01/21中島美鶴独唱会(大岡信の作品による歌曲集=初演) (21 January: Nakajima Mitsuru song recital (premiere of the song cycle on poems by Ōoka Makoto))

Notes

From the 端山貢明アーカイブ (Hayama Kōmei Archive), item 9956 in the 執筆記事 category, registered 2022-10-04: https://d-commons.net/hayama/?c=&p=9956. Published by the 端山貢明アーカイブプロジェクト (Hayama Kōmei Archive Project), directed by 前川道博 (Michihiro Maekawa) of Nagano University, on the D-Commons platform, and licensed CC BY (表示). The source documents come from the 端山文庫, the papers kept in Hayama's laboratory at Tohoku University of Art and Design, digitised by the project with the agreement of his family; his autograph scores were given to the University History Archives of the Tokyo University of the Arts in 2026. Source: Nakajima's first recital after returning from Paris; Yamaha Hall, Tokyo; tickets ¥300, on advance sale at the city's agencies. Dated: Monday 21 January 1963, 7:00 p.m.. The archive publishes this item as 1 separate page scan rather than as a PDF; the download here was assembled from those scans in page order, each taken at the higher of the two resolutions the archive serves. A single-sheet handbill for the mezzo-soprano Nakajima Mitsuru's first recital on her return from study in Paris, at Yamaha Hall, with Nakazawa Yōko at the piano. The programme was almost entirely French — Gluck (airs from Orphée and Iphigénie), Fauré (Clair de lune, Soir, Hymne and D'une prison), Debussy (Green, Il pleure dans mon cœur, L'échelonnement des haies, Mandoline and one more), and Duparc (L'invitation au voyage, Phidylé, Le manoir de Rosemonde and one more) — and closed with the one Japanese item, Hayama's 大岡信の作品による歌曲集, a cycle on poems by Ōoka Makoto, marked 初演, a premiere. This is the only known record of the work, which does not reappear in any of the other papers in this group. The sheet carries two short texts. An introduction by Yoshizawa Toshiko explains that Nakajima graduated from the Tokyo University of the Arts in the 1957 academic year, had specialised in French song since her student days, studied in Paris from 1958 to 1961 at the Schola Cantorum under Irma Kolassi, took a diplôme de classe supérieure and has now returned; the recital is offered as a presentation of what she studied abroad. Beneath it Irma Kolassi writes that Nakajima is a splendidly gifted singer blessed with a beautiful voice and rich sensibility, and that she is confident of her success with further effort. Contents as the document gives them: グリュック：オルフェ／イフェジェニイ (Gluck: Orphée, Iphigénie) · フォーレ：月の光／夕暮／讃歌／牢獄から (Fauré: Clair de lune, Soir, Hymne, D'une prison) · ドビュッシー：グリーン／巷に雨の…／垣の連なり／マンドリン 他一曲 (Debussy: Green, Il pleure dans mon cœur, L'échelonnement des haies, Mandoline, and one more) · デュパルク：旅への誘い／フィディレ／ロズモンドの館 他一曲 (Duparc: L'invitation au voyage, Phidylé, Le manoir de Rosemonde, and one more) · 端山貢明：大岡信の作品による歌曲集（初演）(Hayama Kōmei: song cycle on poems by Ōoka Makoto, premiere) · 中島美鶴さんの紹介 (Introduction) — 吉沢淑子 · 中島さんへ (A message) — イルマ・コラッシ. People named: 端山貢明 (Hayama Kōmei), 中島美鶴 (Nakajima Mitsuru — reading uncertain, mezzo-soprano), 中沢洋子 (Nakazawa Yōko, piano), 大岡信 (Ōoka Makoto, poet), 吉沢淑子 (Yoshizawa Toshiko — reading uncertain, author of the introduction), イルマ・コラッシ (Irma Kolassi, Nakajima's teacher in Paris). Noted: The singer's given name 美鶴 is ambiguous; Mitsuru is a guess from the characters and no reading is printed. The writer of the introduction is printed 吉沢淑子; the characters could also be read as 古沢淑子 (Furusawa Yoshiko), the soprano who premiered Hayama's Ōte Takuji songs six months earlier, and the two could be the same person. The sheet gives no reading. The Debussy and Duparc groups each end with '他一曲' (one more piece), unnamed; the individual Hayama songs are not listed. The archive files this item under 執筆記事 (written articles) although it is a concert handbill.