star-lit Beach for flute and piano (1987)

Miyazawa, Akimasa (b. 1954)

Phase of Wind for solo flute (2006)

Miyazawa, Kazuto (b. 1952)

Musik für Brisen und Bäumen for flute and piano (1982)

Miyoshi, Akira (1933-2013)

Zuifu Suido for flute and piano (1999)

Mochizuki, Misato (b. 1969)

Intermezzi I for flute and piano (1998)

Morita, Yasunoshin (b. 19??)

Geometric Landscapes for flute and piano (1996/2016)

Prana for solo flute (2007/2011)

Morohashi, Reiko (b. 1952)

La destinazione della farfalle for flute and piano (1999)

Silence profond for solo flute (2005)

111

Moroi, Makoto (1930-2013)

Partita for solo flute (1952)

Chikurai: Five Pieces for solo flute (1964/rev. 2012) – originally for shakuhachi

Moroi, Saburō (1903-1977)

Sonata for Flute and Piano, Op. 15 (1937)

Muramatsu, Takatsugu (b. 1978)

Earth for flute and piano

Nabeshima, Kaori (b. 1960)

Time Portrait for solo flute (2011)

Nagao, Jun (b. 1964)

Futarishizuka for solo flute

Purity for solo flute

Nakada, Yoshinao (1923-2000)

Japanese Autumn Song for flute and piano (1993)

Nakagawa, Norio (b. 1969)

Life, Suffer and Die for flute and piano (1997)

Dark Matter for solo bass flute

Hyperadrenalemia for flute and piano

Nakajima, Tsuneo (b. 1937)

Torimono-Uta for flute and piano (1964)

Nakamata, Nobukio (b. 1932)

Zéphyr for solo flute (2004)

112

Nakamura, Noriko (b. 1965)

Agata for flute solo (2002)

Narita, Kazuko (b. 1957)

Episode for flute and piano (1987)

Natsuda, Masakazu (b. 1968)

Gallop for flute and piano (1996)

Equatorial Song for flute and prepared piano (2000)

The Bush Warbler in Spring for solo flute (2011)

Niimi, Tokuhide (b. 1947)

The Soul Bird for flute and piano (1996)

Ninomiya, Tsuyoshi (b. 1972)

From the Serene-Light Garden for flute and piano (2005)

Nishimura, Akira (b. 1953)

Khayal (Khyal) for flute and piano (1985)

Concerto for flute, winds, and percussion (1997)

Naga for flute solo (2009)

Adagio to the Memory of Wolfgang Schulz for flute and string orchestra (2013)

Noda, Teruyuki (b. 1940)

Melodies of Japan for flute and piano (1973) – 14 Japanese folk songs ed. Noda

Three Lyric Pieces for flute solo (1978)

Wiegenlied aus Itsuki for flute and piano

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Nodaira, Ichiro (b. 1953)

Vision for flute and piano (1986)

Commentaires for solo flute (1986) – in Flûte et Créations, ed. Valade

La Nuit sera blanche et noir for flute and piano (1988)

Le Tourbillon du Labyrinthe for flute and piano (1988)

a Michio Kai for flute and piano (1988)

Mémorial for solo flute (1993)

Ōe, Hikari (b. 1963)

Nocturne for flute and piano (1995)

Adagio in D minor for flute and piano

Nocturne 2 for flute and piano

3 Short Pieces (Dream, Forest, Mountain) for flute solo

Flute Rhapsody for flute and piano

Long Summer for flute and piano

Ogawa, Takashi (b. 1960)

Chanson et Danse for flute and piano (2004)

Chrysanthème for flute and piano (2004)

City Danses for flute and piano (2004)

3 Dédicaces for flute and piano (2005)

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Ogihara, Toshitsugu (1910-1992)

Trois Mouvements for flute and piano (1939)

Fantasy of the Sacred Music and Dance for flute and orchestra (1957)

Japanese Folksongs (1960) – contains four pieces for solo flute arr. Ogihara

Japanese Folksong (1973) – contains several pieces for flute and piano

2 Suites for flute and piano (1974)

Suite for flute and piano (1984)

Oguri, Katsuhiro (b. 1962)

Lacrimosa for flute and piano (1987)

The Four Seasons for Children for flute solo (1992)

Ohmae (Ōmae), Satoshi (b. 1943)

Ko, Op. 54 for solo flute or recorder (1984)

Non tramonti questa passione for flute solo (1997)

Time Links, Op. 115 for flute and piano (2001)

Come il Vento Passati, Op. 126 for flute and string orchestra (2004)

Ojimi, Emma (b. 1961)

Mistral for solo flute (1992)

Okasaka, Keiki (b. 1940)

Orpheus or Koi-no-netori for solo flute or shinobue (1986)

Sagano no Aki (Autumn in Sagano) for flute and piano (2006)

Onishi, Yoshiaki (b. 1981)

Mes vers avec de l’air for flute solo (2006)

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Otaka, Atsutada (b. 1944)

Visions D’Un Jour D’Ete: Deux Pieces pour Flute et Piano (1976)

Otaka, Hisatada (1911-1951)

Flute Concerto, Op. 30b (1948) – Op. 30a is original version for chamber orch.

Oumi, Norihiko (b. 1984)

wormn-va for flute and piano (2010)

khon-khon for flute and electronics (2011)

Saegusa, Shigeaki (b. 1942)

The Blue Angel for flute and piano (1999)

Sakata, Kiyotaka (b. 1934)

Kasho (Flower Bell) for flute and piano (1992)

Banka (Elegy) for solo flute (1994)

Tsukishizu (Loneliness of the Moon) for solo flute (1995)

Koei (Solitary Shadow) for solo flute (1996)

Astara for solo flute (1998)

Yuugureni (At Dusk) for solo flute (1999)

Flute Concerto “O-Ran” (2002)

Sato, Kimi (b. 1949)

Le Cadre Blanc for solo flute (1972)

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Sato, Masahiro (b. 19??)

Interlude for flute solo (2009)

Entrance for flute and piano (2014)

Danse Prelude for flute and piano (2015)

Satō, Toshinao (1936-2002)

Mai for flute solo (2001)

Satoh, Somei (b. 1947)

Requiem (Chin-kon-ka) for flute solo (1970)

Sendo, Sakuzo (b. 1945)

Elegy for flute solo (1976)

Shibuya, Yuka (b. 1981)

Traces of Thirds for flute and piano (2014)

Shida, Shoko (Syoko) (b. 1942)

Sonata for Flute and Piano based on Japanese Tea-Picker’s Song (1970)

Lazy Garnet for flute or shakuhachi with tape (1974)

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Shimizu, Kensaku (b. 1961)

Disparate Space-Time II for solo flute (2002)

Mai for solo alto flute (2004, rev. 2010)

Far in the Distance for flute and computer-generated music (2005)

For the Memory of Starts I for solo piccolo (2006)

In the Arcadian Forest for flute and piano (2009)

Passacaglia for solo piccolo (2013)

Early Evening of Spring for solo alto flute (2013)

The Moonlit Night for solo alto flute (2015)

Various arrangements on popular themes for flute and piano (2016)

Conversations with the Universe I for flute and computer (2017)

Shimizu, Shōhei (b. 1967)

Study for flute solo (1996/1999)

Shimoyama, Hifumi (b. 1930)

Dawning for solo flute (1991)

Fuhin for flute and piano (1999)

Shinoda, Masanobu (b. 1976)

How to Hit Breaking Balls for flute and piano (2016)

Shinohara, Makoto (b. 1931)

Kassouga for flute and piano (1959)

Relations for flute and piano (1970)

Passage for bass flute and stereophony (1980)

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Shishido, Mutsuo (1929-2007)

Music for Flute and Cembalo (1989)

Suite Estampes for flute solo (1964)

Shitanda, Motoyuki (b. 1952)

Pastoral for flute and piano (1992)

Sonoda, Yasuko (b. 1920)

Fantasia for flute and piano (1979)

Miwa-no-Reimei (Dawn at Miwa Shrine) for flute and piano (1994)

Sueyoshi, Yasuo (1937-2018)

Somewhere in the Skies for flute solo (2003)

Sugawara, Meiro (1897-1988)

La Joueuse de Flute for solo flute and narrator (1931)

Sugiyama, Yoichi (b. 1969)

Franco II for flute and piano (1998)

Aphelocheirus Kawamurae for flute and piano (2009)

Suzuki, Haruyuki (b. 1962)

稜線 for solo flute (1996)

透明な白 for flute and piano (2001)

Suzuki, Hiroyoshi (b. 1931)

Deux Voix for solo flute (1955)

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Suzuki, Kotoka (b. 1971)

Slipstream for flute and electronics (2002)

Fixed for contrabass flute and live-electronics (2005/rev. 2006)

Little Suite for flute solo (2005)

Suzuki, Norio (b. 1953)

Fantasy for flute and piano (1973)

Fue Fuki Me: La Joueuse de Flute for solo flute (1988)

Suzuki, Satoshi (b. 1941)

Un for flute and piano (2000)

Suzuki, Yukikazu (1954-2010)

She Closed Her Heart for solo flute (2002)

Taïra, Yoshihisa (1937-2005)

Hiérophonie IV for solo flute (1971) – doubles piccolo, alto flute, and bass flute

Maya for solo bass flute in C or alto flute in G (1972)

Cadenza I for solo flute (1980)

Erosion I for flute and orchestra (1980)

Prolifération for octobass (contrabass) flute and chamber orchestra (1984)

Filigrane for flute and piano (1994)

Réminiscence for flute and orchestra (1998)

Takahashi, Masamitsu (b. 1949)

Lamento for solo flute (1983)

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Takahashi, Shigeko (b. 19??)

Requiem for flute solo (2001)

Takahashi, Yūji (b. 1938)

Ji(t) for flute and piano (1978)

Takano, Mari (b. 1960)

Liebeslieder for flute solo (1985)

Flute Concerto for flute (doubling bass flute) and strings (2004-2006)

Corridors of Light for flute solo (2012)

Takemitsu, Tōru (1930-1996)

Voice for solo flute (1971)

I Hear the Water Dreaming for flute and orchestra (1987)

Itinerant: In Memory of Isamu Noguchi for solo flute (1989)

Air for solo flute (1995)

Taku, Jun-ichirō (b. 1981)

Rainbow for solo flute (2011)

Cosmo Effect for flute and wind ensemble (2016)

Tamaru, Sawako (b. 1956)

Stream for flute solo (1987/rev. 2009)

Aspects of Fire for flute and piano (1998)

Tanada, Fuminori (b. 1961)

F for solo flute (1991)

Concerto for Flute (2001)

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Tanaka, Akira (b. 1947)

Et L’Automne for flute and piano (1978)

Le Coin de Philippine for flute and piano (1981)

Deux Romances sans Paroles for flute (or oboe or violin) and piano (1983)

Romance for flute and piano (1984)

Tanaka, Kumiko (b. 1959)

Les Lunes de Cuzco for flute and piano (2001) – also version for flute and orch.

Voyage au Coeur de l'Orient for flute and piano (2001)

Le Funambe for flute and piano (2003)

Bouquet Printanier for flute and piano (2005)

La Bête à Bon Dieu for flute and piano (2006)

Michel Ange for flute and piano (2009)

Tanaka, Noriyasu (b. 1952)

Air for flute and piano (2010)

Tanaka, Satoshi (b. 1956)

Five Fragments for flute and piano (1994)

Five Countenances for alto flute and piano (1999)

Tanaka, Terumichi (b. 1951)

Bai for solo flute (1990)

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Tanaka, Yoshifumi (b. 1968)

TROS II for solo flute (1992)

Vento for piccolo (doubling bass flute) and piano (2000)

Uccello magico - parafrasi di “Casanova” di Nino Rota for flute and pno (2004)

Gioco di dita e respire for solo flute (2010)

Tanimoto, Toshiki (b. 19??)

Fantaisie for solo flute (1974)

Elegie for solo alto flute (1980)

Terashima, Hiroki (b. 19??)

Harunokaze for solo flute

Terauchi, Daisuke (b. 1974)

Ivy for flute and piano (2002)

Tomotani, Kōji (b. 1947)

Kãla-Cakra for flute and piano (1981)

Cosmic Landscape I for flute and harpsichord (1985)

Spectrum I for flute and piano (1988)

Torikai, Ushio (b. 1952)

Air 4 for solo alto flute (1987)

Toyama, Yuzo (b. 1931)

Capriccio for flute and piano (2008)

Tsubonoh, Katsuhiro (b. 1947)

Festival of the Fox King for flute and piano (1976)

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Tsukatani, Akihiro (1919-1995)

The Three Spheres for solo flute – in 16 Pieces for Flute Solo (1972)

Tsurumoto, Hiroki (b. 1976)

Utsuwa -Ceramics- for flute and electronic sound (2006)

Murmur for flute (doubling piccolo) and piano (2007)

Light Dripping for flute and piano (2008/rev. 2010)

Uebayashi, Yuko (b. 1975)

Le Vent a Travers les Ruines for solo flute (1998)

A Romace of Orcia for flute and piano (1998)

Les Sentiers - Cinq Recueils for flute and piano (2000)

Flute Sonata (2002)

Concerto for Flute and Orchestra (2006)

Le Moment du Cristal for flute and piano (2012)

Deuxième Sonate for flute and piano (2018, composition still in progress)

Ueda, Maki (b. 1976)

Small Lyrical Suite for flute and piano (2007)

Dedication for flute and piano (2007)

Uno, Fumio (b. 1959)

Duo for flute and piano (1984)

Music for Solo Flute (2012)

A Memory for solo flute (2014)

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Uzaki, Kōichi (b. 1935)

Sonatine for flute and piano (1966)

Wakabayashi, Chiharu (b. 1961)

Sō: Resonances I for flute and piano (2001)

Utu-Urklang I for flute solo (2001)

玉響…momentariness IV, V, IX, X for flute and piano – four separate pieces

Ten-Sen-Men I for flute and piano

Watanabe, Yukiko (b. 1983)

Hongkong Flower for solo flute

Yagishita, Shigeru (b. 1951)

Sonata for flute and piano (1986)

8 Pieces for flute and piano

Museum for flute and piano (2019)

Yamada, Hiroki (b. 1967)

Flute Sonata (2010-2012)

Yamada, Kazuo (1912-1991)

Notturno, Op. 23 for flute and piano (1945)

Yamada, Kōsaku (1886-1965)

Variations on Kono-michi for flute and piano (1930)

Yamamoto, Hiroyuki (b. 1967)

Contour-ism V for flute and piano (2014)

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Yamane, Akiko (b. 1982)

Three Channels for solo flute (2006)

Dots Collection No. 9 for flute and piano (2011)

Yashiro, Akio (1929-1976)

Rampal Flute Favorites Vol. 2: Japanese Melodies – trans. Yashiro (pub. 1985)

Yasuda, Fumio (b. 1953)

Poem on Furusato for flute and piano (2003)

Poem on Oborozukiyo for flute and piano (2003)

Verdi Fantasy for flute and piano (2004)

Fantasy on a Theme from Kojo-no-tsuki for flute and piano

Leonora Flute Fantasy for flute and piano

Fantasy on Annie Laurie for flute and piano

Lydia for flute and piano

Las Vegas Flute Rhapsody for flute and piano

Various arrangements and transcriptions for flute and piano/strings

Yasumura, Yoshihiro (b. 1951)

Hakyoku for flute solo (1975)

Yoshida, Susumu (b. 1947)

Kodama III for flute with or without piano (1984)

Yoshimatsu, Takashi (b. 1953)

Digital Bird Suite, Op. 15 for flute and piano (1982)

Pleiades Dances IIa, Op. 28a for violin (or flute) and piano (1987)

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Yoshizaki, Kiyotomi (b. 1940)

The Realm of Cabala for flute and piano (1987)

Yuasa, Jōji (b. 1929)

Domain for flute solo (1978)

Mai-Bataraki II for solo alto flute or noh-flute (1987)

Terms of Temporal Detailing – Homage to David Hockney for solo bass fl. (1989)

Reigaku – In Memoriam Isang Yun for solo alto flute (1997)

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