RecordingofThemeandVariationsbasedonEtenraku
(PianoSoloTranscription)byYoritsuneMatsudaira
ByYusukeKomura
Awrittenprojectsubmittedinpartialfulfillmentoftherequirements
forthedegreeof
DoctorofMusicalArts
(PianoPerformance)
attheUNIVERSITYOFWISCONSIN-MADISON
2016
Dateoffinaloralexamination:12/10/2016
ThedissertationisapprovedbythefollowingmembersoftheFinalOralCommittee:Taylor,ChristopherP.ProfessorofPianoKarp,Parry.ProfessorofCelloJohnson,Jessica.ProfessorofPianoandPianoPedagogyCrook,David.ProfessorofMusicologyFischer,Martha.ProfessorofPianoandCollaborativePiano
i
TableofContentsPurpose 1ChapterI:YoritsuneMatsudaira–BiographicalInformation 2ChapterII:MusicofMatsudaira 13
Earlyperiod(1920’s) 13o Matsudaira’sImpressionism 14o UseofFolksongs 17
Neo-classicalperiodandAlexandreTansman(mid1930’s) 20o FolksongtoGagaku 23
Dodecaphonicperiod(1950’s) 26o Abstractionism 27o UseofTwelve-toneSystem 28
TotalSerialismandAleatoryMusic(1960’sandlater) 30Finalyears 35
ChapterIII:Gagaku
BriefHistory 38Classification 39Modes 40Instruments 41Etenraku(���) 42
ChapterIV:ThemeandVariationsonEtenraku 45
Reception 46Overview 47EachVariations 50
o Theme:MoltoLento 50o I.Andante 53o II.Allegro 56o III.Allegro 60o IV.Lento 65o V.Allegro 67o VI.Allegro(toccatameccanico) 69o Coda:RecapitulationofTheme.Lento 72
ii
ChapterV:PerformanceSuggestions
Dynamics 74Tempo 75Pedaling 77RollingofChords 77Rubato 78
Conclusion 79
Appendix:PossibleErrorsintheScore 80
Bibliography 82 Discography 87
1
Purpose
ThisrecordingandessayfocusonJapanesecomposerYoritsuneMatsudaira
(1907-2001)andhisbestknownwork,ThèmeetVariationspourpianod’après
“Etenraku.”Thepurposehereistoaddanaudiorecordingtothestillscarce
collectionofrecordingsofhisworks,aswellastodiscusstheevolutionofhisstyles,
inwhichThèmeetVariationspourpianod’après“Etenraku”markstheoutsetofhis
mostmaturecompositionalstyle.ByfusinginspirationsfromJapaneseancientcourt
musicknownasGagakuwithhisuncompromisingestheticsasamodernist,
Matsudairaproducedhismatureworks,whichcontributedtothemodernizationof
westernclassicalmusicinJapanandtheestablishmentofitsnationalisticidentity.
2
ChapterI
YoitsuneMatsudaira–Biographicalinformation1
YoritsuneMatsudaira(���)wasbornonMay5,1907inKoishigawaku
HisakatachoinTokyo2asthefirstsontoNorikoandYoritakaMatsudaira.His
parentsnamedhimYoritsune,usingthefronthalfofhisfather’snamefollowedby
thelatterhalfofhismaternalgrandfather’s,DukeSanetsuneTokudaiji.Hisancestry
tracesbacktoIeyasuTokugawa(1543-1616),whowasthefounderofthe
TokugawaShogunatein16033,whosemonarchyremainedvirtuallyinpowerfor
260years.YoritakawasaformerfeudallordofIbaragiken-Ishiokata,aswellasa
veneuroftheministryoftheimperialhousehold,andalsoabirdresearcher.4
Fromayoungage,Yoritsuneshowedhisintellectualmaturityasastudent,
outperformingtheclassthroughouthissixyearsatGakushuinElementarySchool.
Hewasachildwhodespisedviolencefromsuchanearlyage,refusingtowearthe
uniformGakushuinhadstandardized,whichresembledtheJapanesemilitary
uniform,andnevertookpartin“playwar”amonghisfriends.Graduatingfrom
Gakushuin,heenteredintoGyoseiJuniorHighSchool.Despitehisfamily’swealth,
whichwasanobjectofenvyamongsthisclassmates,hebegantostarveforaffection
1ThischaptermakesuseofarticlesfoundinJapanesesourcessuchasOngakuGeijutsuandOngakunotomo,whichwerenotavailableinEnglish.2Duetonumerousreorganizationsofadministrativedistricts,itisnowTokyo-to,Bunkyoku,Koishigawa.3AlsoknownasEdoera(1603-1868).4YasushiTomigashi,“ContemporaryJapaneseComposers:YoritsuneMatsudaira,”OngakuGeijutsu11(1951):104.
3
fromhisfamilyashegrewoutofearlychildhood.Inordertoconsolehissolitude,he
wentintotheherbariumattachedtohishomeinHisakatachoandpassedtimewith
taxidermybirdshisfathercollected,huntedbirdsinthegarden,orplayedwiththe
waterfowlskeptinhispond.5
Aroundthetimehewassixteenyearsold,hisfamilyfacedadeclineinwealth
andstatuswithintheimperialhierarchy,whichresultedintherelinquishmentof
theirestateinHisakatacho.Followingthisdevelopment,Yoritsunewassaidtohave
developedasevereinferioritycomplex.6Temporarily,heandhisyoungersister
movedtoAoyamawiththeirmother,whoseparatedfromherhusband.Beingforced
tobepartedfromactivitieswithwhichhepreviouslyevadedhislonelinessinhis
mansiongarden,hestartedtodabblewithhissister’spiano.OneofMatsudaira’s
earliestandimportantacquaintanceswithawesternclassicalmusiciantookplacein
1922,whenLeopoldGodowskygavearecitalinJapanaspartofhistourthrough
EastAsia.7Godowsky’sperformanceofworksbyChopinmovedYoritsunedeeply,
guidinghisheartasteptowardtheartofmusic.However,withinthesocialcustoms
inwhichlearningmusicwasconsideredaleisureactivityforgirls,Matsudairawas
prohibitedfromtakingpianolessons.8
Hedescribedhisearliermusicalexperiencesinanarticletitled“MyTeenage
Music”asfollows,
5YasushiTomigashi,“ContemporaryJapaneseComposers;YoritsuneMatsudaira,”104.6YoritsuneMatsudaira,“MyPovertyStory,”OngakuGeijutu4(1950):51.7CharlesHopkins,“Godowsky,Leopord”GroveMusicOnline,editedbyDeaneRoot.AccessedSeptember15,2015.http://www.oxfordmusiconline.com.ezproxy.library.wisc.edu/subscriber/page/gmo/boards8KuniharuAkiyama,JapaneseComposersTodayVol.1(Tokyo:OngakunoTomoPublication,1979),159.
4
[duringthetimeIwasinjuniorhighschool]afriendMr.IhadanimmensecollectionofrecordsandabeautifulSteinwaypiano.AtthattimeIwasstillenthralledbyChopin,butMr.IwasaWagnerian.BecauseMr.I’sfriendswerealsothoroughlyWagnerians,theywouldhavemuchfunandexcitementbyguessingleitmotifstheysangorplayedonthepiano.Ifoundthisatmospherepedanticandintolerable.However,Iwaitedforthemtogrowtired,andthenhadthemplayrecordsofChopinbyVladimirdePachmannandIgnacyjanPaderewski…..Onedayanothermemberofthegroup,Mr.SwasplayingapieceIhavenevercomeacross.whenIaskedhimwhatitwas,herepliedthatitwasamazurkabyhisrelative,ShukichiAkiyoshi.Infact,IwascomposingaMazurkaatthattime,andthoughtinsurprisethatthereissomeonewhodoessimilarthingsasme……throughtimemyinterestshifted,andI,unnoticeably,becamecaptivatedbyDebussy.AsMr.Iisconversantwithallthings,helecturedmethatthewholetonescaleDebussyutilizesisconstructedfromnaturalovertoneseriesandthusextremelyscientific.IrecalledmyamazementsimilartowhatIexperiencedwhenIsawtheabundantuseofnumbersinanarticleonelectronicmusicwrittenbyMayuzumi.9AfterhegraduatedfromGyoseiJuniorHighSchool,heattemptedbutfailed
anentranceexaminationintoIkkouHighSchool.Aftertwoyearsofpreparation,he
wasadmittedintoKeioUniversity,wherehestudiedFrenchliterature.French
literatureneverbecameYoritsune’spassion;however,ithelpedhimgainfluencyin
FrenchaswellasgetacquaintedwithFrenchauthors,someofwhomheclaimedhad
deepconnectionswithcomposerssuchasDebussy.In1925duringhistimeatKeio,
heattendedapianorecitalbyaFrenchpianist,HenriGil-Marchex,inwhichGil-
MarchexintroducedmuchmorecontemporaryFrenchmusictoJapan,where
GermanmusicdominatedthenotionofWesternclassicalmusicatthattime.Atthis
time,hefinallybegantostudycompositionunderKosukeKomatsu.10Matsudaira
alsotookfiveprivatelessonswithGil-Machexinwhich“hewasgivenincredible
9YoritsuneMatsudaira,“MyTeenageMusic”OngakunoTomo6(1956):125.10ShuheiHosokawa,JapaneseComposers;ABiographicDictionary,ed.KatayamaMorihide,(Tokyo:NishigaiAssociatesInc,2008),621-622.
5
lightregardingpianoperformancethroughpsychologicalandphysical
transformation.”11Later,Matsudairaconstructedhisrecitalprogrammodeledafter
Gil-Marchex’s. DuringhisstudieswithKomatsu,hemetYasujiKiyose,12another
pupilofKomatsu,anddevelopedalonglastingfriendship.
Atthispointhehadnointentionsotherthantopursuehiscareerofmusic,
buthisconservativeparentsprovidednofinancialsupportforhisdecision.Thiswas
thebeginningoflongyearsoffinancialhardship,duringwhichYoritsunefaced
emotionalandphysicalstruggles.Nevertheless,hedecidedtoleaveKeioUniversity,
wherehewasenrolledonlytodeceivehisparents,andtransfertoKunitachiCollege
ofMusic,onlytoreturntoKeioUniversityayearlater.In1928,hedebutedasa
composerbypublishinghispianoworkBerceusefromasuitetitledSouvenirs
d’enfancebyOngakuShincho.13
Despitehisdebut,hismusicallifewasinperilatthattimeduetohisfinancial
difficulties.However,hisaunt,whosympathizedwithhimandhissituation,decided
tosupporthimfinancially,whichenabledhimtocommencepianostudieswith
CharlesLaudrup,andharmony,polyphony,andmusictheorywithAndreas
Werckmeister.In1930,hemarriedawomannamedYukikowhowasfiveyears
olderthanhimself,notwithstandinghisparents’objections.Alongwithhismother,
sister,andwife,hemovedtoAsagaya(aresidentialareainTokyo)closetohisfriend
YasujiKiyose;however,duetofamilyissues,heandhiswifemadetheirhomein
11AsakoShiraisi,“CulturalExchangebetweenJapanandFrenchbyHenriGil-Marchex2010”(PhDDiss.,AichiPrefecturalUniversityofFineArtsandMusic,2010),47.12YasujiKiyose(January13,1900-September14,1981),bestknownastheteacherofToruTakemitsu.13ShuheiHosokawa,JapaneseComposers,621-622.
6
Higashinakanoinfallofthatyear,awayfromhismotherandsister.Inthesame
year,hebecameoneofthefirstmembersoftheComposers’Association.
In1931hisfirstsonwasborn.Atthistime,hedecidedtodedicatehimselfto
musicanddroppedoutofKeioUniversityonceagain.April23rdofthatyear,he
debutedasapianist,givinghisfirstpianorecitalatAkasakaSankaidoinTokyowith
aprogramincludingworksbymodernFrenchcomposerssuchasRavel,Debussy,
Poulenc,andHonnegar,aswellashisown.Hegavesolorecitalseachyear
consecutively,focusingonFrenchmusic.Programsfromhisfirsttworecitalsare
listedbelow:
FirstRecital,April23,1931Debussy Children’sCornerRavel PavanepouruneinfantedéfunteRavel SonatineSatie EmbryonsdesséchésHonneger LeCahierRomandPoulenc MouvementsperpétuelsMatsudaira Souvenirsd’enfance
SecondRecital,November24th,193114Franck Prelude,choraleetfugue
Couperin LeDodo,oul'amourauBerceau
Couperin LeBavoletFlottantDaquin Lecoucou
Rameau Musetteenrondeau,andTambourin
Satie TyrolienneturqueandDancemaigrefromCroquisetagaceriesd'ungrosbonhommeenbois
Malipiero Omaggi
14AsakoShiraisi,“CulturalExchangebetweenJapanandFrench,”47.
7
Withtheseperformances,MatsudairabroughtthemostadvancedFrench
modernismintoJapan.Eventhoughtheseprogramsshowedhistechnical
proficiencydespitetheyearsofself-learning,hegraduallyrealizedthephysical
limitationsofhistechnique,andafterthefourthrecital,whichtookplaceon
November26,1934,helefthiscareerasaconcertpianistbehind.Hefocusedon
compositionfromthenon.
ItwasFebruaryof1935whenAlexanderTcherepnin(1899-1977)visited
Japanoutofhisinterestinorientalmusic.Matsudairanevertookaninterestinhis
compositions;however,thisofferedarareopportunityforJapanesecomposersto
comeintocontactwiththelatesttrendsinEurope.Bygivingrecitalsandadviceto
Japanesecomposers,andbypublishingtheirworksusinghisownfunding,
TcherepninstimulatedtheclassicalmusicindustryinJapanimmensely.In1935,
MatsudairaleftTokyoandfoundahomeinKamakuraintheKanazawaprefecture.
Thisyear,notonlywashisPréludeenRépublishedasapartofananthology,
TcherepninCollection,15butlater,TcherepninhimselfrecordedPréludeenRéand
performeditthroughoutEuropeandtheUnitedStates.InSeptemberofthatyear,
TcherepninfoundedtheTcherepninAward—acomposingcompetitionforJapanese
composers.Itsjuryincludedsomeofthemostrenownedcomposersandcriticsfrom
France—AlbertRoussel,JacquesIbert,Oscar-ArthurHonegger,Aleksander
Tansman,HarsányiTibor,Pierre-OctaveFerroud,HenriGil-Marchex,andHenri
15WorksbyJapaneseandChinesecomposerswereincludedinthisanthology.
8
Prunières,amongothers.16Matsudairawonthesecondprizewithhisorchestral
piecePastorale(firstprizewasgiventoAkiraIhukube’sJapaneseRhapsody).
Pastoralewasfirstpremieredin1936ataJapancontemporarycompositionfestival,
and1937inUnitedStatesbytheSanFranciscosymphonyorchestraunder
conductorGiulioMinetti.Inthatsameyear,hereceivedfirstprizeatthe
WeingartnerCompetitionwithhisNanbuMinyoushuI.17HisSonatineforFluteand
Pianowasperformedandbroadcastover14citiesinEurope;theseaforementioned
workswereallinternationallypublishedbyTcherepnin.18Withthesenumerous
worldwideperformanceshesawtheearliestsuccessesofhiscareerasacomposer.
TcherepninhadaroleinamajorshiftofMatsudaira’scompositionalstyle,which
willbediscussedinalaterchapter,yetitwasnotwithoutanegativeeffect.Because
Tcherepnin’srecordingincludedsomecomposerswhoseworkswereinthestyle
Matsudairadescribedas“Japonica-cho”—facileexoticismbytheeasyuseof
pentatonicscales,Matsudairaandthosecomposerswerebundledandridiculed
togetherasthe“TcherepninSchool.”19Thatyear,hemovedbacktoNakano,Tokyo.
ThenextfewyearswerefruitfulyearsforMatsudaira;in1939,JOAK(now
NihonHousouKyoukai;NationalBroadcastingCorporation)commissioned
MatsudairaforapiecebasedonaJapanesefolksong.Asaresult,hewroteThemeet
16 Hitomi Sano, “Les Japonais enchantés par Debussy: La musique impressionniste française et le Japon à l’époque modern,” 表現文化研究 10 no.2 (2011): 173. 17AustrianconductorPaulFelixWeingärtner,EdlervonMünzbergcametoJapanin1937toconductShinphilharmonicorchestra(nowNHKsymphonyorchestra).DuringthisvisitHesetupWeingärtnercomposingcompetitioninJapan.18AlexanderTcherepninpublishedmanyJapanesecompositionsfromUniversalEdition(vienna),Schimer(NewYork),Ed.ProMusica(Paris),CommercialPress(shanghai)inordertointroducetheminternationally.19KuniharuAkiyama,ComposersfromShowaperiod:WWIIandMusic,ed.RinShukuki(Tokyo:Misuzushobo,2003):294.
9
variationsd’aprèsd’uneberceusedeNanbu,whichwashisfirstattemptatapiano
concertosetting.In1940,MatsudairawroteFujiEngi,inwhichhecomposedthe
musictoatextandchoreographybySeijuFujkage.Thisworkwascommissionedby
NihonBunkaChuouRenmei(theCentralAssociationofJapaneseCulture)andwas
performedonJune17,1940atTeikokuTheatreaspartofthecelebrationofthe
two-thousandsix-hundredthanniversaryofJapaneseimperialenthronement,20
althoughitwasnotasuccessfulwork,accordingtoTomigashi.21InAprilof1941,he
wasappointedasprofessorofcompositionaswellasharmonyatNihonKoutou
OngakuGakkou.Hecontinuedtoteachatthisschoolfortwoyears;however,bythe
endof1943,itwasforcedtocloseduetotherelentlessimpactofWorldWarIIon
society,andeffectivelyterminatedhisposition.
WorldWarIIwasseverelydetrimentaltohisfinancialsituationaswellasto
hiscreativity.Hehadnosourceofincome,andwasconstantlyinterruptedby
emergencydrillseveryday.Ultimately,hedeliberatelysuppressedanymusical
inspirations,andasaresult,fellintoaslump.Hesays,“ArtisbornfromLove,but
whenwedetestotherhumankind,theMuses(Greekgoddessesofmusicand
poetry)forsakeyou.”22Matsudairathenrealizedthatthetormentofacomposer
whocouldnotcomposefarsurpassedtheseverepovertyhewasexperiencingatthe
time.Hesaid“Artistsaretheresultoftheirworks,and‘notbeingabletocompose’
20ToshikiMiyazaki,“KoukiNisenRoppyakunenn,”DevelopmentofResearchandStudyMethodologiesinTheatre1(2003):145-157.21YasushiTomigashi,“ContemporaryJapaneseComposers:YoritsuneMatsudaira,”OngakuGeijutsu11(1951):104.22YoritsuneMatsudaira,“MyPovertyStory,”OngakuGeijutsu,4(1950):52.
10
brandsmeafailureasanartist.”23Duringthelastyearofthewar,heworkedata
juniorhighschool;thetitleasateacherwasmerelyonpaper,ashisactuallyduty
wastosupervisechildrenwhowerebroughttothefactory.Hedescribesthislifeas
“thelifeofawatchdoginthedesert.”24Thedayaftertheannouncementoftheend
ofthewar,whilefightingagainsttheharshcircumstancesforceduponhissociety,
Matsudairabegantodevotehimselfentirelytocomposingasiftofillinthelost
years.
In 1946, he formed Shin Sakkyokuha Kyoukai (translates as “New Composer
Association”) along with Humio Hayasaka, Yasuji Kiyose, Toshitsugu Ogihara, Akihiro
Tsukatani, Akira Ihukube, and Urato Watanabe. This association was modeled after
Alfredo Casella and his formation ofCorporazionedelleNuoveMusiche,25butitdid not
form under a certain ideology or slogan—instead these members were connected purely
through the friendship they formed during the time they all contributed articles for the
magazine Ongaku Shincho. Ongaku Shincho was the most avant-garde magazine at the
time; thus the underlying unspoken agreements among the members of Shin Sakkyokuha
Kyoukai were not only to aim for the most up-to-date music, but also to have the
foundation of their compositions based on ethnically Japanese materials. Matsudaira
wrote, “It was -unconsciously- a criticism to the totalitarianism forged during the war,
and we unanimously felt from our experiences that our activities as a group advanced the
23YoritsuneMatsudaira,“MyPovertyStory,”OngakuGeijutsu,4(1950):52.24Ibid.,53.25KuniharuAkiyama,ComposersfromShowaperiod:WWIIandMusic,ed.RinShukuki(Tokyo:Misuzushobo,2003):294.
11
composers’ movement.”26 After several meetings in which they discussed each other’s
compositions, their first recital programmed with their own works took place in
December of 1947. The success of this recital inspired the members, and they continued
to give recitals each year. Matsudaira’s works performed at these recitals were: Sonata
for Cello and Piano (first recital, 1947), Sonata for Violin and Piano (second recital,
1948), Piano Trio (third recital, 1948), String Quartet No.1 in A (fourth recital, 1949),
Piano Sonata (fifth recital, 1949), Suite for Flute, Bassoon, and Piano (sixth recital,
1950), String Quartet No.2 in G (eighth recital, 1951), and finally, Sonata for Violin and
Piano (ninth recital, 1951). In 1949, he became a juror in the composition division of the
Music Competition of Japan, a committee of the Japan Society of Contemporary Music,
and the manager of Shin Sakkyokuha Kyoukai. Works published during these years also
included Six Dances Rustiques for solo piano, and Concertante for Two Pianos (1947).
In 1952, he won the International Society of Contemporary Music prize with
Thème et Variations pour piano d’après “Etenraku” for Piano and Orchestra, and
became one of the most well-known Japanese composers at that time. He continued to
publish works that received critical acclaim, winning ISCM prizes fourteen times in total.
By this time, he had established a unique compositional system through which he
produced works that were praised by composers such as Messiaen, Boulez, Petrassi, and
Cage. He became the chairman of the Japan Society of Contemporary Music in 1956, and
was appointed professor at Ueno Gakuen University. In 1967, he became the first
Japanese composer to serve as a juror for the ISCM. In 1972, he received the
26YoritsuneMatsudaira,“WorkofShin-SakkyokuhaKyoukaiafterWWII,”OngakuGeijutsu4(1953):8.
12
Shijuhoushou for his great achievement in music, a medal of honor with a purple ribbon
given to him by the Japanese government under the name of the Emperor. Later, in 1979,
he received a Kunyontou Kyokujitu Shoujushou, an order of the rising sun. Years later,
he was presented as the Person of Cultural Merit in 1996. His creativity never ceased
even into his senior years, and he continued to produce a large number of works until his
death on October 25, 2001 at the age of 94.
13
Chapter II
Music of Matsudaira
Through Matsudaira’s life, his compositional style shifted drastically from
Impressionism to Neo-classicism, then finally to Dodecaphonism. What persists
throughout his works is the obstinate search for modernism, while incorporating elements
of Japanese culture, through which he revealed his own personal identity. Such
nationalism separates his music from western classical music as a unique identity. In his
later years beginning from early 1950s, Gagaku, a form of Japanese ancient imperial
music, became one of the most fundamental factors of his compositional technique,
bringing his style to its maturity.
Early Period
In many of his earliest works, Matsudaira featured Nanbu Minyou (folk song
from the southern region of Japan) with a harmony modeled after that of Debussy, which
he described as follows:
Somewhere along my compositional life, I began to develop interest in the relationship between sound and colors. Messiaen has articulated his accurate and lucid view on it, but mine is vaguer, and less recognizable by consciousness. I feel sepia on augmented fourths and minor sevenths, silver on major sevenths and minor ninths. The key of A major key is spring, G major is water, and I feel a field of blooming flowers in E major. Therefore, works of Debussy are sepia, and Ravel are silver. In the past I have toured around the countryside as an accompanist of a Tenor singer Eizo Terui. When we went to the Morioka area, I met a music teacher Chuitiro Takeda who also collected folk songs of the Tohoku region, much like Bartok. When I was introduced to Nanbu Ushioi Uta [literally translated Southern Bull Chasing Song], the first note of accompaniment occurred upon my mind. It was B flat to E, then it flows smoothly to F, the beginning note of Nanbu Ushioi Uta. The relationship of two notes I selected in my unconsciousness was an
14
augmented fourth. Yet It was a logical choice for me who was covered by the pollen of Debussy’s augmented fourth. In this way my first departure with Nanbu Minyou began. The reflection of Debussy dropped a shadow of consecutive minor seventh and perfect fifth onto accompanimental sections of other folk songs…. I was accustomed from young age to the bourgeois esthetics, and was repulsed by modes and rhythms of traditional Japanese music. The Nanbu Minyou I encountered was surely novel”.27
Matsudaira’sImpressionism
AdirectinfluenceofImpressionismcanbefoundinhisearliestpianoworks.
Atthattime,MatsudairaviewedFrenchmusicintotalitynotonlyasthemost
advanced,butalsomorenaturallyintelligibletoJapanesepeopleincomparisonto
Germanmusic.Inhisview,
ThemusicofDebussyandRaveliseasytounderstandfortheJapanese…Becauseitisamusic‘tofeel’ratherthan‘tothink’…So-calledImpressionismisafundamentalpartofJapaneseart.Itistoosimplisticinoneword,however,becauseofthelargenumberofimpressionisticarts;many[Japanese]aretrainedinsuchestheticswithoutknowingit.That'swhyitiseasytodigest.Ontheotherhand,thosewhoweretrainedwithGermanicsystemhavemoreresistance(toimpressionisticmusic).28MatsudairaevenillustratedthesimilaritybetweenJapanandFranceas
opposedtoGermanyandEnglandintermsofclimate:“JapanesearenotIdealistsbut
Realists.Whenitisconstantlycloudy[suchasinGermany],withoutsun—samein
England—theytendtobeveryromantic,aswasShakespeare.Meanwhile,countries
suchasJapanorFrancetendtohavemoreRealists.”29
27Matsudaira,Yoritsune,ŒuvresvocalsdeYoritsuneMatsudaira,recordedJune25,1992,ALMrecordalcd-48,compactdisc,Linernotes,528YoritsuneMatsudaira,“RegardtotheFeelingsofMusic,”OngakunoTomo1(1957):93.29YoritsuneMatsudaira,“FormationofMatsudairaYoritsune’sPersonalityandMusic,”OngakuGeijutsu7(1954):9.
15
DebussyinparticularwasaninspirationforMastudaira.Heregarded
Debussyasacomposerwhorevolutionizedtonality—previouslydevelopedtoits
limitationanditspossibilitiesexhausted—byrevertingbacktothedeepestof
classics,andcreatinganewerathroughthepoeticbreathsoftheeast.30Matsudaira,
asayoungcomposer,whosefundamentalidealwastocombinemoderndynamism
andJapanesesensibility,wasinspiredbyDebussy’suseofeasternmodessuchas
pentatonicscales.Thisgavehimcluesintoachievingsuchastyleofhisown,despite
thefactthatDebussywasnolongerthemostavant-gardeatthattime.
OneofhismostImpressionisticpiecesisasuiteforpianotitledSouvenirs
d’enfance(Childhoodmemories),31asetof10miniaturepieces.HecomposedNos.1,
2,5,6,and10in1928,andNo.7in1929.32Thecompositionyearoftheremainingis
unclear;howeverheperformedselectionsin1931alongwithpiecesbymodern
Frenchcomposers;thusitcanbeassumedthatSouvenirsd’enfancewascompleted
bythatyear.Abouttheset,Matsudairastates,“InspiredbyEugèneAynsley
Goossens’Kaleidoscope,performedbyHenriGill-Marchex,thereareinfluencesfrom
Debussy,Ravel,Poulenc,Tansman,andStravinsky.”33Althoughtheinfluenceof
Impressionismispredominantinthisset,thesynthesisofthesecomposersinto
thesepieceswasnotonlytogivestylisticvariation,butalsotoserveas 30YoritsuneMatsudaira,“IntentandUnderstandingofNewCompositions,”OngakunoTomo2(1954):46.31YoritsuneMatsudaira,“FormationofMatsudairaYoritsune’sPersonalityandMusic,”9.32ThesedatesareindicatedattheendofseveralpiecesinYORITSUNEMATSUDAIRAOeuvrespourPIANO.33 Asako Shiraisi,“CulturalExchangebetweenJapanandFrench,”48.
16
compositionaletudesinwhichheexperimentedwithstyleinordertokeephimself
uptodatewiththemostadvancedcompositionalmethodsofthetime.Thiswasa
necessarystepforMatsudairatoadvancehistechnique,astherewasnotraditionor
predecessorfortheyoungergenerationtofollowinJapanyet.
ThetitleSouvenirsd’enfanceaswellasitsstructureseemstobedirectly
inspiredbyDebussy’sChildren’sCorner,whichheperformedhimselfin1935during
anall-Debussyprogram.Itshouldbenotedthat,asinChildren’sCorner,Souvenirs
d’enfanceisnotasetofetudesforyounglearners,butrather,asetofinnocent
expressionsforadults’amusement.SomeofthepiecesfromSouvenirsd’enfance
requireanadvancedtechnicalskills,contrarytoitsseeminglywhimsicalscoring.
ManyoftheSouvenirsd’enfancehavetitlessuggestingvisualimagesthat
inspiredthecomposer,apartofMatsudaira’sinterpretationofImpressionism:
I. BerceuseII. PoissonsrougesIII. BoīteàmusiqueIV. ChansonpourjoueràlaBalleV. MauvaisrêveVI. ChevaldeboisVII. LesbullesdesavonVIII. JeuxIX. PierrotquijouedelaballX. Marche
Theusesofthewholetonescale(IandII),parallelfifths(III),andbitonality(VIIand
X)showhisefforttomanipulatethetechniquesemployedbythecomposers
mentionedabove.Japaneseelementswereyettobecomethecorefocusfor
Matsudaira,yetuseofthepentatonicscale(VIII)andthephrasestructureoffolk
songs(I)canbefoundinordertogiveafolkflavortothesepieces.
17
ParticularlynotableintermsofhisImpressionismisNo.2,Poissonsrouges
(Goldfish),whichiscomparabletoDebussy’sPoissonD’or.Thisisvirtuallya
catalogueofDebussy’spianisticwritingswheretitlesrecallimageryofwater,such
asPoissonsd’or,Refletsdansl’eau,andOndine,withtheuseofthewholetonescale,
rapidarpeggios,andtremolosinahighregister,whileitsunmeasurednotation
showstheinfluenceofErikSatie(Example1).No.8Lesbullesdesavon(Soap
Bubbles)takesdirectinspirationfromRavel’sJeuxd’eau,takingitsrhythmsand
sonoritiesdisguisedinMatsudaira’sdissonantharmony(Example2).Throughout
theset,sonoritiesofsepia–augmentedfourthsandminorsevenths,andSilver–
majorseventhsminorninths-permeate.
Exampe1 Example2
Use of Folk Songs
One of Matsudaira’s earliest existing works, Prélude en Ré (1934) for solo piano,
which was included in the Tcherepnin Edition, exemplifies his earliest inspiration from
folk songs. Although music critic Ginji Yamane described this piece as “like drinking
18
water when one is suffering from starvation,”34 it was recognized as Matsudaira’s
representative work owing to the recording made by Tcherepnin. Within the total of 36
measures of this piece, many aspects interspersed within the structure of Thème et
Variations pour piano d’après “Etenraku” can be found, though on a much smaller
scale. He explained that in this piece, some of the techniques he utilizes are as follows:
use of the augmented fourth, bitonality, and chromatic descending parallel motion.35 In
addition, there are uses of modes of Japanese folk songs in the melody, thin textures with
constant 8th-note motion, use of the interval of a tenth, and chromatic inflection are also
present before the return of the initial theme.
Example 3 shows the opening four bars of Prélude en Ré. The theme is drawn
from a southern—more specifically, of the Iwate prefecture – folk song titled “Sondeko,”
which resembles the pentatonic, but has a characteristic of different pitch sets between
ascending and descending lines.36 It is accompanied by an ostinato-like left hand,
consisting of augmented fourths and perfect fifths in a constant 8th-note motion. Neither
the analysis of pitch relation nor Matsudaira’s reference to Sondeko is the focus here, but
rather, it is a showcase that elevates a simple pentatonic scale in novel ways to avoid
mere sentimentalism and Nationalism, or Japonica-cho.
34YoritsuneMatsudaira,YoritsunéMatsudaïra;SelectedPianoWorks,recordedinJanuary7,2014,ALMRecords,ALCD-89,compactdisc,Linernote.35YoritsuneMatsudaira,OeuvrePourPiano,(Tokyo:ZenonGakuhuShuppansha,1991),preface.36YoritsuneMatsudaira,“FormationofMatsudairaYoritsune’sPersonalityandMusic,”12.
19
Example 3
As the melody unfolds, B flats are inserted within the theme at measure 11 in
order to give variation to the recurrences of the melody, as well as to give a D-minor
flavor to the harmony. This chromatic inflection also foreshadows the influence of
Gagaku, even though Matsudaira had no such intention.37 Beginning in measure 21, more
diatonic notes replace the augmented fourths, resulting in a more stabilized harmony.
Measures 25-31 showcase his use of the tenth in the left hand, a sonority Matsudaira
utilized throughout his life. Prior to the final return of the initial theme at measure 33,
Matsudaira harmonizes the top melody with a left-hand figure that descends
chromatically, along with an ascending chromatic line in the alto line (Example 4). Such
harmonic expansion is another technique Matsudaira uses in many of his tonal works,
specifically when a climax of the piece is placed right before a final return of the main
theme. It is a miniature piece that lasts just over a minute, yet it shows that Matsudaira’s
tendencies persist until much later in his compositional career.
37YoritsuneMatsudaira,YoritsuneMatsudaira:SelectedPianoWorks,recordedJanuary7,2014,ALMRecordsalcd-89,compactdisc,Linernotes,ii.
20
Example 4, Prélude en Ré, mm.29-36.
Matsudaira had planned to compose a collection of preludes for piano in which
Prelude en Ré was to be the first. In 1940, he added another prelude, Prélude en Sol—an
etude-like work with a perpetual 16th-note motion, to include in the collection. Aside
from these two preludes that survived in print, Matsudaira had composed ones “in C” “in
E” “in A” and “in D-flat;” however, he struggled with the paradoxical, almost
oxymoronic relationship between the western major/minor keys and Japanese modes,
ultimately resulting in his abandonment of the plan. Prélude en Ré is the earliest example
of Matsudaira’s employment of folk elements, followed by Nanbu Minyoushu for voice
and piano, Pastorale for orchestra, and Kokonshu for voice and piano.
Neo-classicalperiodandAlexandreTansman
After being introduced to the music of Alexandre Tansman, whose works had
elements of Neo-classicism, Matsudaira began to take an interest in that style, an interest
shared by his friend Shukichi Mitsukuri, also an Impressionist-turned Neo-classicist.
EventhoughMatsudaira’sinitialmotivationtocomposeintheNeo-classiciststyle
wasmerelytomimichisfriend,thisattemptwaslaterreinforcedbytheencounter
21
withTcherepnin,whoconsidereditananachronisticerrortowriteinan
Impressionisticstyle.38
WhiletheinfluencefromLesSixandStravinskywasinevitable,PolishNeo-
classicalcomposerAlexandreTansmanhadparticularsignificancetoMatsudaira.
HisfirstencounterwithTansman’smusic,whiletheexactdateisunknown,was
withhis‘Melodie’and‘Berceuse’from5Impromptus.In1933,TansmanvisitedJapan
andgavelecturesonvarioustopicsincludingharmonyandform,aswellasa
performanceofhisownworks,throughwhichMatsudairabecameacquaintedwith
Tansman’sworksindepth.39In1950,MatsudairapublishedanarticleonTansman
intheJapanesemusicalmagazineOngakuGeijutsu;Matsudairaoftencontributed
articlesonFrenchcomposerstomusicalmagazinesatthattime,however,this
particulararticlewassignificantlylengthierthanthearticlesonothercomposers
suchasPoulenc,Saint-Saens,orevenDebussy,andfilledwiththehighestrespect:
“Undoubtedlyoneofthebestcomposerstoday.Romanticalchemistofsophisticatedsenseandintelligence”“ItisunknownwhatinfluenceJapanhadonhisart,thoughitiscertainthattheinfantileJapanesecompositionalsceneatthattimetookastepforwardduetoTansman’svisittoJapan”“Themelodiesbornfromthedepthofhishearthavetrulyrichlines”40
InanotherarticleinOngakuGeijutsu,Matsudairawrote,“Theutmost
necessityforanartististoavoidbendinghisinnateness…Whatweneedtoseekisa
38YoritsuneMatsudaira,“FormationofMatsudairaYoritsune’sPersonalityandMusic,”11.39KuniharuAkiyama,ComposersfromShowaperiod:WWIIandMusic,ed.RinShukuki(Tokyo:Misuzushobo,2003),288.40YoritsuneMatsudaira,“AlexandreTansman,”OngakuGeijutsu5(1950):6-7.
22
waywhichfollowsourtruenatureinoursincerity.”41Tansman’spositionasa
composerresonatedwithMatsudaira—toplacehimoppositethegroupofpost-war
modernistswhowerepetrifiedtobeassociatedwithRomanticism(andasaresult
ofbendingtheirinnateness.)ToMatsudaira,Tansman’smusicandideologywere
theembodimentsofsuccessful,nationalistic,andmoderncomposition.
LikethatofDebussy,Tansman’suseofOrientalismalsoattracted
Matsudaira’sattention.MatsudairapointsoutthatTansman’s5Impromptus,which
includestheBerceuseis,utilizestheJapanesemodeofthepentatonic.42Tansman
alsowroteasetofsongstitledHuitMelodiesJaponaises(1918)withtexttakenfrom
aJapaneseanthologyofpoetry,OguraHyakuninIsshu.Althoughsuchorientalism
mayhavebeenofinitialinteresttoMatsudaira,inhisview,Tansman’sworksalso
successfullyunifiedthePolishsensesandspiritwithmoderndynamism.Tansman
studiedPolishfolksongsmeticulously,asBartókhaddonewithHungarianfolk
songs.Theleapsofmajorseventhsandaugmentedfourthsinhismelodiesoriginate
fromPolishfolksongs,yetheneverdirectlyimitatesthemelodiesinhisworks.43
ThisideologyofreplacingthePolishwiththeJapanesespiritwaswhatMatsudaira
heldtobeamoreidealformofnationalism-theoppositeofwhathedespisedas
“Japonica-cho.”Heconcludesthearticleasfollows:
WhileIamatmyperiodofcompositionaltransition,Iwantedtowriteabio-bibliographyofTansmanwhowasoneofthefightersofpost-warModernismandalsowasoneofthemostsignificantinfluencesonme.Therefore,this
41YoritsuneMatsudaira,“JapaneseandAmericanContemporaryMusicFestival,”OngakuGeijutsu8(1948):60.42KuniharuAkiyama,ComposersfromShowaperiod:WWIIandMusic,288.43YoritsuneMatsudaira,“AlexandreTansman,”OngakuGeijutsu5(1950):10.
23
articleasaliquidation,isanexpressionofmygratitude,andatthesametime,avalediction.Historydoesnotstagnate,norstop.44
FolkSongtoGagaku
AlongsidehisexperimentswithNeo-classicism,hegraduallybegantaking
interestinGagaku(theancientimperialcourtmusicofJapan,discussedinthe
followingchapter).Matsudaira’sfirstencounterwithGagakuwasinsheetmusic,
whichheobtainedwhentheImperialHouseholdAgencyaskedhimtotranscribe
someoftheGagakurepertoiretoWesternnotation.45
Later,theImperialHouseholdAgencyGagakuDivisioninvitedseveral
composerstocomposesymphonicworksbasedonGagakumaterials.Unfortunately,
forMatsudaira,thissystemwassodrasticallydifferentfromWesternmusic,which
wastheonlymusichehadknownatthetime,thathedidnothavetheslightestidea
howtohandleit.46Writingin1971,KuniharuAkiyamamentionedthatMatsudaira’s
firstGagakuencounteroccurredabout35yearspreviously,hencearoundtheyear
of1936.ThereisapossibilitythatthisoccasionwasinpreparationfortheKigen
NisenropphakunenHoushukuGeinousai(JapaneseImperial2600thyearCelebration
PerformingArtsFestival),whichtookplacein1940.Itwasaseriesofperformances
andcompetitionsfocusingonfourareas:music,dance,drama,andmotionpictures.
Thefestivalwasheldover4dayswithoveramillionattendees.47Withinthelistof
44YoritsuneMatsudaira,“AlexandreTansman,”21.45JoaquimM.BenítezandJoKondo,“SerialisminJapaneseContext:AConversationwithMatsudairaYoritsune”,inGagakuandSerialism:APortraitofMatsudaraYoritsune,(India:OverseasPublisherAssociation,1998):88.46KuniharuAkiyama,JapaneseComposersTodayVol.1(Tokyo:OngakunoTomoPublication,1979),158.47ToshikiMiyazaki.“KoukiNisenRoppyakunenn,”DevelopmentofResearchandStudyMethodologiesinTheatre1(2003):145-157.
24
participants,composers,performers,andworks,Matsudaira’snamewasnotlisted
intheWesternMusicsectionofthemusicdivision;however,hecomposedmusicto
textandchoreographybyShizueFujikageinthe“moderndance”division,which
wasperformedonJune27,1940.Matsudairalatersaid,“Icouldbarelycapturethe
outlineofthemelodyline.Itisreflectedinoneofmyearlypieces,SonatineforFlute
andPiano,inwhichthesecondmovementisbasedonRinkokodatsu,arepertoire
fromGagaku,eventhoughtheoriginalmelodyisunrecognizable.Sincethen,I
becamecaptivatedbyGagaku.”Healsoexplainedthathecouldonlytakethemelody
andharmonizewith“…thekindofmodalharmonyyoucanfindinRavelor
Poulenc”.48
MatsudairacontinuedtousebothfolksongandGagakuelementsinhis
compositions.However,throughthediscussionandcriticismamongstShin
SakkyokuhaKyokaimembers,itbecameclearthatMatsudaira’sworkswerefar
moresuccessfulwhenMatsudairadealtwithGagakumaterialsratherthanfolk
songs.InMatsudaira’sview,thistendencywasduetohischildhoodbackground.He
states,“MyweaknesswhendealingwithfolksongisthatIdidnothavealifeofmud
(ofafarmer)myself.”49Ontheotherhand,hischildhoodasoneoftheroyalfamily
enabledhimtorelatetoGagaku,whichwasalwaysconfinedtoceremonialmusicfor
aristocraticfamilies.
AlthoughMatsudairafeltapersonalaffectionforGagaku,withthequalitiesof
nostalgia,nobility,grace,delicacy,anderoticismthatitemits,hisaimwasbyno
48BenítezandKondo,SerialisminJapaneseContext,89.49YoritsuneMatsudaira,“FormationofMatsudairaYoritsune’sPersonalityandMusic,”10.
25
meanstorecreatesuchesthetics.Infact,helovedGagaku,“asamanagerofa
museum,withrespectandproductiveaffection.”50Healsomentionedthat“To
collectmaterialsfromGagakuismerelyoneofthedevices,forthepurposeof
compositionandalsoforamusement.”51MerearrangementofGagakuwasan
unforgivablelackofcreativity,asitwaswiththetreatmentoffolksongs.Withacold
objectiveattitude,MatsudairabeganstudyingGagakuanditssystemmeticulously,
inorderto“…dissectandclassify[elementsofGagaku),payingespeciallyclose
attentiontotheintervalsandmelodiclines.”52Whenhe“peelsoffeventhe
feudalismandspiritualitythatareundertheveil,fromthestandpointofaliberal
composer,”53therewillremainan“ethnicityatthebottomofscatteredpieces.”54
DespitetheobjectivestandpointwithwhichheanalyzedGagaku,hewarnedthat
creatingmusicsolelyfromthematerialscouldresultinthedestitutionof
musicality.55Afterall,anexpressionofhumanityhadbeen,andcontinuestobe,
Matsudaira’sprincipaltheme,andhismindandpersonalityhadtopenetrate
throughtheexteriorofGagaku.
StillundertheinfluenceofNeo-classism,hestartedtoincorporateelements
ofGagakuintohiscompositionsinsuchworksasCelloSonata(1942),ViolinSonata
(1948),Concertantefortwopianos,PianoSonata,andWoodwindTrio(dates
unknown),whichwereallwrittenaroundWorldWarII.Hisdevotiontothestudy
50YoritsuneMatsudaia,“CenteringaroundtheWorks,”OngakuGeijutsu7(1948):41.51YoritsuneMatsudaia,“ModernizationofGagaku,”OngakuGeijutsu11,(1952):60.52YoritsuneMatsudaia,“CenteringaroundtheWorks,”41.53Ibid.54YoritsuneMatsudaia,“EstheticsofContemporaryMusic,”OngakunoTomo6(1954):77.55YoritsuneMatsudaia,“ModernizationofGagaku,”66.
26
ofGagakuandexperimentsbearsfruitasThèmeetVariationspourpianod’après
“Etenraku,”whichalsomarkstheendofhisNeo-classicalperiod.WhileThèmeet
Variationsbecamehismostwell-knownpiece,he“…destroyedmostofhis
productiondatingfromthattime.Itwasbecause,asyouverywellknow,inthe
sixtiesyoucouldnotbeaseriouscomposerunlessyouwroteserialmusic.That
atmospherewasvery,verystrongamongavant-gardecomposers.”56
Dodecaphonicperiod
DuringWorldWarII,whenhiscompositionalfreedomwassuppressed,
Matsudairaspentmuchofhistimestudyingmoderncomposersandtheirdifferent
stylesandtheories,whichledhimtocomposeusingtwelve-tonetechnique.57Using
thisdevice,Mastudairafoundpossibilitiesnotonlyfordevelopinghisownvoice,but
alsoforincorporatingelementsofGagakuinhiscompositions.Matsudairahelda
uniqueviewonthistechnique:accordingtohim,dodecaphonywas“…usuallyused
inviolent,roughexpression,Ithinkitshouldbeusedfortheexpressionofgrace.”
ThoughheisknownasoneofthefirstJapaneseDodecaphonists,hedeniedbeing
associatedwiththetermDodecaphonist.Instead,hecalledhimselfa“useroftwelve-
tonetechnique.”58Mostcrucially,theideologiesofhismusicwere“modernization
andethnicity,”andalthoughhefoundasimplebeautyinit,twelve-tonecomposition
initselfwasmerelyoneofthetechniquestodevelopsuchideologies,andnota
principle.Thephilosophybecomesclearinhisarbitraryapplicationofthis
56BenítezandKondo,SerialisminJapaneseContext,89.57Ibid.58YoritsuneMatsudaira,“EstheticsofContemporaryMusic,”OngakunoTomo6(1954):77.
27
technique.Whencombiningtwelve-toneandGagakumusic,hecastoffthesepiaof
Debussy,andproceededwiththesilverofRavel.WhatMatsudairabegantopursue
fromthisperiod,inhiswords,wasalusterofplatinum;theculminationof“thepath
ofsilver.”59ItonlytookafewyearsforMatsudairatoproducepiecesthatillustrated
suchqualitiesofplatinum;qualitiesliketheseledcomposerToruTakemitsutocall
himselfandhisgenerationgrandchildrenofMatsudaira.60
Abstractionism
Thenotionof‘abstractmusic’wasoneofthemostimportantcomponentsof
Matsudaira’scompositions.Neitherthe“expressionofgrace”northe“expressionof
humanity”hediscussedinseveralarticlesareinthecontextofhumanemotionnor
anexplicitsymbolism.AtthispointMatsudairawithdrewfromtheuseoffolksongs
andavoidedtheuseoftraditionalJapaneseinstruments,theshamisenorthe
shakuhachi,allfortheirsocialandemotionalconnotations,whichcouldnotbe
detachedfromeachother.TheJapaneseethnicitywhichMatsudairafoundwithin
theelementsofGagakuwasbynomeans“…particularsymbolismtheyimply,
includingthewayoflivingandtheemotionallifeofpeopleofaparticularsocial
classtowhichtheseinstrumentsandtheirmusichavebeenhistoricallyand
traditionallylinked.”61ItwasinevitablethatMatsudaira’smediumofpresentation
requiredsimilarabsenceofconnotationsorlinkage.
59YoritsuneMatsudaira,ŒuvresvocalsdeYoritsunéMatsudaïra,compactdisc,Linernotes,7.60ToruTakemitsu,“ContemporaryMusicinJapan,”PerspectivesinNewMusic2(1989):203.61BenítezandKondo,SerialisminJapaneseContext,95.
28
Matsudairafoundapossibilitytorealizesuchnotionsofabstractionismin
theuseoftwelve-tonetechnique.Thelackoftonalityanditsassociatedemotional
connotationsenabledhimtopursueabstractmusic.Fortunatelyitcoincidedwith
themodernismhecravedthroughouthisearlierlife,andhelpedtoaccommodate
bothmodernismandabstractionism.BycombiningdodecaphonywithGagaku,two
stylesofmusicvastlydistantbothgeographicallyandchronologically,whilesharing
acommongroundintheirlackofsymbolism,62hewasfinallyequippedtocreatea
sounddomainthatwastobehighlypraisedbysomeofthemostworld-renowned
composers.Matsudairaconciselyexplained,“Inmyworksafter1950,Icontinuedto
searchforAbstraction–howeveralongwithattributionssuchasdynamicsofsound
itself,continuity,flow,force,andtheaestheticsthatIfeel.AndwithutmosteffortI
avoidedtheemotiveworld.Inmythoughts,artexistedinaplacethatsurpassed
suchthings.”63Evenmoretersely,“Ihaveneverbeeninterestedincomposing
emotionallyexpressivemusic.”64
UseofTwelve-toneTechnique
In1951,heusedtwelve-tonetechniqueforthefirsttimeintheVariationIII
ofThèmeetVariationspourpianod’après“Etenraku.”ThesuccessofThèmeet
62“Gagakualsohasveryrichhistoricalconnotations,ofcourse.IthasbeenthemusicoftheImperialcourt.Itssocialovertonesareagainverystrong.But,formeatleast,theseovertonesareemotionfree.Gagakuis,sotospeak,averysophisticated‘ornament’ofcourtlylife,andhasthereforeanabstractnature.Ornamentationassuchdoesnotintendtoexpressanykindofemotion.TheremighthavebeensomeemotionalsymbolismattachedtothegagakurepertoirewhenitwasfirstintroducedintoJapanaboutonethousandyearsago,butthisemotionalsymbolism,iftherewasany,hasbeenwashedaway,‘mellowedout’asitwerebythelongpassingoftime.Asaconsequence,gagakuhasbecomeforusabstractsoundsveryelaboratelystructured.”Matsudaira,asstatedinConversationwithJoaquimMBenítez.63YoritsuneMatsudaira,ŒuvresvocalsdeYoritsunéMatsudaïra,compactdisc,Linernotes,3.64BenítezandKondo,SerialisminJapaneseContext,95.
29
VariationsgaveMatsudairaworld-widefame,yetitsidiosyncrasiesand
conservatismrelativetointernationalstandardswereapparent.Thus,he
constructedsubsequentworksbasedentirelyontwelve-tonepremises,pursuing
themarriageofavant-gardeWesternatonalismwithancienttraditionalGagaku.
Matsudaira’swordsexpresshisuniqueviewsregardingtwelve-tonetechnique:“I
adorealoof,ungraspablemassesofsounds,theunorganizedorganizationof
materialsthatisfilledwithanticipationbeforesomethingisabouttobecreated.”65
In1953,hecomposedMétamorphosed’aprèsSaibaraforasopranoand
chamberorchestra;itconsistedofthreemovements:Minoyama,Isenoumi,and
Koromogae.Saibara,theoriginalrepertoireofGagaku,isaoneofthefewvocal
subgenresinwhichancientsongsareaccompaniedbyinstruments.Thetitle
Métamorphoseconciselyexpresseshiscompositionalphilosophy:“Asthis
compositionisatransformationofanancientworkofartintosomethingultra-
modern.”66AlthoughMatsudairaconstructedSaibaradodecaphonically,according
tohisson,Yoriaki,“…hisuseoftwelve-tonetechniqueis,sotospeak,even
regressive.Adelugeofoctaves,asenseofstagnationcausedbyfrequentrepetition
ofsinglesegmentsofthetonerows,rhythmscallingtomindStravinskianostinato,
against-the-rulestreatmentofserialproceduresthatmakeseveryanalyst’seffortto
65KuniharuAkiyama,JapaneseComposersTodayVol.1(Tokyo:OngakunoTomoPublication,1979),166.66YoritsuneMatsudaira,YoritsuneMatsudaira:VariationsforthePianoandOrchestra:TheSaibaraMetamorphosis,recordedinApril23,1997,EMIMusicJapan,TOCE-9436,compactdisc,Linernotes,11.
30
identifytherowsanalmostimpossibletask”.67Useofportamentoandglissandoin
thesopranopartalsothreatensthesystematicsoliditywithwhichtwelve-toneis
usuallyassociated.WhileYoriakithoughtsuchfreedomwasagainstthecorenotion
ofserialism,italsoenabledMatsudairatofindafinebalancebetweenGagakuand
dodecaphony,alongsideexperimentsintimbreandrhythm.
Withthesamefreedominhisinterpretationoftheserialtechnique,he
continueddevelopinghissystemintomaturityandcomposedFiguresSonorespour
Orchestre(1957),writteninthefashionofapianoconcerto,consistingoftwo
movements,aCantilena-likefirstmovementfollowedbyadancemovement.
MatsudairadescribedFiguresSonoresas“ahybridofwhichIwasinspiredbyakind
ofaformofJapaneseancientmusicandtheequivalentthatbelongstoWebernian
school.Thus,theemphaseshavebeenplacedonvolume,timbre,dynamics,
virtuosityofthesoloist,andespeciallythevaluesofrests,orma(�).”68Onthe
contrary,Yoriakipointsouttheuncharacteristicprominenceofwesternsonorities,
owingtothelackofspecificGagakurepertoireasaninspiration.Perhapsthe
influenceofWeberncanalsobeaddedtoYoritsune’sexplanation.
TotalSerialismandAleatoryMusic
WithUmai(1957)andSamai(1958),consistingoffiveandthreemovements
respectively,hestartstomanipulatenotonlythepitchclassesbutalsotheother
67YoriakiMatsudaira,Trans.JoaquimM.Benítez,“MatsudairaYoritsune’sPathfromNeoclassicaltoAleatoryMusic,”inGagakuandSerialism:APortraitofMatsudairaYoritsune(India:OverseasPublisherAssociation,1998),8.68Yoritsune,Matsudaira.WorksbyYoritsuneMatsudaira,recordedinSeptember25,1998,Tontec,FOCD2542,compactdisc,Linernotes,2.“Ma”isaJapaneseterminologyforanuancedabsenceofobjectorsoundthatisacrucialcomponentofitsart.
31
parametersinaccordancetothevariousseries.WitoldLutoslawskihighlypraised
Samai,givingcommentssuchas,“WhydidyounotenterSamaiintocompetition,it
undoubtedlywouldhavewon.”69InIntroduzioneofSamai,Matsudairaserialized
pitchclasses,dynamics,andnotevalues;however,accordingtoJunichiIshiduka,
unliketheserializeddynamics,whicharedirectlyrelatedtothepitchorder,the
orderofnotevalueslacksarelationshiptoeitherofthoseparameters,butrather,is
distributedevenlywithoutarepetition.70Withitspointillisticsonority,theinfluence
oftheDarmstadtSchoolisapparent,yethesucceedsin“...becomingmore
authenticallyavant-gardeandmoreauthenticallyGagaku.”71Matsudairadeveloped
totalserialisminthefollowingyearsinKatsura(1959),DanceFinal(1959),and
Buraku(1961).
AsthecomposersoftheDarmstadtschoolstartedexperimentingwith“open
form,”Matsudaira,asanavant-gardist,hadtofollowthetrend.AccordingtoYoriaki,
“UnliketheindeterminatemusicoftheAmericanExperimentalistssuchasCage,the
‘openform’oftheEuropeanavant-gardeneverleadstoresultsbeyondthose
foreseenbythecomposer.”72Matsudaira’sadaptationofindeterminacywas
relativelyrestricted;whileheclearlycravedthebenefitsofmusicalmodernism,his
69YoritsuneMatsudaira.WorksbyYoritsuneMatsudaira,recordedinSeptember25,1998,Fontec,FOCD2542,compactdisc,LinerNotes,4.70JunichiIshiduka,MatsudairaYoritsuneandtotalserialism,lastmodified5/2/2014,https://note.mu/jishizuka/n/n4300bf2d1abf.71JohnQuinn,“Matsudaira:BugakuDanceSuite;theme&Variations”inAmericanRecordGuide(September2015),accessed5/8/15http://www.naxos.com/SharedFiles/Reviews/AMERICANRECORDGUIDE_SEPT-OCT05_8.555882_EN.pdf.72YoriakiMatsudaira,“MatsudairaYoritsune’sPath,”10.
32
techniquerepresentedonlyaslightstretchof“…theunorganizedorganizationof
materialsthatisfilledwithanticipation.”73
ThefirstsuchpiecewasSomakushapourflutesolo(1961),inwhichthe
performerchoosestheorderofvirtuosicfragmentedphrases,whichareorganized
accordingtotwelve-toneorganization.Whileitisbasedonanaleatoryprinciple,
Matsudaira’sdenseinstructionrestrictsthefreedomoftheperformerandthusthe
outcomeofperformance(Example4).Heexplainedthathisaimwasforan“over-all
impressionofspontaneityandimprovisationbasedonextendedserialismand
extremevirtuosity,”74whichagainrelatedbacktothe“unorganizedsoundwith
anticipation.”FollowingSomakusha,hisotheraleatorycompositionsinclude:
Serenadeforfluteandensemble(1962),Portrait(b)pour2pianoset2batteurs
(1967-68),Variationsd’après3MouvementsdelaDanseSacrée(Embu)pour2
GrandesFlûtes,2ClarinettesenMi�Batteurs(1980).
73JunichiIshitsuka,“SouvenirfromMatsudaira”HiroakiOOIOfficialBlog.ExciteBlog,lastmodified10/13/2010.http://ooipiano.exblog.jp/15280570/.74Matsudaira,Yoritsune.“AConversationwithMatsudairaYoritsune,”95.
33
Example4,firstpageofSomakusha
MatsudairaachievedhisunificationofGagakuandserialismbyderivinga
tone-rowfromintervallicrelationsfoundintheGagakurepertoire,whichwillbe
discussedindetailinalaterchapter.Moreover,JapanesecomposerJoKondopoints
outthatMatsudairagavelongernotedurationstoselectedpitchclasses,particularly
thoseinGagakumode,whiletheremainingaretreatedmuchlikegracenotes.Thus,
34
duetotheoverallcontinuity,itgainsamodalsonority,evidenttothelistener.75
Examplesofsuchmethodscanbefoundinhispianosuite,“LeBeauJapon,”asuite
forsolopianowrittenin1969andnowregardedasoneofthemostsuccessful
piecesforpianosolobyMatsudaira.(Example5)
Example5
Matsudairadidnotcompletelyrenouncetheuseoffolksongelements.Étude
pourPianod’aprèsModesJaponais(1970)isasetofthirty-threeetudesbasedonthe
modalsystemwhichhederivedfromchildren’ssongsoftheTohokuarea.Whilethe
purposeoftheseetudesisfundamentallytodevelopphysicaltechniquesrelatedto
thesemodesonthepiano,folkelementsandserialismcoexistwithinthem.
Matsudairadetectedatendencyofascendingfourthsinthosefolksongs,and
75YoritsuneMatsudaira,HommageàYumiNaraŒuvresvocalsdeYoritsunéMatsudaïra,recordedinJune25,1992,ALMRecords,ALCD-39.Compactdisc.Linernotes,4.
35
derivedascaleofascendingfourths,ofwhichthefirstsetoffivenotesforma
pentatonicscale.Thus,thepermeatingsonorityismodal,yetbyapplying
polymodalityandstackingpentatonicscalesahalfstepfromeachother,hesucceeds
inplacingthetwelvepitchesatequalfrequency.
Koromouta:Dodiciberceusesperpianofortenellostiledellecanzonipopolari
giapponesiperbambini(twelveberceusesforpianointhestyleofJapanesefolk
songsforchildren),writtenin1972,althoughmissingdirectGagakureferences,isa
miniaturecatalogueofhiscompositionaltechniques,assuggestedinthetitlesof
eachBerceuse:76
Berceuse(I):Bitonaliá Berceuse(III):allamanieradiClaudeDebussy Berceuse(X):Dodecafonia Berceuse(XI):aleatoria Berceuse(XII):informadiFugaa4voci
Finalyears
ThelastdecadeofMatsudaira’slifeasacomposerwashighlightedbythe
acquaintancewithJapanesesopranoYumiNaraforwhomhewrotemanyofhis
laterworks.Matsudairawasmesmerizedbythequalityofhervoice,hestates,
“Whenshesings,shecharmstheaudience,withtheevocationsofnotonlythe
colors,lights,rainbow,orscentthatthecomposerfailedtowritedownonthe5
linesofthestaff,butalsooffarawaycountriesandthetimeelapsedoverathousand
years.”77Shewasthesingerforwhomhesearchedforover30years.In1990,he
76BerceuseII,IV,V,VI,VII,VIII,IXdonothavetitles.Berceuse(XII):informadiFugaa4vociisfor2handsalthoughitiswrittenacrossfourstaves.77YoritsuneMatsudaira,HommageàYumi,Linernotes,4.
36
dedicatedhis3AirsduGenji-MonogatariforNara.Thisisthefirstknownworkby
MatsudairathatincludedGagakuinstruments.Uptothispoint,heavoidedtheuseof
suchinstrumentsfortheirsymbolicconnotations.78Matsudairadescribedthis
suddenshiftintheuseofthoseinstrumentsintermsofhaving“mostlychangedmy
mind…thatpeoplecannotescapethesuperintendentofnature(ordestiny,implying
thatitwascurrenthewasnotgoingtofightagainst).”79Nevertheless,itisnota
coincidencethattheencounterwithNaracollidedwithMatsudaira’suseofthose
instruments.PerhapsNara’svoicesufficedtoovercometheeasynationalismhehad
longcriticizedasJaponica-cho,orelseattheageof84,hehadreachedamaturity
wheretheuseofsuchinstrumentsortheirsymbolismdidnotinterferewiththe
“unorganizedorganizationofthesounds.”
Takenfrom3AirsduGenji-Monogatariasasteppingstone,hecomposedthe
mono-operaGenjiMonogatari-Echod’amourlointainsin1995,dedicatedtoand
premieredbyNara.Hecontinuedtocomposeworks,mostofwhichwere
unpublishedandarewaitingtobeperformedeventoday.Anunaccompaniedsong
forsopranoLebonvieuxtempspourvoixwaswritteninMayof2001bythe
composerattheageof94.Hismemosaid,“Ifoundyetanothertechnique!”80
showcasinghiscontinuingcreativityevenattheageof96.Hislastwork,Kyu:
L’oiseau(karyobin)poursopranoetflutewascommissionedbyOrchestreNational
deLyon,andwascompletedOctober18th,7daysbeforehisdeath.Theuncompleted
78useofshoasthedream-likedeedsofFujisubo,FluteasGenjiwasavirtuosoofflute,andkotoasAkashikiwasvirtuosoofkoto.79YoritsuneMatsudaira,HommageàYumi,Linernotes,5.80Yoritsune,Matsudaira,Echosd’amourlointainsŒuvresvocalsdeYoritsuneMatsudaiaIII,recordedinMarch7,2013,ALMRecords,ALCD-94,compactdisc,Linernotes,13.
37
scoreofKaryobin–aphoenixthatlivesineternalheaveninBuddhism-reached
NaraonOctober25th,thedayMatsudairapassedaway.
38
ChapterIII
Gagaku
BriefHistory
Gagaku,directlytranslatedaselegantmusic,isknownastheoldestmusical
anddancetraditionthatexistsinJapan.AswithotherculturalphenomenainJapan,
manyofitsaspectswereimportedmaterialsthattookrootintheJapanese
indigenousethosandexperiencedadistinctivedevelopment.Somerepertoireand
instrumentswerefirstbroughtfromthecontinentalcountriestoJapanduringthe
5thcentury,aroundthesametimeasBuddhism.Whiletheimportationcontinued,in
701,Gagaku-ryo,alsoknownasUta-ryo,wascreatedasasectionofagovernment
officeforthesystematicorganizationofperformanceandeducation,aswellasthe
maintenanceofinstruments.DuringtheHeianperiod(794-1185)Gagakuflourished
andsawitsgreatestpopularity,andbecamewhatweknowasGagakutoday.Asit
hadbeenstrictlyassociatedwithceremonialuseattheImperialPalace,itfaceda
declineinpopularitybeginningattheendoftheHeianperiod,duetothe
transferenceofpoliticalauthorityfromtheemperortothefeudalmilitary
government.
DuringseveralmilitarygovernmentssuchastheKamakuraperiod(1185-
1333),theMuromachiperiod(1336-1573),theAzuchi-Momoyamaperiod(1573-
1603),andtheEdoperiod(1603-1868),Gagakufailedtoregainitsmainstream
status.Althoughitapproachedthebrinkofextinction,variousattemptsforrevival
atvariouspointsinhistorywereundertaken,andfinally,alongwiththeMeiji
39
restorationin1868,Gagakumusicianswhomanagedtoinherititstraditionsand
survivedinseclusion,weregatheredinTokyoforreorganizationandrevitalization.
Althoughitsperformancepracticeevolvedoverthecourseofitslonghistory,
Gagakuisnowknownas“oneofthelastremainingexamplesofamusicalgenre
whichflourishedthroughoutAsiaduring7thto9thcenturiesA.D.,”81aswellasthe
oldestformoforchestraintheworld.
Classification
ThemusicdepartmentoftheImperialhouseholddefinesthefollowingtypes
ofGagaku:82
1. KuniburinoUtamai;vocalmusicnativetoJapanfromtheearliesttime.
2. InstrumentalensembleandDance.Theinstrumentalensembleiscalled
Kangen,whereasitiscalledBugakuwhendancersareinvolvedinthe
performance.Itisdividedtotwosubcategories:
a. Togaku(musicoftheLeft):musicbroughtfromChina,Vietnam,
India,Iran,etc.
b. Komagaku(musicoftheRight):musicbroughtfromKoreaand
Bokkai(kingdomofP’o-hai,northeastofChina)
3. UtaimonoorKakyoku:songscomposedduringtheHeianperiod.
However,inanarrowdefinition,certaindiscussionsuse“Gagaku”torefertothe
secondtypeexclusively.
81RobertGarfias,Gagaku:TheMusicandDancesoftheJapaneseImperialhousehold(NewYork:TheatreArtsBooks,1959),8.82ImperialHouseholdAgency,Gagaku,accessed9/21/2016,http://www.kunaicho.go.jp/culture/gagaku/gagaku.html.
40
Modes
InthetheoryofGagaku,therearetwoprincipalmodes:Ryo-mode(���)
andRitsu-mode(��)whichcanbedescribedasmixolydiananddorianmodes
respectively,intheirWesterncounterparts.Eachmodeconsistsofsubcategoriesof
modesdependingonthetonic;Ichikotsu-cho(D),Sou-jo(G),Taishoku-cho(E)
belongingtotheRyo-mode,andHyo-jo(E),Oshiki-cho(A),Banshiki-cho(B)
belongingtotheRitsu-mode.
Example6Ryo-mode84
Ichikotsu-cho
Sou-jo
Taishoku-cho
Ritsu-mode Hyo-jo
Oshiki-cho
Banshiki-cho
84ThefourthandseventhnotesofRyo-modeandthethirdandseventhnotesofRitsu-modearevariableandoftenfunctioningaspassingtoneormodulatorytones.
41
Thefourseasonsarealsoassociatedwithsomeofthesemodes:Sou-jowith
spring,Oshiki-chowithsummer,Hyo-jowithautumn,andBanshiki-chowithwinter.
Transpositionbetweenthemodesispossible,howeverduetothestructureand
limitationsofinstruments,theoutcomeofthetranspositionisoftensubstantially
differentfromtheoriginal,unliketheexacttranspositionsfoundinWesternmusic.
Instruments
InatypicalGagakuensemble,thereareeightinstruments:threewind
instruments,twostringedinstruments,andthreepercussioninstruments.
• Windinstruments
o Hichiriki;adoublereededpipemadeofbamboo,analogoustothe
oboe.ItssoundrepresentshumanityandthevoiceoftheEarth.
o Ryuteki;atransverseflute.Asthenameoftheinstrumentsuggests,
(“Ryu”meaningdragon,and“Teki”meaningflute)itrepresentsthe
dragonthatfliesbetweenEarthandHeaven.
o Sho;areed-freemouthorganwithseventeenbamboopipes.Its
uniquesoundsymbolizesthelightfromHeaven.
• Stringedinstruments
o Sou:azitherthathasthirteenstringswithmovablebridges.Strings
arepluckedbya“tsume”(nail)thatperformersinstallintheirright
hands.
o Biwa:afrettedlutewithfourstrings.
• Percussioninstruments
42
o Kakko:asmalldouble-headeddrum,playedwithtwomallets.
o Shouko:abronzegong,suspendedbysmallwoodenframe.Itisstruck
byawoodenorstonestick.
o Taiko:alargedrum,suspendedinacircularringedframe.Itisstruck
bymalletswithleatherheads.
StringinstrumentsareomittedinaBugakuperformance.
Etenraku(�� )
EtenrakuhasbeenthemostpopularpiecesincetheHeianperiod,85andits
popularitycontinuestoday.Themusictextbooksinmiddleschoolsandhighschools
inJapantodayadoptEtenrakuasanintroductiontoGagaku,anditcanbeheardat
variousshrinesortemplesonoccasionssuchasNewYear’svisits,weddings,and
othercelebratoryevents.Thus,mostofthosewholiveinJapanarefamiliarwiththe
piece,althoughtheymaynotbeawareofthedetailssuchasthetitle.
Itstitleliterallytranslatesas“MusicofHeaven.”Itbelongstotherepertoire
ofTogakuwithKangenstyleofperformance,astheaccompanyingdanceisnowlost.
Itsoriginisunknown,thoughitiswidelybelievedthatitwasabanquetsongin
ChinaduringtheT’angDynasty(618-907),fromwhichitwasbroughttoJapan
duringthemid-Heianperiod(794-1185).However,scholarssuchasYokoMitani
85HumikazuHiyama,“Etenraku”inBugakuKaisetsu(Tokyo:GagakuKokyukai1932),121-122.
43
statethatonlythetitlewasgiveninremembranceofsomeChinesemusicalpieces;
itscontentwasnewlycomposedduringtheHeianperiod.86
EtenrakuexistsinthethreeprincipalRitsumodes:Hyojo,Oshikicho,and
Banshikicho,whichsuggestsaseasonaladaptationinwhicheachvariationwas
performed—Oshiki-choinsummer,Hyo-joinautumn,andBanshiki-choinwinter.
Suchseasonalconnotationsarenowlostanditisperformedregardless,throughout
theyear.Therehavebeendisagreementsastowhichmodeistheoriginalorthe
oldest.ItiswidelybelievedthattheversionofHyojoistheoldest;however,scholars
suchasStevenW.OttosuggeststhroughhisanalysisthatBanshikichoprecededthe
othertwoversionsforits“leisurelyconjunctmelody,aidedbytheconsistentuseof
appropriateformsofShoandU,87thatportrayahomogeneousbalanceseemingly
unadulteratedbythepressuresofmodaltransposition.”88
ThepopularityofEtenrakuhasgivenrisetocountlessnumbersof
arrangements.DuringtheheightofitspopularityintheHeianperiod,asetoftexts
wasadaptedtothemelody,andthesongwascategorizedasImayo,andenjoyed
withinthecourt.Later,itflourishedasafolksongwithadifferentsetoftextscalled
KurodabushiinKyushu(thesouthernmostofthefourmainislandsofJapan),
particularlyinFukuoka.KurodabushiwasevencoveredbyaJapaneserockband
calledSharanKyūin1995,evidenceofitslong-livedrecognition.Thecomposer
HidemaroKonoe(1898-1973)arrangedHyojoEtenrakufororchestra,whileMichio
86YokoMitani,,“ChineseMusicandInstruments,”inTheOriginofJapaneseMusicandEntertainment,ed.TomoakiFujii(Tokyo:NihonHousouShuppanKyoukai,1985),341.87VariablenoteswithinRyoandRitsumodes.88StevenW.Otto,“TheStructuralInfluenceofEtenrakuontheEmergenceofJapaneseKotoMusic”(PhDdiss.,WesleyanUniversity,1968),36.
44
Miyagi,whowasknownasthepioneerofSou/Koto,wroteathemeandvariations
basedonthethemeofEtenraku.Countlessnumbersof“fantasies”havebeenwritten
byplayersofJapaneseinstruments–notconfinedtothoseusedinGagaku.Their
tendencyistoharmonizethemelodyofEtenrakuviaWesternharmonyand
instruments,typicallywithpianoandstringsinthemannerof“easylistening,”
whichembodiestheJaponica-choMatsudairasoevidentlydespised.Insuchcases,
theuseofEtenrakuismerelytobringasenseofhistoryandthealmostsacredaura
thatsuchancientmusichasbeenassociatedwith.Nonetheless,theseexamples
illustratethepopularityithasretainedthroughapproximatelyathousandyears.
45
ChapterIV
ThemeandVariationsonEtenraku
MatsudairacomposedThémeetVariationspourpianod’après“ETENRAKU”
(henceforthreferredasThemeandVariations)betweenJulyandSeptemberof1951
inTokyo.ItwassubmittedtotheInternationalMusicFestivaloftheInternational
SocietyforContemporaryMusicandwaspremieredattheISCMMusicFestivalon
June29th,1952inSalzburg,AustriabyconductorEttoreGracisandpianistEva
WollmannwiththeViennaPhilharmonic.TheJapanesepremierewasonJuly29th
1952,withconductorKurtWössandpianistYoshieNaitou.
TheworkmarkstheendoftheNeo-classicalperiodandbridgesinto
Matsudaira’sDodecaphonicperiod.WithThemeandVariations,hebecamethefirst
JapanesecomposertowintheISCMprize,whichundoubtedlycontributedtothe
globalizationofJapanesecontemporarycomposersatthattime.Inthatsameyear,it
wasperformedbyHerbertvonKarajan,whoalsoselectedthispieceaspartofhis
programwhenhevisitedJapanforthefirsttimein1953,whichmarkedtheTokyo
premiereofThemeandVariations.Inthefollowingyears,YvonneLoriodperformed
itinEurope.JapanesePianistEikoSasakiin1981commissionedfromMatsudaira
thesolopianotranscription,andpremieredthisversionin1982.Shecontinuedto
performthisworkalongsidehisotherNeo-classicalworks.
46
Reception
Asmentionedabove,thisworkwasanunprecedentedsuccessinternationally,
notonlyforMatsudaira,butalsoforaJapanesecomposer.Latercritics,however,
havenotconsidereditoneofMatsudaira’smostestheticallyrewardingworks.Inhis
reviewoftherecordingmadebytheOsakaCenturyOrchestrawithpianistIchiro
Nodaira,musiccriticJohnQuinnsuggestedthatthesuccessofthisworkwas
partiallyduetotheunderlyingpoliticalclimateatthetime.Alongwiththe
deliberateexoticismwhichThemeandVariationscarries,itwasspecificallytargeted
towardEuropeanaudiencesthroughtheobviousfabricationofaFrenchNeo-
classicalexterior.89ThisviewunfairlysuggestsunscrupulousnessonMatsudaira’s
part,perhapsduetoQuinn’slackofknowledgeofhiswork.Nevertheless,its
accessibilitywasatargetofcriticism.Referringtotheboogie-woogierhythmthat
appearsinVariationV,composerHumioHayasakawarnedMatsudairanottobend
hismusicinsuchadirection.90Ontheotherhand,composerOsamuShimizupraised
ThemeandVariationsasamonumentalworkofmodernJapanesemusic.91Asa
composerbornintoandgrowingupamongafamilylineageofGagakuperformers,
OsamuShimizuwasthoroughlyacquaintedwithGagakuandaimedtorecreateit
withmoderncompositionaltechniqueshimself.Thus,hewasabletorecognize
Matsudaira’ssuccessinunitingGagakuwithmodernesthetics.Hestates,“Every
elementGagakucontains,andeverymusicalphenomenon–nottechnique-that
89JohnQuinn,“Matsudaira:BugakuDanceSuite;theme&Variations”90JunichiIshitsuka,“SouvenirfromMatsudaira”HiroakiOOIOfficialBlog.ExciteBlog,lastmodified13October2010.http://ooipiano.exblog.jp/15280570/.AccessedSeptember2016.91OsamuShimizu,“ThemeandVariationforPianoandOrchestra,”OngakunoTomono.2(1953):109.
47
derivedfromthem,hedidnotleavethemmerelyasphenomena,buttechnicalized
them,andletthemcontributetothethrobbingoflife[ofthemusic].”92
Overview
ThroughThème et Variations pour piano d’après “Etenraku,”Matsudairastrives
topreservethearchaicvisionsandcolorsofJapan,whileprocessingthemwith
obstinatelymoderncompositionaltechniques.93Outofthreemodesinwhich
Etenrakuexiststoday,hechosetheBanshikichomodeasthematerial.Historically,
Banshikichowasassociatedwithwinter,andastantalizingastheideaofsucha
hiddenconnotationmaybe,Matsudairahadnosuchsymbolisminhismindfor
ThemeandVariations.InMatsudaira’swords,“ItisbecauseIloveit.Inmyview
EtenrakuistheloveliestofallGagakumelodies….Theoshikichooneismusically
uninteresting;thehyojoversion,thoughverypopular,is,inmyviewlessimpressive
thantheoneinbanshikicho.”94Inaddition,fromhismeticulousstudiesinGagaku,it
isassumablethatMatsudairamayhavecometothesameconclusionasSteven W.
Otto:thatBanshikichowasbettersuitedtotraditionalinstrumentsusedinGagaku,
thusisindeedtheoriginalversion.
PriortoThemeandVariations,Matsudairahadwrittenathemeandasetof
variationsforsolopianobasedonEtenraku,butinHyojo.Detailsareunknown,as
thesheetmusicremainedunpolished,andthepiecewasneverrecorded.Ichiro
Nodairaconjecturesthatthecompositionyearwasaround1940,whileYoriaki
92OsamuShimizu,“ThemeandVariationforPianoandOrchestra,”109.93YoritsuneMatsudaira,“ThemeandVariation”OngakuGeijutsu3(1953):96.94JoaquimandKondo,SerialisminJapaneseContext,89.
48
Matsudairamentionsthatitwasa“…shorttimebeforetheThemeandVariations(of
1951).”95EachvariationoftheearliersetwasbasedonHyojoEtenraku,andlikethe
1951versiontheyfollowedthestyleofseveralImpressionist/Neo-classical
composers:thefirstvariation,titledDancers,wasaparodyofDebussy’sprelude
DanceusesdeDelphes;thesecondandthirdvariationstitledNocturneandPièce
brêverespectively,hadresemblancestoFaurewithahintofStravinsky,aswellasa
parodyofhisownLiedIandII;thefourthvariation,Intermezzo,hadthestyleof
JacquesIbert;andfinally,thelastvariationwasachromatictoccata.96Thisearlier
versionofThemeandVariationsstillcontainedtracesofImpressionism,whichleads
NodairatobelievethatitwascomposedaroundthetimeMatsudairahadnotyet
shakenofftheinfluencesfromImpressionism.Eachvariationofthe1951Themeand
VariationsisanimitationofvariousNeo-classicalcomposers,whichwillbe
discussedindetailbelow.
Thème et Variations pour piano d’après “Etenraku” of1951consistsofatheme
andsixvariations,withareturnofthethemeasthecoda.EachsegmentofEtenraku
(whichisinternaryform),isrepeatedinitsoriginalGagakuperformance;however,
therepetitionisomittedinMatsudaira’scomposition.Eachvariationfollowsthe
unblemishedternaryform,usuallyfollowedbybriefcodasofeach.Thedescription
belowisatranslationofthenotebythecomposer97:
95YoriakiMatsudaira,“MatsudairaYoritsune’spath,”6.96ExacttitlesofeachvariationwerelikelyinFrench.HeretheyaregiveninanEnglishtranslationoftheJapanesedescriptionbyIchiroNodaira.97Matsudaira,Yoritsune.Nétori[Prélude];ModeBanshiki;ThémeetVariationspourpianod’après“Etenraku”(Tokyo:Zenon1991),Preface.
49
Theme:ratherfaithfulrenditionofEtenrakuforpiano.ItdiffersfromtheEtenrakuthatiscommonlyheardtodayasitis“transposed”toadifferentmodality.TheformalstructureofthethemeisA+A’+B+A+A’+Coda.
VariationI:apianisticvariationwithbrilliantornamentationscattered
throughout.VariationII:eachofthelow,middle,andhighregistersarecontrastedin
differentkeys(ormodes.)Thethemeappearswithinarpeggiatedchords,whilereminiscentof“shō”inthemiddleregister.
VariationIII:basedonatwelve-tonerow.VariationIV:hasasubtitle“songwithoutwords.”Amelodiousandtranquil
variation.VariationV:basedonaboogie-woogierhythm,widelypopularatthattimein
1951.VariationVI:technicalToccataMeccanico.Themiddlesectionisprinted
alongsideanelaboraterearrangementbyEikoSasaki.Coda:aftertheclimaxinVariationVI,thethemeisrecapitulated.Itends
quietlyafteranimitationofaJapanesestringedinstrument,theKoto.
Asmentionedearlier,theprincipalconceptofthisworkistoprocess
Etenrakuwithvariousstyles,particularlythatofNeo-classicalcomposers.
Matsudairahimselfneveridentifiedthecomposersafterwhicheachvariationis
modeled,butYoriaki,fromwhomMatsudairasoughtadvice,speculatedthat“The
fourthvariationisbasicallywritteninastyleveryclosetoPoulenc’s,although
disguisedunderboogie-woogieandbe-boprhythms.Thefifthvariationmirrors
Szymanowski’sstyle.And…thethirdvariationisinfluencedbySchoenberg.98”In
addition,bitonality/modalityofthesecondvariationrelatestoStravinskyor
98YoriakiMatsudaira,“MatsudairaYoritsune’sPath,”6.
50
Milhaud.Whilethereisnodirectinfluencethatcanbefoundinthiswork,itis
notablethatMatsudairamentionstheuseofnon-retrogradablerhythminGagaku
pieces,whichalsoappearsinthethemeofthiswork,suggestingtheinfluenceof
Messiaen.
EachVariation
In this chapter, each section will be discussed in terms of Matsudaira’s
arrangement technique, pianistic difficulties, and miscellaneous points of interest. As I
was unable to obtain the orchestral score, the comparison of the piano solo transcription
is made with the two piano reduction published by Suvini Zerboni. Hence, while the
discussion will focus on the piano part, my speculations may differ from the intentions of
the composer. The arranger of the orchestral part is not indicated on the Suvini Zerboni
edition.
Theme:MoltoLento,measures1-35
Theinitialtheme,scoredentirelyfororchestrawithoutsolopiano,isa
faithfultranscriptionoftheoriginalEtenrakuintotheWesternorchestra.Thus,in
itsway,itsharesmuchincommonwithHidemaroKonoe’sEtenraku(1931),in
whichthepurposeisamererecreationofGagaku.Hisorchestrationislogical:the
ryutekilineiscarriedbyflute,andsimilarly,hichirikibyoboe,souandbiwabytwo
harps,viola,cello,anddoublebass.Sho,whichhasnoWesternequivalent,is
imitatedbythreegroupsofviolinsplayedsenzavibrato.
Onthepianosolotranscription,Matsudairanotatedthewindandstringed
instrumentsoverfourstaves:shointopstaff,ryutekiandhichirikiinthesecond,sou
inthird,andbiwainthebottomstaff,whileomittingthepercussionpartentirelyin
51
thethemesection.Eventhoughhisnotationacrossfourstavesgenerallycorrelates
totherangeofinstruments,theyoftencollide;sinceMatsudairadidnotincludeany
fingeringorhanddistribution,thepianist’sfirsttaskistodeterminethem.Asthe
fiveinstrumentsencompasssuchawiderangeonthepiano,itisimpossibletocover
allpartssimultaneously,butheresolvesthisproblembytheuseofpre-attacksand
post-attacksofsomeofthepartswiththehelpofpedal,particularlythebiwaand
sholines.Itsstaticmodalharmonysustainedbythedamperpedalforanextended
durationevokestheImpressionisticsonorityofDebussy.
Shochords(Example7-1),一(Ichi),下(Ge),乞(Kotsu),凢(Bou),乙(Otsu),十(Ju),
areplacedwithakindofappoggiaturathatisheardinbetweenchordsofthesho,in
ordertorecreatetheinstrument’sperformancepracticeinGagaku.(Example7-2)
Example 7-1, Sho chords and their names below
52
Example 7-2, sho chords and appoggiatura realized on piano by Matsudaira, Theme and Variations measures 10-14
AsinmuchGagakurepertoire,thehichirikiandryutekipresentthemost
dominantandelaborateversionsofthemelodyofEtenraku.Theinteraction
betweenthesetwoinstruments,mostnotably,themicrotonalinflectionthatbrings
theminandoutoftunewitheachother,whatShimizucalled“atonalpolyphony”is
oneofthecharacteristicsofGagaku.99Itmaysound“outoftune”toearsthatare
accustomedtoWesterntuning;however,itssubtletyandnuancesareamongthe
fascinationsandappealsoftheGagakuorchestra.InMatsudaira’ssolopiano
version,thesetwovoices,whichappearinthesecondstafffromthetop,areboth
markedcantabile.Theatonalpolyphonyisrealizedbychromaticinflectionsin
betweentheintervals.Thoughvisuallyanaccessiblescoring,itposesdifficultiestoa
performer.First,bothoftheselinesmayseemunusual,withseeminglyrandom
99OsamuShimizu,“ThemeandVariationforPianoandOrchestra,”109.
53
phraselengths,oddintervals,andnotesthataresustainedforanextendedduration.
Second,Matsudaira’sscoringnecessitatesboththeryutekiandhichirikilinestobe
splitbetweenbothhands,makingthecontinuityofthesealreadytortuousmelodies
morechallenging.Third,althoughthesustainedbiwaandshopartsrequire
generoususeofthedamperpedal,fromwhichthehichirikiandryutekilineswill
alsobenefit,apotentialproblemisthattheresultingresonancecouldoverwhelm
theoverallsonority.Theperformerneedstoadjustthedepthofthedamperpedalin
accordancewiththeresonanceinordertomaintaintransparencywhilebringingout
theinteractionofthetwowoodwinds.Thequasistaccatomarkingsattheendofthe
themeareimitationsofpluckingonstringedinstruments–biwaandsou-,andthus
mustresonate,somewhatsimilartothestaccatoindicationsofDebussyorChopin.
I.Andante,measures36-67
ThefirstvariationiswritteninastylethatresemblingthatofRomantic
composerssuchasChopin,Liszt,andThalberg.Afterthepiano’sdramaticentrance,
soloyaltothetraditionofaRomanticpianoconcerto(Example8-1),thesoloist
introducestheEtenrakumelodydecoratedbyvirtuosicfioritureswhicharederived
fromGagakutheoryanditsinstrumentalfeatures,whiletheorchestraprovidesa
chordalaccompaniment.Inthisway,theoverallstyleofthisvariationhasmuchin
commonwiththepianoconcertiofChopin.
Theseornamentalpassagesarenotmeredecorativeadditions.Theyare
productsofMatsudaira’smeticulousstudyofGagaku,andhavetheiressences
rootedinthattradition.Thepiano’sarpeggiatedentranceexemplifiesGagaku
54
elements—notonlyisitbasedontheRitsumodeofGagaku,butMatsudairadirectly
referstotheSou,withits13stringstunedinBanshikicho100(Example8-2).The
fioritureatmeasure39isanarpeggiationoftheIchi(�)chordofsho.Measure45,
whichisbasedontheGe(�)chord,itsfollowedbyanornamentalpassagebasedon
Banshikicho(Example8-3).
WhileharmonicallythepassageispersistentlyinBminor,thepresenceofG#
addsamodalsonorityofBanshikicho,orBDorian.TheplacementofG#coincides
withchordsoftheShointhetheme,whichindicatesthattheaccompanimental
harmonywasdeterminedbytheshochordsaswell.Theoriginalshopartis
preservedinthebackground,contributingtosuchmodalharmoniesaswellasthe
Example8-1,ThemeandVariationsmeasure36
100Dependingonthemodesandthetuningsaccordingtothemodes,the13stringsofsouchangetodifferentpitches.
55
Example 8-2, tuning of thirteen strings of the sho in Banshiki-cho
Example 8-3, Measure 45
ornaments.Themiddlesection,consistingofflatteringpianofigurations,isderived
fromsho’sstylewhilethelowerregisterofthepianoandorchestraplayaharmony
thatdescendschromatically.
Inthetranscription,Matsudairagenerallykeptthepianopartrather
untouchedwithanoccasionaladditionoforchestralvoices.Theprimarysonorityis
themelodyinthetrebleregisteroveranaccompanimentinthelowandmiddle
registers.Inthemiddlesection,hereworkedtheflatteringfigurationinahigh
registerinordertoaccommodatethedominanttrumpetvoiceinthemiddle
register,whichresultsinasimilaritytoThalberg’sfamedthreehandtechnique
(Example9).Thisarrangementphilosophyofpreservingthepianopartasmuchas
possible,whileincorporatingimportantadditionalvoices,remainsthefoundation
56
fortherestofthevariations,posingvarioustechnicalproblemslateron.However,
thisvariationisperhapsphysicallythemostorganicunderthepianist’sfingers.
SomeofthefigurationsbasedonGagakumodesarenotidiomatic,requiringunusual
stretchesinbetweenfingers;forinstance,thepassageinmeasure45(example8-3)
forcesanunidiomaticstretchbetweenfourthandfifthfingersintherighthand.It
mayhavebeenpartofhismotivationtocomposethesetofÉtudespourPiano
d’aprèsModesJaponais.Here,manyofthesepassagescanbepartiallydistributedin
thelefthandtogainmorefluidity.
Example9,Measures53-54
II.Allegro,measures68-91
Thesecondvariationconsistsofaperpetualthirty-secondnoterunin
octavesinthepianopart,withpolytonality/modalityandtherhythmicdrive
providedbytheorchestra.Matsudairaneveradmittedtoanyinfluencefrom
Prokofiev;howeverthesimilaritybetweenthisvariationandthescherzomovement
ofProkofiev’ssecondPianoConcerto,Op.16,isobservable.
57
Inthefirstsection(mm.68-75)thepolymodalrealizationisthree-fold:the
repetitionofB�majortonic-subdominantprogressionsinthebassinstruments—
playedoverchordsthatbelongtoeitherAmajor/Bdorian,orBanshikichochordsin
themiddleregister(thisdistinctionisvagueastheysharethesameaccidentalsof
F#,C#andG#)—inturnsuperimposedoctaverunsinthepianopart,inspiredby
Gagakumodesmuchinthesamemannerastheornamentalfigurationsinthefirst
variation(Example10).
Example10,Measures68-69,twopianoreduction
58
Inthemiddlesection(mm.76-79)shochords�(ichi)�凢(bou)and�(otsu),
inthatorder,arearpeggiatedbythepianoinitsupperregister,whiletheorchestra
placesmotivesinB�pentatonicinthebassregister,andtheBanshikichotheme
appearinthetrebleregister.Throughoutthevariation,theEtenrakumelodyis
shortenedtohalfitspriorlength,preservingonlythecharacteristicrhythmicand
intervalliccomponents.Thesolotranscriptionofthisvariationdemandsacrobatic
techniquesforapianist.Matsudairareducedtheoctaverunintoasingle-noteline
playedbytherighthand,whilethelefthandcarriesboththeB�chordsandA
major/Bashikichochordsinconjunctionwitharhythmicdisplacement.The
Etenrakumelodyisplacedinthemiddleregistergenerallytobetakenbytheright
handamidthesurroundinglines.Asaresult,itcreatesunrealisticfour-octaveleaps
withinablinkofrapid32ndnotes(Example11-1).Frommeasure73,thethemeis
doubledattheoctaveinthehighestregister,while32ndnotesthreadthroughthe
octaves,againforcingapianists’handsintowideleaps.
Example11-1,measure70
59
Inthemiddlesection,thearppegiatedshochords,distributedbetweentwo
hands,arenowappliedtoonlytherighthand,whiletheuppermotifsarealso
playedbytherighthandinoctaves.Unlikeinthefirstsection,Matsudaira
dismantledthemotifandaligneditsregistertotheshoarpeggios.Althoughitmay
looklogicalonthescore,eachchordrequiresdifferentwristpositions,resultingin
rapidshiftsamongawkwardpositions.Matsudairamercifullyindicateslégèrment;
however,giventhattheoriginalretainsanAllegromarking,adrasticalterationin
tempowouldnotbesuitabletothenatureofthisenergeticvariation.Anytempo
adjustmentsmustbecarefullyconsideredinrelationtotheoutersectionandthe
pianist’stechnicalcapability.
SimilartowhatwefoundintheTheme,twoaccentsthatoccurwithinthe
arpeggiatedShochordsarederivedfromthecharacteristicsofsho—becausethe
progressionofchordsontheshoisagradualandsuccessivemovementofeach
finger,onehearsasortofappoggiaturasbetweeneachchord(example11-2).
Example11-2,measure79.Theaccenthappensatthelastnotesofbottomstaff.
60
III.Allegro,measures92-134
Thethirdvariationemploysserialtechniques,inwhichthetonerowsare
derivedfromintervallicrelationsfoundintheBanshikichomelodiesaswellasHyojo
Etenraku—itishisfirstcompositionbasedonSerialism,andhenceforththe
majorityofhislaterworksarecomposedwiththesameprinciple.Thus,even
thoughhistwelve-tonetechniquewouldlaterbefurtherdeveloped,thisvariation
wasoneofthemostimportantturningpointsofhismusicalcareer.Hisincipient
strideintoSerialismcametodefinehismusicallanguage,butthelaborwasnot
withouthardship—duetoexhaustionandanimminentdeadlinefortheISCM
submission,hehaddoubtsofwhetherornottoincludethethirdvariation.
However,withYoriaki’sinsistence,heeventuallycompletedtheworkwiththethird
variationasinitiallydesigned.
Thisvariationincludesthreetonerows. Matsudairaderivedthefirsttone
rowfromthefirstfourpitchclassesthatappearinBanshikichoEtenraku:G,A,G#,
andF#(Example12).Itisalsoanornamentalmotifthatoccursfrequentlyin
Gagaku,particularlyintheryutekipart,whichMatsudairaalsousesforornamental
figurationinthefirstvariation.Asthisgroupoffourpitchclassesencompassesthe
intervalofaminorthirdfillingeachhalfstep,atonerowcanbederivedbystacking
threeofthemamajorthirdapartfromeachother.However,Matsudairaavoids
simplerepetitionofthesegment,andinsteadvariesthem—thesecondgroupin
retrograde,andthethirdininversion.Inthisvariation,thefirstfourmeasuresare
basedonthebasicformofthefirsttonerow,andthefollowingfourmeasuresarein
itsinversion.
61
Example12.BanshikichoEtenraku
First tone row
Matsudairaalsopilesupalltwelvepitchclassesinaverticalline.According
tothetwo-pianoreduction,sixpitchesaredistributedaccordingtotwointervalsin
theorchestralinstruments:aperfectfourthbetweentheupperfournotesanda
minorninthbetweenthelowerthreenotes—the“silver”intervalhecametoadore.
Thischordmovesalonginparallelmotionwiththeremainingsixnotesinthepiano
part(Example13).Therhythmicorganizationdivideseightbeatsintosegmented8th
notesof3+3+3+3+2+2,withaccentedoff-beatspassedbetweenthepianoand
orchestra,whichcontributestothedrivingforceofthisvariation.Theresultis
propulsiveandenergetic,simultaneouslygivingasenseofstabilitydespitethe
relianceondodecaphony.
Example13,measures92-94,twopianoreduction
62
Thesecondtonerowappearsinmeasures100-105.Matsudairaselectedthe
firstfournotesinthesamemannerasthefirsttonerow,fromthemiddlesectionof
HyojoEtenraku;however,thefollowingsegmentswereselectedlesssystematically,
preservingonlythecontour,yetwithseeminglyarbitraryintervals(Example14).
Betweenmeasures100-105,thepitchorganizationasawholeavoidstherigid
applicationoftheserialmethod;instead,theharmonyfromtheaccumulationof
fourthsisprioritized,despitetheemphasisoncertainpitchesasaresultofthe
repetitions(Example15).Accentedchordsevensuggestatonalcenteroramode.
AlthoughYoriakisawthisuniquelibertyasneglectoftheserialprinciple,itis
indeedwhatenabledYoritsunetoproducesomeofhismostmaturepieceslaterin
life.Yoriakialsopointsouthisuseoftheoctaveas:
…thesymbolicintervaloftonalitythatthecomposersoftheSecondVienneseSchool,aswellasthepost-Weberniancomposers,contemporariesofMatsudairahimself,avoidedsoconsciously….Matsudairaevenemphasizesitinordertoachievetexturaleuphonioussonorities…asinheritedfromthemusicwritteninthenineteenth-centuryWesterntradition.101Whilethefirsttonerowinthisvariationissubjectedtothefullrangeofserial
techniques,onlytranspositiongetsappliedtothisrow,anditsmusicalfunctionis
merelytransitional.
Example 14, Etenraku in Hyojo, middle section
Second tone row
101YoriakiMatsudaira,“Matsudaira’sPath,”7.
63
Example15,measures100-103
Thethirdtonerowisderivedinthesamemannerasthesecondtonerow,
fromthebeginningofHyojoEtenraku.(Example16-1),appearingatmeasures106-
109initsoriginalformand110-113inretrograde.Thistonerowistreatedmore
melodically,withrhythmicmotivesthatresemblethemiddlesectionofthetheme.
Ofthetwelvepitches,mostofthemappearinaverticallineonceagain.Perhapsitis
reasonabletoassumethatMatsudairainfactusedtwelvepitchesineachvertical
line,butsomewerelostintheprocessofmakingthetwo-pianoreduction.
Example16-1,HyojoEtenkaru,beginning
Third tone row
Matsudaira’s writing of the original piano part is already full in itself; hence, it leaves
64
little room for any addition of extra notes in the transcription for solo piano. Thus, in the
initial section (Example 16-2), the first tone row only incorporates the top notes of each
orchestral chord to the original piano part.
Example 16-2, mm.92-95.
The transitional section containing the second tone row is left as in the original. Here, one
may disagree with Matsudaira’s method, as he abandoned an important violin line, which
is clearly audible in the recordings. In the middle section (mm.106-113), he discards the
systematic patterns of the original piano part, and instead prioritizes the main melody that
was originally played by flute. This melody is emphasized by an octave in the top register,
while the upper instrument parts and piano parts are scattered throughout as
accompaniment. Similar to Variation II, it requires constant wide leaps for both hands,
and the systematic pattern of the original is lost. This section does not closely follow the
twelve-tone technique in the solo transcription. Because of this, it is difficult for the
65
pianist learning the variation to discern its system, leaving the performer feeling rather
discombobulated. Matsudaira left detailed articulation markings here in order to indicate
the melody and emphasis within the phrase.
IV.Lento,measures135-169
Matsudairadescribesthisvariationas“…akindofNocturne,orRomance
sansParole,pianoaccompaniedbythestrings,quietlyplayingthemelodywith
chromaticfioritureoftransverseflute.”102Themelodytowhichherefershereisthe
motiffromwhichthefirsttonerowofthepreviousvariationwasderived.Whilehe
suggeststhattheuseofchromaticinflectionsispurelyornamental,itsfrequent
occurrencesuggeststhatitisindeedacentralconceptofthisvariation.
DespitethesubtitleofRomancesansParole,orSongwithoutWords,it
distinguishesitselffromthestereotypicaltextureofasongwithoutwords—a
prominentsinglevoiceagainstanaccompanimentalpattern,oftenassociatedwith
Mendelssohn.Whilethelefthandprovidestranquilchordalaccompanimentsin
whichopenfifthsmoveinparallelmotion,therighthandplaystwoprimevoices,
perceptiblyreflectingtheunisonbetweenhichirikiandryuteki.Atthesametime,
Frenchhorns,violins,andflutesalternatebetweensoloisticsegmentsabovethe
pianoandorchestralaccompaniment.Asaresult,thetextureoftheprimesection
becomesmorecontrapuntalthanthesubtitlesuggests.Themiddlesection,
however,hasacleareraccompanimentagainsttheprimaryvoice,withthe
orchestrachieflydoublingthepianopart.
102YoritsuneMatsudaira,“ThemeandVariationsforPianoandOrchestra,”OngakuGeijutsu3(1953):98.
66
Whentranscribedforsolopiano,theonlymodificationstotheoriginalpiano
partaretheadditionsoftheFrenchhorn,violin,andflutemelodies.Therestisleft
unaltered,sincemostoftheotherorchestralpartsaremeredoublingsofthepiano.
Althoughtherearesomewidespreadrolledchordsthatrequiretechnicalattention
inordertoachieveevenness,itisstillmuchlessphysicallydemandingthanthe
othervariations.Asatradeoff,theinteractionbetweeneachvoicemustbebrought
outinthesamemannerasthetheme,inwhichsubtlemelodieswithunusual
intervalsmustretaintheircontinuitywhilewindingaroundeachother(Example
17).
Example17,measures140-143
67
V.Allegro,measures170-216
Thefifthvariationisanenergeticvariationbasedonrhythmscommonly
usedinjazz,particularlyboogie-woogierhythms.Inthisvariation,percussion
instrumentstypicallyassociatedwithjazzsuchastom-tomsandsnaredrumsare
used.WhileonemightassumethatMatsudairaisusingjazztodeliveraccessibility
tothemassaudience,itisactuallyinspiredbydancemovementssuchastheminuet
whichhadalreadybeenutilizedinvariousformsbypastcomposers.103Etenrakuin
itstimeoforiginwasaccompaniedbydance,andMatsudairaaimedtorevitalizethis
historybyincorporatingmoderndance.Anotherinspirationrevertsbacktohis
earliestmodel—Tansman,whodecoratedsomeofhisworkswithpurifiedjazz
influencesoutofhisinterestinAmerica.OnesuchexampleishisSonatineforflute
andpiano,whoseScherzomovementisreplacedbyafoxtrot.104
Yoriakisuggests,“…thefourthvariation105isbasicallywritteninastylevery
closetoPoulenc’s,althoughdisguisedunderboogie-woogieandbe-boprhythms.”106
Hisspeculationmaybeduetotheclassicalphraselengthsthisvariationcontains—
oftwofour-barphrasesandaneight-barphrase,allthreeendinginadominant-
tonicprogression.Thisvariationisalsoharmonicallythemoststable,withthe
frequentoccurrencesofthedominant-tonicprogression.Meanwhile,themodal
ornamentalpassages,generatedbythesameprincipleastheearliervariations,
givesaGagakuflavortothejazzvariation.Inthemiddlesection,Matsudairauses
103YoritsuneMatsudaira,“ThemeandVariationforPianoandOrchestra,”99.104Matsudaira,Yoritsune.“AlexandreTansman”OngakuGeijutsu(1950):8-5.105ClearlyamistakebyeitherYoriakiorthetranslator,JoaquimBenítez.Evidentlyitreferstothefifthvariation.106YoriakiMatsudaira,“Matsudaira’sPath,”7.
68
thebasslineofaboogie-woogie,withitssyncopatedswingrhythmrealizedbythe
useoftriplets.
Thetranscriptionissimpleinitsfirstsection—itisleftuntouchedalmost
entirely,withtheexceptionofthepercussionpartsrealizedbytherepetitionofF#’s.
Themiddlesection,however,isreworkedconsiderablytoaccommodateboththe
melodyandaccompaniment,whichwereseparatedbetweenthesoloistand
orchestra,respectively.Matsudaira’swritinghererequiresawidestretchofthe
handsextendingoverintervalsusuallyimpossibleforaverageplayers.Accordingto
KyokoUemura,hehadlargehandsthatcouldreachatenthwithease.107Thosewith
smallerhandshavenochoicebuttoplaythemasarpeggios,effectivelyraisingthe
difficultyofthisvariation.Theboogie-woogieaccompanimentinthemiddlesection
emphasizesitschromaticinnervoicesratherthantheharmonyoftheoriginal
(Example18).
107YoritsuneMatsudaira,NanbuMinyou-shu(Tokyo:Zen-onMusicCo.,1987):Preface.
69
Example18Measures186-187
VI.Allegro(Toccatameccanico),measures217-252
Onthescoreofthetwo-pianoreduction,thisvariationismarkedmerelyas
“Toccata,”butonthepianosoloversionitisreplacedwith“ToccataMeccanico.”The
pianopartconsistsofperpetual16thnotesthatalternatebetweenhandsthroughout
thevariation.Bothhandsfrequentlycrosseachother,creatingtechnicallyrather
awkwardbutvisuallyeffectivepassages.Themiddlesectionconsistsofpassages
thatstretchoveratenth.Unlikeintheothervariations,thereturnofthevariation’s
primesectionisreplacedwithapassagefeaturingchromaticmovementsofthe
innervoice,whichgraduallymovesincontrarymotionandleadsbackintothe
dramaticreturnofmeasures(249-251),atechniqueheusedinmanyofhisworks,
includingPreludeenRé.
Thesolotranscriptionofthisvariationrequirescompletelydifferentsetsof
techniquesfromtheoriginal.Whiletheoriginalhasrightandlefthandalternating
70
chordsthatarerelativelysimple,Matsudairaaddsthebasslinetothosechordsin
thesolotranscription,whichforceseitherorbothhandstoleapwiderangesinthe
tempoofatoccata.Itisnotatedoverthreestaves,withthechordsinthemiddlestaff
tobesharedbybothhands.
Matsudaira’sstemminghereisproblematic.Whiletheuppertwonotesofthe
innerchordsarestemmedinaccordancewiththeuppervoice,thelowestnotesof
thechordsbelongtoboththeupperandlower-staffvoices,withtheexceptionofthe
firstchord(Example19).Thepossibilitythatthisisareflectionoftheoriginal
orchestration,consistingofalinedoubledbytwoormoreinstruments,cannotbe
confirmedherebecausesuchvoicesareabsent.Itisperhapsmorereasonableto
interpretsuchstemmingashisindicationofhanddistribution,inwhichcasethe
bottomnotesarealltobetakenbythelefthand.Nevertheless,thisisnotalways
technicallyideal;thusperformersshouldsearchforthemostefficienthand
distributionbestsuitedfortheirhands.Eventhoughnotedistributioncanbe
reworkedtofitaperformer’spreference,itstilldemandsthatbothhandsare
constantlyleapingwhilemaintainingthevelocityofaToccata,andthemetrical
precisionimpliedbythedesignationMeccanico.Here,theEtenrakumelodyappears
asaninnervoicewithintherighthandoctave.Thismethodoftranscriptionrequires
apianist’sdelicatecontroloffingersduringtheperpetualleaps.
71
Example19,measure217-218
Matsudairatranscribedthemiddlesectioninmuchofthesamemanneras
theprecedingsection,conservingtheperpetualmotionwhileaddingbassand
Etenrakumelodylines.PianistEikoSasaki’sarrangementisasuccessfulalteration
thatMatsudairaapprovedof,emanatingfromherexperienceasapianist.Her
arrangementconsistsoftheexactsamesetofnotesfromMatsudaira,however,she
breaksdownthechordsintoarppeggiatedsextuplets,reducingthenumberofkeys
depressedsimultaneously(Example20).Asaresult,theawkwardhandpositions
aretransformedintomoreorganicmovements.Thearppeggiationalsoeasesthe
difficultyofemphasizingthemelody,astheyarenolongerburiedwithindense
chords.Italsoprovidesarhythmicvariationtotherhythmicallymonotonous
Toccata.Thetranscriptionmethodofthefollowingsection(measures241-252)is
consistentwiththeearliersectionsofvariation,howeverthemelodyreplacesthe
72
righthandoctavenotesasopposedtobeingincludedwithin,thusmakingitless
technicallydemandingforthepianist.
Example20,Measure229.Upperstaves:Matsudaira’soriginal,lowerstaves:arrangementbySasaki
Coda:RecapitulationofTheme,Lento,measures253-279
Inthereturnofthetheme,whichprimarilyfunctionsasacoda,theEtenraku
melodyisshortened,becomingprogressivelymorefragmentedasitunfolds,untilit
endswithaserenepizzicato.Theoriginalpianopartconsistsofsimplepatternsin
imitationoftheSou,whiletheorchestraprovidestheremainingparts.Inthe
transcription,thepianopartbeginsidenticallytotheinitialtheme,despitethe
shortenedmelody.Gradually,thetexturedisperses,asifeachorchestrated
instrumentceasestoplay,andendswithanimitationofasoutechniquecalled“ren,”
whichisaglissandoonstrings,followedbyanattackwithafingerpickthat
verticallystrumsthestring,creatinglessimpactbutmoreresonance.
73
Theendingfigurationdiffersbetweentheoriginalandthetranscription.
Presumably,Matsudairasimplifiedthispassagetosuitthescarcetextureofthesolo
transcription.ThisfigurationimitatestheendingoftheoriginalGagaku
performanceinwhichthewindandpercussioninstrumentsdropoutconsecutively
andstringinstrumentsendtheperformancewithpointillisticstrumming.
74
ChapterV
Performancesuggestions
Dynamics
Inmanyofhisearlierpianopieces,Matsudairaleftdetaileddynamic
indication;however,hegraduallyabandonedtheminlaterperiods.Forexample,the
suiteSouvenirsd’enfance(1928-29)hasmeticulousdynamicindicationswiththe
exceptionofafewpieces;incontrast,SonatinepourPiano(1947)hasonlyafew
dynamicindicationsatthebeginningandendofthefirstmovement,lackingentirely
inthelattertwomovements.Inthepianosuite,LeBeauJapon(1969)andÉtudes
pourPianod’aprèsModesJaponais(1970?),suchdynamicindicationsarenon-
existent.
InthesolotranscriptionofThemeandVariations,Matsudairaincludesonlya
fewdynamicindications:
mfatm.1patm.76sfffatm.134sffatm.170ffatm.194ffatm.249sffatm.253
Someofthedynamicindicationsthatappearinthetwo-pianoreductionare
absentinthesolotranscription;thusitmaybehelpfultoconsidertheminaddition.
Thefollowingdynamicindicationsappearonlyinthereduction:
75
pbelowthestaffatm.10patm.33fatm.80forthemelody(thisisreplacedbyaccentsinthesolotranscription)ffatm.88fatm.92fortheorchestrapartfatm.100ffatm.106and<>inthefollowing5measuresfatm.122patpickuptom.155ffatm.154fatm.172fortheorchestra,aswellas173fatm.178fatm.186fatm.205pwithmoltoseccoatm.212fpatm.217-224inorchestrasffimmediatelyfollowedbymfforpianopartandppfororchestrapartatm.253pppatthefinalmeasure.
Theseindicationsmaybeaddedtothetranscription,yettheyarebyno
meanssufficient.Performersmustsupplementtheirowninterpretationwith
considerationtotheoverallscheme,particularlyattheclimaxinmm.251-253,as
wellastheexpressivequalityofeachvariationinaccordancewiththetheir
structures.
Tempo
TherearetwoexistingrecordingsofThemeandVariations.Matsudaira
mentionedthatthereisonlyonerighttempoforapieceofmusic,whichshould
76
revealitselfthroughtheperformance.108ItisunclearwhetherthiswasMatsudaira’s
beliefatthisstage;however,twoexistingrecordingsshowdifferenttempi;
Tempiofeachsectionstakenbytworecordings109 Cond.KazuoYamada
Pf.YoshieTakayoshi
Cond.KenTakasekiPf.IchiroNodaira
Theme♩=63 ♩= 48~50 ♩= 44~48Var.I♩=72 ♩= 48~52 ♩= 50~54Var.II,Allegro ♩= 66~69 (slower coda) ♩=62-64Var.III,Allegro ♩= 150~152 ♩=138~142Var.IV,Lento ♩=50~52 ♩=56~58 ♩=40~44 ♩=48~50Var.V,Allegro ♩= 120~126 ♩= 94~98Var.VI,Allegro ♩= 120~126 ♩= 100-104ReturnofTheme ♩= 42~46 ♩= 44~50
Eachrecordinghasvalidityinitschoiceoftempi;YoshieTakayoshigavethe
Japanesepremierein1952;henceitisseemslikelythatMatsudairaworkedclosely
withher.IchiroNodairahadacloserelationshipwithMatsudairaandNara,
recordingMatsudaira’svocalworkswithher.Healsoplannedtorecordthebulkof
Matsudaira’swork,andwasentrustedwithmanyofMatsudaira’smanuscript
scores.Thus,bothrecordingscanbeconsideredtoreflectMatsudaira’sdirect
intentionforthepiece.
Incomparingthesetworecordings,anumberofpointsemerge.Firstly,both
recordingsneglectthetempomarkingsofthetheme♩=63andthefirstvariation♩
=72.However,bothagreemoreorlessonthetempoofthetheme,whichis
significantlyslowerthanMatsudaira’sindication.TakayoshiandNodaira’stempois
108Matsudaira,Yoritsune,“RitsueTanakaPianoRecital,”OngakuGeijutsu7(1950):127.109MetronomenumbersaretakenfromtheAandA’ofeachvariation.Theseareroundedupassomeofthemfluctuatesubstantiallyintempo.
77
closertothatoftheoriginalGagakuorchestraperformanceofEtenraku,whichthey
prioritizedoverMatsudaira’sindication.Inbothrecordings,thetempoofthetheme
extendstothefirstvariation,whichisagainmuchslowerthanthemetronome
marking.Secondly,thetempiofvariationsVandVIaredistinctivelydifferentfrom
oneanotherbetweenthetworecordings,yettheybothretaintheirtempointo
variationVI.ThetempioftheotherAllegromovementsaretakenfreely,thusthis
tempochoicemayreflectMatsudaira’sview—thatthroughvariationsVandVIthe
temposhouldbemaintained.
Pedaling
Matsudairadidnotleaveanypedalindications.ItisprobablethatMatsudaira
expectedperformerstohavetheabilityandexperiencetoexecutetheappropriate
pedalingatanygivenpointinthepiece.Similarly,unacordashouldbeapplied
whereappropriate.Throughoutthetheme,thebiwabasslinefeaturesF#’sandB’s
sustainedinmostmeasures;thus,theymaybeheldbythesostenutopedalatthe
beginningbeforetheperformanceinordertogainmorecontroloftheresonancesof
theuppervoicesindependentfromtheBiwabass.InVariationIII,toachievethe
appropriatepolytonalandmodalsonority,anampleamountofthedamperpedalis
needed,whilemaintainingtheclarityofrapidrunsintheupperregister.
RollingofChords
AsoneofthetechniquesfavoredbyMatsudaira,widelyspacedchordsthat
rangeoveranoctaveappearfrequently.Mostofthemcanberolledwhenthe
performer’shandsareincapableofsuchastretch;thecomposerseemedtoassume
theseadjustments,assomeofthemareanatomicallyimpossible.Thatbeingsaid,
78
thereistheexceptionoftheShochordsinthetheme—thesechords,locatedonthe
topstaves,aswecanseeinexample7-2above,shouldnotbearpeggiated.The
iconicsoundofthesho,particularlyintheGagakuperformancetradition,isa
combinationofthe“accumulationofuncompromisedperfectfifth’sanda‘lackof
tonguing.’”Undoubtedly,itisalreadyimpossibletorecreatesuchsonoritiesonan
equal-temperedpiano,butthearpeggiationofthesechordswouldcertainlycause
thethemetobetoofarremovedfromthesoundofsho.
Rubato
AlthoughEtenrakuintheGagakuorchestrasettinghasnorubatoanalogous
towhatWesternclassicalmusiciansuseforthepurposeofexpressivity,thereisa
subtleyetgreatlibertybetweeneachpulse,sometimessostretchedthatitis
impossibleforalistenertoperceiveasteadytempo.Asiftoreflectthisdurational
inflection,slowervariationssuchasIandIVconsistofornamentsinsuchawaythat
somerubatoisunavoidable,whilefastervariationssuchasII,III,andVIconsistof
perpetualmotionswherelibertyintempoislimited.ParticularlyinVariationVI,the
indicationofmeccanicoimpliestempogiusto.
79
Conclusion
AlthoughThèmeetVariationspourpianod’après“Etenraku”wasyettoreach
thelevelofsophisticationthatMatsudaira’smorematurecompositionsachieved,it
showcasestheinclinationtowardssuchastage.Hismeticulousresearchinto
GagakuenabledhimtosuccessfullyestablishabranchofJapanesenationalism
withinwesternclassicalmusic’sinternationalstandard,arguablyforthefirsttime
ever.Thetranscriptionforsolopianomanagestopreservessuchcharacteristics
whilemaintainingthebrillianteffectsofaconcertosetting.
Thedensityofnotesinthistranscriptionpresentsaformidablechallengefor
theperformer.Thetechniquesutilizedheretoaccommodateallofitsvoicesare
someofthemostdemandingrealizedonpiano;however,itssonorityisunlike
anythingelse,particularlyinthetheme,wherehemasterfullyrecreatesGagaku’s
serenity.Despitethetechnicaldifficulty,Ibelieveitscontentisworthytobecome
thepartofstandardrepertoire,tobeperformedasthemainpartofarecital
program.
InrecentyearsmanyofMatsudaira’sworkshavefallenoutofprint,andasa
resultrecordingsarerarelymade.Itismyhumblewishthatmyrecordingwillshed
lightonhisworksandencouragemoreperformancesandpublicationofhis
compositions.
80
Appendix
PossibleErrorsintheScore
ThischapteraddressesthepossibleerrorsonthescoreofThèmeet
Variationspourpianod’après“Etenraku”publishedbyZEN-ONMusicCo.,Ltd.Ihave
includedobviousmisprints,whatcanbeconsiderederrorsincomparisontothe
two-pianoversion,andpossibledeliberatedifferencesinthetwo-pianoversiondue
tothetranscriptionprocess.Itshouldbestatedthatnoteverythinglistedhereis
strictlyanerror;manyitemsshouldbetakenassuggestions.Isuppliedmy
interpretationinfootnotes.Dynamicsarenotlistedhere,astheyhavealreadybeen
discussed.
• m.26:thebassclefonthethirdstaffshouldbeatrebleclef,asA#doesnotbelongintheharmony.
• m.36-37:Timesignaturesaremissing.Itis6/4atm.36and4/4atm.
37.
• m.39:topstaff:thelastB6ofthegracenotesistiedtothenextoctaveofB6intheoriginal.111
• m.40:topstaff:lowervoicehasanA5atthesecondhalfofthelast
beat,whichisabsentinthesolopianoversion.112
• m.42:topstaff:thelastD6ofthegracenotesistiedtothenextoctaveofD6intheoriginal.
• m.45:bottomstaff:TheoriginalpianopartconsistsofG#2andD3at
firstbeatwhichareabsentinthetranscription.
111IhaveselectedtoperformwiththeB6untied,thusrepeatedinbeattwoformypreferenceofmorebrillianteffectinthismeasure.112AsMatsudairaleftthefirstninemeasuresofthisvariationunalteredbetweenoriginalandsoloversion,IhavetreatedthelackofA5asamisprint.ThepresenceofA5alsocontributestotheflowandcontinuityasawhole.
81
• m.45:bottomstaff:secondbeat—theoriginalhasG#3-B3insteadof
G#3-A3.113
• m.54:topstaff:lastbeat—thepatternisbrokenwiththeabsenceofE5,butthispatterncontinuesintheoriginal.114
• m.64:topstaff:lastbeat—themelodylineoftheoriginalisD6-D�6insteadofC#6-D6
• m.68:middlestaff:thesecondAmajorchordshouldbetiedasitisin
repriseofthesectionatm.80,beattwo.
• m.80:alongwiththereturnoftheAsectionofthevariation,itshouldbeindicatedTempoI.
• m.93:upperstaff:lasttwoaccentednotes—hisstemmingsuggestsC4
andD4aretheprominentvoice,howeveritisD4andE4thatindeedfollowthetonerow.
• m.115:sameasm.93,thus,accentsaboveC5andD5mayalsobea
misplacement.
• m.140:topstaff:firsttwo8thbeats—thetopvoiceE5-F5areE5-F#5intheoriginal,andmostlikelyamisprint.
• m.150:upperstaff:thelast8thbeat—theoctaveB4octaveshouldbe
16thnotesinsteadof32nd.
• m.220:topstaff:firstbeat—E#6isamisprint.ItshouldbeC#6asitisintheoriginal.
• m.253:middlestaff:lastbeat—G4shouldbenatural,asitisinthe
original.
• m.254:bottomstaff:3rdbeat—D3isindicatedhere,however,thetwopianoversionaswellastheinitialthemeinsoloversionhasF#3.
113ThesepointssuggestthatMatsudairareworkedmeasure45considerablycomparedtotheprecedingmeasuresofthevariation;thusIprioritizedthesoloversioninmyrecording.114WhileitispossiblethatthelackofE5isareflectionofamotiforamelodylineplayedbytheorchestrathatisabsentinthetwo-pianoversion,itismoresensiblebothmusicallyandtechnicallytocontinuethepatternwiththeinclusionofE5.
82
Bibliography
Akiyama,Kuniharu.ComposersfromShowaperiod;WWIIandMusic.EditedbyRinShukuki.Tokyo:Misuzushobo,2003.
Akiyama,Kuniharu.JapaneseComposersToday,Vol.1.Tokyo:OngakunoTomoPublication,1979.
Garfias,Robert,andLincolnKirstein.Gagaku:TheMusicandDancesoftheJapaneseImperialHousehold.NewYork:TheatreArtsBooks,1959.
Garfias,Robert.“GradualModificationsoftheGagakuTradition.”Ethnomusicology4No.1(1960):16-19.
Harich-Schneider,Eta.“ThePresentConditionofJapaneseCourtMusic.”TheMusicalQuarterly39,No.1(1953):49-74.
Hattori,Kiko.“AStudyandSource-CriticsofthePianoWorksbyJapaneseComposersinTcherepninCollection.”PhDdiss.KunitachiCollegeofMusic,2014
Heifetz,Robin.“East-WestSynthesisinJapaneseComposition:1950-1970.”TheJournalofMusicology3,No.4(Autumn,1984):443-455.
Herd,JudithAnn.“TheNeonationalistMovemeny:OriginsofJapaneseContemporaryMusic”PerspectivesofNewMusic27,No.2(Summer,1989):118-163.
Hopkins,Charles.“Godowsky,Leopord”inGroveMusicOnline,ed.DeaneRoot.accessedSeptember15,2015.http://www.oxfordmusiconline.com.ezproxy.library.wisc.edu/subscriber/page/gmo/boards
Hosokawa,Shuhei.JapaneseComposers;ABiographicDictionary.EditedbyKatayamaMorihide.Tokyo:NishigaiAssociatesInc.,2008.
Hiyama,Humikazu.BugakuKaisetsu.Tokyo:GagakuKokyukai,1932.
Ikemoto,Takeshi,comp.AnthologyofJapaneseSongs.Vol.4.Tokyo:Zen-onMusicCo.,1991.
Ishitsuka,Junichi.“LeBeaupourPiano.”lastmodifiedOctober17,2010,http://ooipiano.exblog.jp/15304150/.AccessedSeptember2016.
83
Ishitsuka,Junichi.“MatsudairaYoritsuneandTotalSerialism.”lastmodifiedMay1,2014,https://note.mu/jishizuka/n/n4300bf2d1abf.AccessedSeptember2016.
Ishitsuka,Junichi.“SouveniorfromMatsudaira.”lastmodifiedOctober13,2010,http://ooipiano.exblog.jp/15280570/.AccessedSeptember2016.
Kurosawa,Tsutomu.TakedaChuichiro:BridgeofWesternandEasternMusic.Tokyo:ShinzanshaPublisherCo.,1996.
Matsudaira,Yoritsune.“28thWorldMusicFestival.”OngakuGeijutsu10(1954):50-59.
Matsudaira,Yoritsune.“ANoteregardingthePianoTrio.”OngakuGeijutsu4(1949):39.
Matsudaira,Yoritsune.“AbouttheFeelingstoMusic.”OngakunoTomo1(1957):92-94.
Matsudaira,Yoritsune.“AlexanderTansman.”OngakuGeijutsu5(1950):6-22.
Matsudaira,Yoritsune.“AnswerfromShin-SakkyokuhatoKazuyukiToyama.”OngakuGeijutsu11(1950):117-120.
Matsudaira,Yoritsune.“CamilleSaint-Saens’LifeandWorks.”OngakuGeijutsu5(1951):8-13.
Matsudaira,Yoritsune.“CenteringAroundtheWorks.”OngakuGeijutsu7(1948):40-41.
Matsudaira,Yoritsune.“ChijinkaiFirstRecital.”OngakuGeijutsu7(1949):43-46.
Matsudaira,Yoritsune.“EstheticsofContemporaryMusic.”OngakunoTomo6(1954):71-78.
Matsudaira,Yoritsune.“FormationofMatsudairaYoritsune’sPersonalityandMusic.”OngakuGeijutsu7(1954):8-19.
Matsudaira,Yoritsune.“FrancisPoulenc.”OngakuGeijutsu12(1949):44-47.
Matsudaira,Yoritsune.“HowtolistentoJapaneseWorks.”OngakunoTomo10(1952):30-33.
Matsudaira,Yoritsune.“JapaneseandAmericanContemporaryMusicFestival.”OngakuGeijutsu8(1948):58-60.
Matsudaira,Yoritsune.“Jolivet’sPianoConcerto.”OngakuGeijutsu1(1954):65-69.
84
Matsudaira,Yoritsune.“Me:SurroundingsofaComposer.”OngakunoTomo5(1956):81-83.
Matsudaira,Yoritsune.“MemoryofPremiere:LettertoComposers.”OngakunoTomo3(1960):117.
Matsudaira,Yoritsune.“ModernForum.”OngakuGeijutsu6(1953):160-164.
Matsudaira,Yoritsune.“ModernMusicEsthetics.”OngakunoTomo5(1955):81.
Matsudaira,Yoritsune.“ModernizationofGagaku.”OngakuGeijutsu11(1952):60-66.
Matsudaira,Yoritsune.“MusicofDebussy.”OngakunoTomo5(1950):18-23.
Matsudaira,Yoritsune.“MusicalWorldofJapan.”OngakunoTomo9(1959):128-139.
Matsudaira,Yoritsune.“MyPovertyStory.”OngakuGeijutsu4(1950):50-54.
Matsudaira,Yoritsune.“MyProblem.”OngakuGeijutsu11(1949):26-29.
Matsudaira,Yoritsune.“MyTeenageMusic.”OngakunoTomo6(1956):125-127.
YoritsuneMatsudaira.NanbuMinyou-shu.Tokyo:Zen-onMusicCo.,1987.
Matsudaira,Yoritsune.“OlivierMessiaen’sTurangalilaSymphony.”OngakuGeijutsu7(1954):26-33.
Matsudaira,Yoritsune.“RecitalMonthlyTable”OngakuGeijutsu.2(1953):103-
Matsudaira,Yoritsune.“RitsueTanakaPianoRecital.”OngakuGeijutsu7(1950):126-128.
Matsudaira,Yoritsune.“Shin-Sakkoykuha’sDirection.”OngakuGeijutsu9(1950):26-42.
Matsudaira,Yoritsune.“SpringMusicDiscussion.”OngakunoTomo1(1955):132-141.
Matsudaira,Yoritsune.“StudyofModernHarmony3.”OngakuGeijutsu12(1952):32-40.
Matsudaira,Yoritsune.“StudyofModernharmony4.”OngakuGeijutsu1(1953):31-40.
Matsudaira,Yoritsune.“StudyofModernHarmony.”OngakuGeijutsu10(1952):78-87.
85
Matsudaira,Yoritsune.“ThemeandVariationforPianoandOrchestra.”OngakuGeijutsu3(1953):96-100.
Matsudaira,Yoritsune.“TrioPrometheusFirstRecital.”OngakuGeijutsu6(1950):129-131.
Matsudaira,Yoritsune.“UnderstandingNewCompositionsandTheirIntentions.”OngakunoTomo2(1954):46-49.
Matsudaira,Yoritsune.“WorkofShin-SakkyokuhaKyoukaiafterWWII.”OngakuGeijutsu4(1953):8-11.
Matsudaira,Yoritsune.EtudesPourPianoD’apresModesJaponais.Tokyo:Zen-onMusicCo.,1970.
Matsudaira,Yoritsune.Koromoui-Uta:DodiciBerseusesperPianoforteNelloStileDelleCanzoniPopolariGiapponesiperBambini.Milano:EdizioniSuviniZerboni,1972.
Matsudaira,Yoritsune.Nétori[Prélude];ModeBanshikiThémeetVariationspourPianod’aprés“Etenraku”.Tokyo:Zen-onMusicCo.,1991.
Matsudaira,Yoritsune.ŒuvrespourPiano.Tokyo:Zen-onMusicCo.,1991.
Matsudaira,Yoritsune.PianoSuite“LeBeauJapon.”Tokyo:Zen-onMusicCo.,1970.
Matsudaira,Yoritsune.PrefacetoDebussy:DouzeÉtudesPourLePiano,6-31.Tokyo:Zen-onMusicCo.,1972.
Matsudaira,Yoritsune.PrefacetoDebussy:Images1eret2emeLivers,4-20.Tokyo:Zen-onMusicCo.,1959.
Matsudaira,Yoritsune.PrefacetoDebussy:LisleJoyeuse,5-14.Tokyo:Zen-onMusicCo.,1973.
Matsudaira,Yoritsune.PrefacetoDebussy:Preludes1erLivre,5-31.Tokyo:Zen-onMusicCo.,1959.
Matsudaira,Yoritsune.PrefacetoDebussy:Preludes2émeLivre,5-31.Tokyo:Zen-onMusicCo.,1968.
Matsudaira,Yoritsune.Somakushaperflautosolo.Milano:EdizioniSuviniZerboni,1962.
Matsudaira,Yoritsune.SonatineforFluteandPiano.Tokyo:SonicArts,Inc.,1986.
Matsudaira,Yoritsune.SonatinepourPiano.Tokyo:Zen-onMusicCo.,1973.
86
Matsudaira,Yoritsune.ThmaeVariazioniperPianoforteeOrchestra.Milano:EdizioniSuviniZerboni.1960.
Matsudaira,Yoritsune.ToccataChromatico.Tokyo:Zen-onMusicCo.,1993.
Mitani,Yoko.“ChineseMusicandInstruments.”inTheOriginofJapaneseMusicandEntertainment.EditedbyTomoakiFujii.Tokyo:NihonHousouShuppanKyoukai,1985.
Miyazaki,Toshiki.“KoukiNisenRoppyakunennTaihouGeinousainiKansuruIchikousatsu.”DevelopmentofResearchandStudyMethodologiesinTheatreatWasedaUniversity1(2003):145-157.https://dspace.wul.waseda.ac.jp/dspace/bitstream/2065/26748/1/033.pdf.AccessedSeptember2016
Nuss,Steven.“WesternInstruments,JapaneseMusic:IssuesofTextureandHarmonyinMinoruMiki’sJonokyoku”TheoryandPracticeVol.21(1996):167-187.
Ono,Kaoru.KonoeHidemaro:TheManWhoMadeJapaneseOrchestra.Tokyo:Kodansha,2006.
Orikuchi,Shinobu.NihonGeinoushiRokkou.Tokyo:Koudansha,1991.
Otto,StevenW.TheStructuralInfluenceofEtenrakuontheEmergenceofJapaneseTokoMusic.PhDdiss.,WesleyanUniversity,1968.
Quinn,John.“Matsudaira:BugakuDanceSuite;theme&Variations.”AmericanRecordGuide(September2015),accessed5/8/15http://www.naxos.com/SharedFiles/Reviews/AMERICANRECORDGUIDE_SEPT-OCT05_8.555882_EN.pdf.
Sano,Hitomi.“ToruTakemitsuandPre-warComposersofEthnicSchool:YasujiKiyose,HumioHayasakaandAwarenessofJapanism.”InHyogenBunkaKenkyu10(March2011):171-183.http://www.lib.kobe-u.ac.jp/handle_kernel/81002917.AccessedSeptember2016.
Sano,Hitomi.LesJaponaisEnchantésparDebussy;LaMusiqueimpressionnisteFrançaiseetleJaponàl’époqueModerne.Kyoto:Showado,2010.
Shimizu,Osamu.“ThemeandVariationbyMatsudairaYoritsune.”OngakuGeijutsu2(1953):108-110.
Shina,Ryosuke.“DilemmaofModernism:InCaseofMATSUDAIRAYoritsune.”KyotoConferenceofJapaneseStudiesVol.3(1994):228-232.
Shiraishi, Asako.“CulturalExchangebetweenJapanandFranchby Henri Gil-Marchex
87
2010.”PhDdiss.,AichiPrefecturalUniversityofFineArtsandMusic,2010.
Takemitsu,Toru.“ContemporaryMusicinJapan”PerspectiveofNewMusicNo.2(1989):190-204.
Takeuchi,Nao.“MusicalityofHAYASAKAHumio:OntheBirthofPan-Asianism”NihonOngakuKenkyuVol.12(2015)1-12.
Tcherepnin, Alexander. “To Young Composers in Japan” Ongaku Shincho vol.8 (1936). http://www.c.kumagaku.ac.jp/blogs/ohta/チェレプニンと日本の作曲家.pdf accessed September 2016.
Togi,Masataro.Gagaku:CourtMusicandDance.TranslatedbyDanKenny.NewYork:Walker/Weatherhill,1971.
Tomigashi,Yasushi.“ModernJapaneseComposers:MatsudairaYoritsune.”OngakuGeijutsuNo.11(1951):104-108.
Watanabe,Shuko.“JapaneseMusic:AnEast-WestSynthesis”AmericanMusicTeacherNo.2(1991):24-29.
Wuellner,Guy.“AChineseMikrokosmos”CollegeMusicSymposiumVol.25(1985):130-143.
Discography
KunaichoShikibuShokugakubu.TraditionalSoundinJapan:EtenrakuinThreeDifferentModesperformedbytheMusicDepartmentoftheImperialHousehold.Recordedin1984,ColumbiaMusicEntertainment,COCQ-84222,2006,compactdisc.
MatsudairaYoritsune.YoritsuneMatsudaira:VariationsforthePianoandOrchestra:TheSaibaraMetamorphosis,performedbyYoshieTakayoshi,EmikoKubota,andTokyoSymphonyOrchestraconductedbyKazuoYamada.recordedinApril23,1997,ToshibaEMI,TOCE-9436,1997,compactdisc.
Matsudaira,Yoritsune.Echosd’amourlointainsOeuvresvocalsdeYoritsuneMatsudaiaIII,performedbyYumiNara,Pierre-YvesArtaud,TenJinchi,andChinitatiUeno.recordedinMarch7,2013,ALMRecords,ALCD-94,2013,compactdisc.
Matsudaira,Yoritsune.HommageàYumiNaraOeuvrevocalsdeYoritsunéMatsudaïra,performedbyYumiNara,IchiroNodaira,MayumiMiyata,
88
HiroshiKoizumi,andChiekoFukunaga.RecordedinJune25,1992,ALMRecords,ALCD-39,1992,compactdisc.
Matsudaira,Yoritsune.MatsudairaYoritsuneSakuhinshu:WorksbyYoritsuneMatsudaira,performedbyIchiroNohira,KenTakaseki,TokyoPhilharmonicOrchestra,BrunoMaderna,andNetherlandsRadioChamberOrchestra.RecordedSeptember25,1998.Fontec,1998,FOCD2542,compactdisc.
Matsudaira,Yoritsune.ŒuvresvocalsdeYoritsuneMatsudairaII,performedbyYumiNara,IchiroNodaira,andShigeruIkushima.RecordedinMay30,1999.ALMrecord,ALCD-48,1999,compactdisc.
Matsudaira,Yoritsune.YoritsunéMatsudaïraSelectedPianoWorks,performedbyNodairaIchiro.recordedinJanuary7,2014.ALMRecords,ALCD-89,2014,compactdisc.
Top Related