芸術祭交響楽公演(《ビオラ協奏曲》演奏) (Art Festival symphony concert (performance of the Viola Concerto))

Notes

From the 端山貢明アーカイブ (Hayama Kōmei Archive), item 9897 in the 音楽(演奏会) category, registered 2022-10-03: https://d-commons.net/hayama/?c=&p=9897. 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: 10th Ministry of Education Art Festival Executive Committee, supported by NHK and the Mainichi Shimbun; Kyōritsu Kōdō, Tokyo. Performed by the Tokyo Philharmonic Orchestra. Dated: Thursday 15 December 1955 (Shōwa 30), 2:00 p.m.. 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 orchestral concert of the 10th Ministry of Education Art Festival, at which the twenty-three-year-old Hayama's ビオラ協奏曲 (Viola Concerto) was played by the Tokyo Philharmonic Orchestra under Takata Shin'ichi, with Kōno Toshitatsu as viola soloist. It stood second on a three-work bill of new Japanese orchestral music: Kawasaki Yū's オーケストラのための組曲 (Suite for Orchestra: Overture, Allegro, Intermezzo, Finale) opened and Ishii Gorō's 交響曲 ニ調 (Symphony in D: Allegro, Andante, Molto allegro animato) closed. A week later this concerto won Hayama the festival's music composition prize; the booklet already announces the prize-giving at Hibiya Public Hall on 22 December. The booklet prints Hayama's own note, a short biography and an analysis with seven notated thematic incipits. He writes that he had no extra-musical intention, that what drove him through nearly two months of work was a taste for a certain kind of force — like that which arises when something collapses — and that he chose the viola without hesitation for its tension and intensity. The analysis describes a single movement on an expanded rondo-sonata plan — introduction, cadenza, A, B, A' development, C, A'', B', A''', development, A'''', coda — whose divisions are clear enough to be heard as three movements, with the A section Moderato, B Allegro marciale, C a ternary Lento–Allegretto–Lento, and an Allegro energico section in 7/4 including a passage for percussion alone. The biography records that he had entered the university in April 1952 and was still a composition student. Contents as the document gives them: I オーケストラのための組曲／川崎優 (Suite for Orchestra, Kawasaki Yū): オーヴァチュア／アレグロ／インテルメッツオ／フィナーレ (Overture / Allegro / Intermezzo / Finale) · II ビオラ協奏曲／端山貢明 (Viola Concerto, Hayama Kōmei) · III 交響曲 ニ調／石井五郎 (Symphony in D, Ishii Gorō): アレグロ／アンダンテ／モルト アレグロ アニマート · 作曲者の言葉 (The composer's words) — Hayama's own note · 略歴 (Biography) and 解説 (Analysis), with seven notated thematic examples · 第10回文部省芸術祭賞授賞式の予告 (Notice of the 10th Art Festival prize ceremony, 22 December 1955, Hibiya Public Hall). People named: 端山貢明 (Hayama Kōmei), 高田信一 (Takata Shin'ichi, conductor), 河野俊達 (Kōno Toshitatsu, viola soloist), 川崎優 (Kawasaki Yū, composer), 石井五郎 (Ishii Gorō, composer). Noted: The programme gives the viola soloist as 河野俊達; the archive's catalogue description writes 川野俊達. The reading Kōno Toshitatsu is a best guess and is not confirmed anywhere in the booklet. Readings of 川崎優 (given here as Kawasaki Yū) and 高田信一 (Takata Shin'ichi) are not given in the booklet. Pages 1 and 2 of the PDF are the same cover image.