10/07日本の現代音楽、創作の軌跡 (7 October: Imprints of Japanese Contemporary Music)

Notes

From the 端山貢明アーカイブ (Hayama Kōmei Archive), item 9976 in the 音楽(演奏会) category, registered 2022-10-08: https://d-commons.net/hayama/?c=&p=9976. 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: Tokyo Opera City Cultural Foundation, with Japan Real Estate Investment Corporation; Tokyo Opera City Recital Hall, 25th anniversary season. ¥4,000 (students ¥2,000), unreserved. Dated: Friday 7 October 2022, 19:00. The archive publishes this item as 5 separate page scans 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. The flyer and programme for the fourth concert in Ikebe Shin'ichirō's series 日本の現代音楽、創作の軌跡 (Imprints of Japanese Contemporary Music), subtitled 1932年生まれの作曲家たち — 'composers born in 1932' — at the Tokyo Opera City Recital Hall. Hayama, who had died the year before, opened the programme: his ピアノ・ソナタ (1960) was played by Nakagawa Ken'ichi, its three movements Allegro assai, Lento and Allegro molto timed at about twelve minutes. There followed Fukushima Yūjirō's Poem for violin and piano (1966), Yamamoto Naozumi's Lovely Black Marie for cello and piano (2001, revised by Yamamoto Yūnosuke) and Yuyama Akira's Divertimento for marimba and alto saxophone (1968); after the interval, Kobayashi Asei's Tango Japonés (2005), Nakamata Nobuo's Oiseau triste for flute, percussion and piano (1996/2003) and Tamba Akira's Quinque for harp and string quartet (1975). Ikebe produced the series and spoke from the platform; the strapline promises to pass on to the future the road travelled by the forerunners who opened up Japanese contemporary music. The players were Nakagawa Ken'ichi (piano), Oike Ami and Inda Chihiro (violins), Adachi Mari (viola), Katō Fumie (cello), Ueno Yoshie (flute), Hirano Masataka (saxophone), Tsukagoshi Noriko (marimba), Nino Masayuki (percussion) and Shinozaki Kazuko (harp). A printed slip notes that Suyama Nobuhiro, named on the flyer, withdrew and Inda Chihiro took his place. The PDF also holds a photograph of the flyer posted beside the Recital Hall sign. This is the latest performance of Hayama's music in these papers, sixty-two years after the sonata's premiere. Contents as the document gives them: 端山貢明：ピアノ・ソナタ (1960) — I. Allegro assai / II. Lento / III. Allegro molto; 中川賢一 (pf), 約12分 · 福島雄次郎：詩曲 (1966) — 尾池亜美 (vn), 中川賢一 (pf), 約7分 · 山本直純：いとしのブラックマリー (2001, 山本祐ノ介 校訂) — I. Andante / II. Andantino / III. Vivace; 加藤文枝 (vc), 中川賢一 (pf), 約8分 · 湯山昭：ディヴェルティメント (1968) — 塚越慎子 (mar), 平野公崇 (a-sax), 約12分 · 休憩 (interval) · 小林亜星：タンゴ・ハポネス (2005) — 尾池亜美 (vn), 中川賢一 (pf), 約6分 · 仲俣申喜男：悲しみの鳥 (1996/2003) — 上野由恵 (fl), 新野将之 (perc), 中川賢一 (pf), 約15分 · 丹波明：クインクエ (1975) — 篠﨑和子 (hp), 尾池亜美・印田千裕 (vn), 安達真理 (va), 加藤文枝 (vc), 約17分. People named: 端山貢明 (Hayama Kōmei / K. Hayama), 池辺晋一郎 (Ikebe Shin'ichirō / Shin-ichiro Ikebe, producer and speaker), 中川賢一 (Nakagawa Ken'ichi / Ken'ichi Nakagawa, piano), 尾池亜美 (Oike Ami / Ami Oike, violin), 印田千裕 (Inda Chihiro / Chihiro Inda, violin), 須山暢大 (Suyama Nobuhiro, violin — advertised but withdrew), 安達真理 (Adachi Mari / Mari Adachi, viola), 加藤文枝 (Katō Fumie / Fumie Kato, cello), 上野由恵 (Ueno Yoshie / Yoshie Ueno, flute), 平野公崇 (Hirano Masataka / Masataka Hirano, saxophone), 塚越慎子 (Tsukagoshi Noriko / Noriko Tsukagoshi, marimba), 新野将之 (Nino Masayuki / Masayuki Nino, percussion), 篠﨑和子 (Shinozaki Kazuko / Kazuko Shinozaki, harp), 福島雄次郎 (Fukushima Yūjirō), 山本直純 (Yamamoto Naozumi), 山本祐ノ介 (Yamamoto Yūnosuke, reviser), 湯山昭 (Yuyama Akira), 小林亜星 (Kobayashi Asei), 仲俣申喜男 (Nakamata Nobuo), 丹波明 (Tamba Akira). Noted: The printed flyer romanises the composer as 'M. Hayama'; the programme book's running order gives the correct 'K. Hayama'. The flyer lists Suyama Nobuhiro among the violinists, but a slip in the programme states that he withdrew for personal reasons and was replaced by Inda Chihiro; the archive's description already reflects the change. The programme gives no note on the Hayama sonata itself beyond its date and movement headings.