Toshiro Mayuzumi Vídeos
compositor japonés
- ópera, sinfonía
- Japón
- compositor, coreógrafo, director de orquesta, musicólogo, profesor de música, compositor de bandas sonoras
Última actualización
2024-04-27
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Toshiro Mayuzumi Cobra Koizumi Ryo Noda Yamaguchi Mori Bentzon Nadia Boulanger Roman Palester Ikenouchi Messiaen Jolivet Ifukube Stravinsky Ravel Sadao Bekku 1929 1950 1951 1987 1997 2017
Toshiro Mayuzmi [黛敏郎] (1929~1997, Japan) スフェノグラム [楔形文字] Sphénogrammes 00:00 I. Prologue 04:50 II. Chanson javanaise 09:21 III. Slendoro 13:20 IV. Be-bap du cobra enchanté 18:49 V. Liturgie hindoue text: II. Chanson javanaise hmat ka mo pra ku i Pra ma mi-yo-da-ki a-to-ba-ya-wa pra po to--o en-wa-puto hwan to mi----i an-be-sa--Wa Sa pel mo---o hwan-gaon doken-om-mi so- i-m Pra ma mmi ro / da a-ki a to ba ga-wa pra po to en wa-lu to hwan to mi i---i an-be-sa--Wa Sa pel mo---o hwan-ga--an doken-om mi-so--- hma wa - to ka mo pra / ku i-m pra ma mi ro / da a ki a to ba ya- -wa pra po to em wa-lu to hwan to mi i----i an be sa -a / wa sa pe-i mo hwan ga / an do o om mi-so--- IV. Be-bap du cobra enchanté e-i-au-i-awe-i a-u-wa t-u-i a-pa-pa tu-i-yo i-a u-i-a wo-i a-u-wa e-i-au-i-awe-i a-u-wa t-u-i a-pa-pa tu-i-yo i-a u-i-a wo-i a-u-wa e-i-au-i-awe-i a-u-wa t-u-i a-pa-pa tu-i-yo i-a u-i-a wo-i a-u-wa Pyu wi chu i-a-u-wa -u-i-a i o-i-a ui ya -e-j-a putu-pi i-pi ya boti- yeji yeni-- yeji-pua-ta bo wi-ea-i o-e-a se mye i pyu-wi chu-i-a-u wa u-i-a- e-i-au-i-awe-i a-u-wa t-u-i a-pa-pa tu-i-yo i-a u-i-a wo-i a-u-wa e-i-a u-i a wo-i-a u-wa tu-ia-pa-pa-ta-i-yo i-a u-i-a wo-i a-u-wa V. Liturgie hindoue un ga ya-mi jaja le-gi vp se un ga ya-umi-re unga ya mi-re yu di au kla ku-a-ntusu te wa-kn-da-ki-yo -i i / i a-----a-----a-----ya un ga ya-mi ja ya le-gi vo re un ga ya-mi-re-e un ga ya-mi ja ya le-gi vo re un ga ya-mi-re-e yu di au kla ku-a-ntu ru te ma-ku da ki yo-i i -a-----------ya---------- un ga ya-mi ja ya le-gi vo re un ga ya-mi-re-e un ga ya-mi ja ya le-gi vo re un ga ya-mi-re-e un ga ya-mi ja ya le-gi vo re un ga ya-mi-re-e Emi Nishina, vocal Hiroshi Koizumi, flute Ryo Noda, saxophone Yasunori Yamaguchi, marimba Kishiko Suzumi, violin Hakuro Mori, cello Kayako Matsunaga, piano Reiko Ebisuta, piano Toshiro Mayuzumi, conducting Recorded: 1987 (Live) at Dai-ichi Seimei Hall (former) From NHK FM "Kurasikku No Meikyu (Labyrinth of Classical Music)" "Sphénogrammes" (Completed in Yokohama in 1950) was selected for the 25th ISCM International Festival of Contemporary Music (Frankfurt, 1951), and was the work that brought Toshiro Mayuzumi's name worldwide recognition. The jury at that time consisted of Johan Bentzon, Nadia Boulanger, Roman Palester, Alan Rawshorne and Hans Heinz Stuckenschmidt. The previous year, his graduation work, "Divertissment pour 10 instruments," was also submitted to ISCM with the recommendation of Tomojiro Ikenouchi, but it was not selected, so this was his second attempt. In contrast to "Divertissment," which was in a sense sophisticated, stylish, and un-Japanese, "Sphénogrammes" strongly expressed his assertion as an Asian composer, and his primitive energy and orientation toward ritual, which were close to Messiaen and Jolivet, the most advanced composers of the time, were also highly evaluated. For Mayuzumi, this was a work from the period when he met Ifukube and expanded his musical orientation toward Asia. While Ifukube's music was based on the northern regions of Japan, Mayuzumi's music was a longing for the south, a fusion of gamelan, kecak, Southeast Asian-derived materials and folk songs, as well as jazz, contemporary music, Stravinsky, Ravel, and other composers. This exquisite balancing act of "remixing" can be heard in his subsequent creations. Sadao Bekku wrote in his obituary for Mayuzumi, "He was a sensuous composer," and Mayuzumi's keen musical sense led him to jazz, electronic music, and temple bells. In this way, he was always in search of his own ideal sound. by Koichi Nishi from 3SCD-0031 "Solo Exhibition of Toshiro Mayuzumi: The Road to Nirvana Symphony" booklet [...] Now I would like you to listen to the "Sphénogrammes," from 1950. This piece was written for soprano solo voice, flute, saxophone, marimba, violin, cello, and four-handed piano. The entire work is in five movements. Let us now listen to a live recording of this work, conducted by Toshiro Mayuzumi himself at the "Spring Contemporary Music Exhibition" organized by the Japan Contemporary Music Society in 1987... ... As you can hear from the sound of the applause, the number of audience members was unfortunately very small. Despite the fact that it was a long time since the "Sphénogrammes" was performed again, the venue was a rattling place with only 3-40 or 4-50 people. The piece was played at the very end of the program, however, Mr. Mayuzumi was conducting very happily, and the ensemble, as you have just heard, was very groovy, and especially the vocalist, Emi Nishina, is a member of the "Geinoh Yamashirogumi," so she was able to handle the Asian ethnic vocals very well and fit the piece perfectly. After the performance, Mr. Mayuzumi looked so happy that he shook hands with her and hugged her... I was listening to the music while recalling those pleasant memories. by Morihide Katayama, commentary in NHK FM "Kurasikku No Meikyu," broadcast on April 29, 2017
Toshiro Mayuzumi Onishi Saito Haydn Berlin Philharmonic 1929 1946 1997 2012 2014
Toshiro Mayuzumi [黛敏郎] (1929~1997, Japan) フルート、ピアノ、弦楽のためのセレナード・ファンタスティック Sérénade fantastique pour flûte, piano et cordes 00:00 1. Introduction et romance 序奏とロマンス 09:59 2. Intermezzo et danse (unfinished) 間奏曲とダンス(未完) Nobuhito Onishi, flute Central Aichi Symphony Orchestra Ichiro Saito, conducting Recorded: November 2, 2012 (Live) at SHIRAKAWA Hall, Aichi pref. Mayuzumi is known for Japan's first electronic music, Maurice Béjart's ballet music, the opera "Kinkakuji" based on Yukio Mishima's novel, and the "Nirvana Symphony," which was also performed by the Berlin Philharmonic. However, the "Sérénade fantastique," a flute concerto, is composed long before those works, in the summer when he was 17 years old. The overflowing young talent, the tremendous multi-tonal sound, the sudden appearance of Haydn's serenade quotations, etc... These were all too much of a departure from the international musical context of the time. Perhaps because of this, the work was not understood by those around him, and it was not completed until the middle of the second movement. by Koichi Nishi from 3SCD-0013 "Japanese Orchestral Works 100th Anniversary Live!" booklet *The first performance on November 2, 2012 by the Central Aichi Symphony Orchestra, conducted by Ichiro Saito, with Nobuto Onishi playing flute solo (this recording, included in 3SCD-0013 "Japanese Orchestral Works 100th Anniversary Live!") Afterwards, errors in the score were found and the work was revised and performed again on September 13, 2014 by the Orchestra Triptyque, conducted by Hiroyuki Mito, with Rie Mukai playing flute solo, and the performance is included in 3SCD-0019 "Japanese Great Masters through the String Orchestra." 黛と言えば、日本初の電子音楽、ベジャールのバレエ音楽、三島由紀夫原作のオペラ《金閣寺》、ベルリン・フィルでも演奏された《涅槃交響曲》等が知られる。この作品はそれらよりずっと昔、黛敏郎が17歳の夏に作曲したフルート協奏曲である。溢れんばかりの若き才能、多調性の凄まじいサウンドや突如現れるハイドンのセレナーデ引用等、当時の国際的な音楽状況からしても、あまりに逸脱した音楽である。ゆえに周囲の理解を得られなかったのか、第2楽章の途中で未完のまま終わっている。 (西耕一、3SCD-0013『日本の管弦楽曲100周年ライヴ!』解説書より) ※2012年11月2日、大西宣人フルート独奏、斉藤一郎指揮セントラル愛知交響楽団により初演(本音源、3SCD-0013『日本の管弦楽曲100周年ライヴ!』収録)。その後譜面のミスなどが見つかり、再校訂され、2014年9月13日に、向井理絵フルート独奏、水戸博之指揮オーケストラ・トリプティークによって再演された。その模様は、3SCD-0019『絃楽オーケストラで聴く日本の巨匠たち』に収録されている。
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- cronología: Compositores (Asia). Directores de orquesta (Asia). Intérpretes (Asia).
- Índices (por orden alfabético): M...