Sei Ikeno Vídeos
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2024-05-08
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Ikeno Ravel Maki Ishii Shigenobu Yamaoka Tokyo Philharmonic Orchestra 1931 1983 2004
Sei Ikeno (1931~2004, Japan) 池野成: ラプソディア・コンチェルタンテ Tsuneo Iso, violin Tokyo Philharmonic Orchestra Shigenobu Yamaoka, conducting Broadcasted: October 23, 1983 This work for solo violin and orchestra like concerto was composed from asian tone materials I have studied and nurtured until now. In other words, these are roots of tone, which it was made a beginning by fragments of melody system that was seen in Japanese ancient vocal music and Shomyo. My heart is filled by these roots of tone: Lamaism liturgy music in Tibet, sound of percussions group common to Asia and Africa, etc. Accumulating these music and adding free transformations, I tried to complete this work. However, the more I conscious the violin, materials inclined ethnically, so I completed the work which is more worthy of being called "Rapsodia Concertante" than initial title "Violin Concerto". by Sei Ikeno from commentary of NHK-FM "Contemporary Music" The obsession with percussion and brass instruments, the intensely released acoustic energy, the latent energy hidden inside, the clinging eroticism, and the folk rhythm that tries to reach the trance state make the characteristics of the work. The work is written in a single movement, but it has a binary form with practice numbers 49 to 51 as the boundary, and also has an introduction part by violin solo. The work begins with a solo violin. It tries to settle into an E tone, but gradually expands its pitch, and rises while repeating double-stopping of the 5th and major 6th. This pitch appears as the main motive in the second part, and the work ends with the motif of the solo violin, including double-stop of the 5th and 6th. The musical worlds of the first part and the second part are different, but there are multiple common motifs. The first part is divided into 6 parts. Of the three, the same theme is repeated. The second part has adopted the motif of the first part and takes the form of a rondo, and the rhythm has a very tricky composition. Although the musical world is completely different, I feel the composer's inspiration from the work of Ravel. I associate the part where the solo violin repeat the 5th and major 6th double-stop with the ensemble with a harp of Ravel's Zigane at the beginning, the composition of the first part with the 1st movement of Ravel's violin sonata, and the beginning of the first part with the 2nd movement of Ravel's violin sonata. Ikeno's works stand out in the history of Japanese violin concertos. by Hajime Okudaira from OVCL-00583 "Sei Ikeno: Rapsodia Concertante; Maki Ishii: Afro Concerto, Etc." booklet, partially omitted 独奏ヴァイオリンとオーケストラのために書かれたこの協奏的作品は、これまで研究し育んできたアジアの音素材により作曲されています。即ち、わが国の古い人声による音楽、声明などにみられる旋律形の断片にはじまり、作曲者の心に充たされた音のルーツ。チベットのラマ教の典礼音楽、アジア・アフリカに共通するような打楽器群の響きなど、それらを集積し、自由な変容を加えることによって、協奏曲の完成を試みました。 しかし、ヴァイオリンという楽器を意識すればするほど、民俗的な素材に傾いて、当初のヴァイオリン協奏曲というより「RAPSODIA CONCERTANTE」をもってタイトルとするに相応しい曲に仕上がりました。 (NHK-FM「現代の音楽」番組内の作曲者による作品解説) 打楽器と金管楽器群への執着、強烈に解き放たれる音響エネルギー、内に秘めた潜在的エネルギー、まとわりつくエロティシズム、トランス状態にまで達しようとする土俗的リズムなどが、作品の特徴を形作っている。 作品は単一楽章で書かれているが、練習番号49~51を境とした2部形式で、かつヴァイオリンの独奏による序奏部を持つ。冒頭はヴァイオリンの独奏で始まる。ミ音に落ち着こうとするが、徐々にその音程を拡大して、5度の重音と長6度の重音を繰返しながら上昇する。この音程は第二部で主要動機としてあらわれて、曲の最後も独奏ヴァイオリンの、5度と6度の重音を含む動機で終わる。第一部と第二部の音楽世界は異なるが、共通する動機が複数現れる。 第一部は6部に分かれる。内、3部は同一の主題が繰返される。第二部は、第一部の動機も採用しながらロンド的な形式をとっていて、リズムは非常にトリッキーな構成を持つ。 音楽の世界はまったく異なるが、ラヴェルの作品から得た作曲家のインスピレーションを感じる。独奏ヴァイオリンの5度と長6度の重音が繰返し演奏する部分に、ラヴェルのツィガーヌ冒頭のハープとの合せを、第一部の構成にラヴェルのヴァイオリン・ソナタの第一楽章を、第一部冒頭のオーケストラの入りの部分にラヴェルのヴァイオリン・ソナタの第二楽章を、それぞれ連想するのである。 池野作品は、日本のヴァイオリン協奏曲の歴史の中で異彩を放っている。 (奥平一、OVCL-00583「池野成:ラプソディア・コンチェルタンテ、石井眞木:アフロ・コンチェルト 他」解説書より、一部省略)
Score selections from Shinobi no Mono: Zoku Kirigakure Saizo (1964) AKA " Ninja 5" 1. Daiei Mark 0:00 2. Main Title 0:15 3. Foggy Night / Underwater Fight / Inferno 1:19 4. Ieyasu's Assassination 4:23 5. Victory in the Air / Ending 5:30 Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair.
A suite of cues from Botan-doro (1968) aka "The Bride from Hades" Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair.
Score selections from Zatoichi kenka-daiko (1968). Music by Sei Ikeno. 1. DB1 (Daiei Mark) 0:00 2. DB4 (Main Title) 0:15 3. Theme Song 4 ("Zatoichi's Lullabye") 1:20 4. DB12 (Ichi And Yasaburo Kashiwazaki) 3:16 5. DB14 (M-8) (Ichi And Osode) 4:07 6. DB18 (Ichi In Pursuit) 6:46 7. DB26 (Zatoichi And The Fighting Drums) 9:43 8. PS-Drum (The Drums Of Suwa Myojin Shrine) 11:32 9. DB27 (M15) (Exit In The Sunrise - Ending) 13:39 Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair.
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- cronología: Compositores (Asia).
- Índices (por orden alfabético): I...