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2024-04-28
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Oura Suzuki Poulenc Paul Dukas Keiko Suzuki Harry Datyner Puig Roget Roget Tokyo Kosei Wind Orchestra 1986 1988 1990 1992 1994 2001 2010 2020
Program: Les Jardins : Toshio Mashima Sonata pour clarinette et piano : F.Poulenc Program note: Program Les Jardin / Toshio Mashima 1. Le jardin du peintre 2. Le jardin crépusculaire 3. Le jardin du musicien Sonata for clarinet and piano / F. Poulenc 1. Allegro tristamente 2. Romania 3. Allegro con fuoco This charming music Les Jardin was commissioned by Ayako OURA to Toshio MASHIMA, a wonderful Japanese composer. Biography: Ayako OURA ( Clarinet ) Clarinetist of The Tokyo Kosei Wind Orchestra. She has studied at Musashino Academia Musicae and a postgraduate course of Tokyo University of the Arts, and Conservatoir Paul Dukas in Paris. 1986 Finalist, The 55th Music Competition of Japan. 1988 2nd prize, The 5th Japan Wind and Percussion Competition. 1990 Went abroad to France to study with Guy Deplus and Pascal Morages. 1992 Graduated from Conservatoir Paul Dukas in Paris with 1st prize. 1992 3rd prize, The 9th Japan Wind and Percussion Competition. 1994 Finalist, The 63th Music Competition of Japan. 2001-Playing with The Tokyo Kosei Wind Orchestra. 2010 Released a CD [Grand Duo Concertant]. She has had many recitals and played a concerto and a chamber music many times. She is also a professor of Senzoku Gakuen College of Music and a member of Quintette Amuse. Yukiko SUZUKI(piano) Part-time lecturer of Senzoku Gakuen college of Music. Member of Yokohama Music-Culture Association. Graduated from Tokyo university of the Arts. Also graduated from Conservatoir de Musique de Geneve, offered scholarship by the Rotary International, awarded with 1st place and George Filipinetti Award. Other Awards: 2nd place in Music Competition for students(East Japan), Diproma Award in Zenigalia,Porto,Cologne International Competition. Accompanist Award in 20th Players Competition. Studied piano with Keiko SUZUKI, the late Yasuko TANI, and the late Harry DATYNER, and chamber music with the late Henriett Puig- ROGET and G uy-Michel CAILLET.
Toshiro Mayuzumi Varèse Tokyo Symphony Orchestra Tokyo Kosei Wind Orchestra 1929 1954 1955 1997 1998
Toshiro Mayuzumi [黛敏郎] (1929~1997, Japan) トーンプレロマス55 Tonepleromas 55 Tokyo Kosei Wind Orchestra Hiroyuki Iwaki, conducting Recorded: September 14 & 15, 1998 "Tonepleromas 55," composed in 1955, was first performed in June 23, the same year by the Tokyo Symphony Orchestra under the baton of Mayuzumi at the 2nd concert of the "Group of 3 Composers" in the Hibiya Public Hall. In 1955, Mayuzumi was 26 years old and had just started the "Group of 3 Composers" with his contemporaries Ikuma Dan and Yasushi Akutagawa just two years earlier. He was also in the second year of his marriage to a film actress, Yoko Katsuragi, and the atmosphere around him was festive. The word "tonepleromas" in the title, coined by Varèse, means the method of grouping musical sounds into so-called "toneclusters." Mayuzumi wrote about this in his program notes for the first performance: "Although we cannot find the 'tonepleromas' to which Varèse refers in any established vocabulary, 'pleroma' means the state of being filled with solemnity and vigor .... As I sense that new art will be born in the realm of electronic music and musique concrète, and I am absorbed in searching for it, I feel considerable pain in composing works to be played in concers by standard orchestra .... Totally disappointed in the results, I found Varèse standing in front of me .... Therefore, I do not employ a standard orchestra for this work, either. The accumulated energy that is emitted by the ensemble of wind instruments utilizing human breath and percussion instruments essentially depending on the players' manual attacks best agrees with what Varèse meant by 'pleroma' and should be effective." Mayuzumi had already used the cluster technique in the piano part of "Bacchanale" in 1954, in which the keys are held down with the palm to produce sound, and in this "Tonepleromas 55," he also dreamed of a music like that of Varèse, in which a group of sounds bursting with a lot of percussion instruments. The most striking feature of this work is the languid sound of musical saws and the roar of sirens reminiscent of Varèse's "Ionisation." After a motif reminiscent of a traditional Japanese flute sounded at the beginning, sections with different expressions were spun one after another. In particular, the section with a monotone sound of percussion alone and the section with a jazz-like groove and lively music stood out. by Miyuki Shiraishi from KOCD-2907 "Japanese Band Repertory, Vol. 7 Tonepleromas 55" booklet 1955年というと黛は26歳で、わずか2年前に同世代の作曲家である團伊玖磨、芥川也寸志とともに「三人の会」を発足したばかりのころだ。映画女優だった桂木洋子との結婚生活も2年目で、彼のまわりには華やいだ雰囲気が漂っていた。6月23日、日比谷公会堂で開かれた「三人の会」第2回演奏会で、黛は自ら東京交響楽団を指揮して、この作品を初演している。 タイトルの「トーンプレロマス」はヴァレーズの造語で、現在では一般に”トーンクラスター”と呼ばれている音を群で扱っていく手法のこと。黛は当時、初演のプログラムで、こんなふうに説明している。「エドガー・ヴァレーズの言う〈トーンプレロマス〉という語は既成語にはないが、pleromeとは荘厳さと力に溢れた状態をいう…。ミュージック・コンクレートや電子音楽の世界に新らしい芸術の誕生を感じて、それらの探求に熱中している私は、普通のオーケストラを使って演奏会のための作品を書くことにかなりの苦痛を感じる…。絶望した私の前にエドガー・ヴァレーズが立っていた。今度も私はスタンダードなオーケストラを使わない。人間の息を利用する管楽器と、手によるアタックを生命とする打楽器のアンサンブルが発する音のエネルギーの集積は、〈トーンプレロマス〉という言葉に一番相応し、効果をあげてくれることだろう」。 すでに1954年の《饗宴》のピアノ・パートに掌で鍵盤を押さえて音をだすクラスターの書法を用いていた黛は、この〈トーンプレロマス〉でヴァレーズの音楽のように打楽器を多用した音群が炸裂する音楽を夢想した。 この作品の最も印象的な特徴は、ミュージカル・ソウ(のこぎり)のなまめかしい響きと、ヴァレーズの《イオニゼーション》を彷彿とさせるサイレンの唸りだろう。冒頭に邦楽の笛を彷彿とさせるモチーフが響いたのち、表情の異なるセクションがつぎつぎと紡がれていく。とりわけ打楽器だけでモノトーンの響きがするセクションと、ジャズ風のノリのいい闊達な楽想のセクションが際立っている。 (白石美雪、KOCD-2907「Japanese Band Repertory, Vol. 7 「トーンプレロマス55」」解説書より)
Mozart Tatsuya Shimono Tokyo Kosei Wind Orchestra 2008
Tokyo Kosei Wind Orchestra , Tatsuya Shimono , Kioi Hall 2008 00:00 - Largo - Molto allegro 10:03 - Adagio 15:35 - Tema con 6 variazioni. Andante 25:02 - Finale:Molto allegro 残念ながら全部の楽章ではなく抜粋です…'08となるとHDDレコ普及後でお持ちの方も多いでしょうけど、大好きな曲なのでupさせてもらいます。 モーツァルト セレナード 第10番 変ロ長調 グラン・パルティータ 東京佼成ウインドオーケストラ 下野竜也 wind ensemble
Gustav Holst Fennell Tatsuya Shimono Tokyo Kosei Wind Orchestra
Gustav HOLST (Edit. Frederick FENNELL) Tokyo Kosei wind Orchestra cond. Tatsuya Shimono
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