『音楽案内』6月号(端山貢明「私の作品演奏会」) (Ongaku Annai, June issue (Hayama Kōmei, 'My own concert'))

Notes

From the 端山貢明アーカイブ (Hayama Kōmei Archive), item 9950 in the 音楽(演奏会) category, registered 2022-10-04: https://d-commons.net/hayama/?c=&p=9950. 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: 『音楽案内』 (Ongaku Annai) vol. 2 no. 6, June 1962, published by the Japan Musicians' Club (日本音楽家クラブ), Ginza 7-1, Chūō-ku, Tokyo; 20 yen. Dated: Issue dated 1 June 1962 (Shōwa 37); the concert it announces took place on Monday 25 June 1962 at 7:00 p.m.. The archive publishes this item as 16 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. A partial scan of the June 1962 issue of 音楽案内, the Japan Musicians' Club's monthly concert guide, which carries Hayama's article 「私の作品演奏会」 ('My own concert') on pages 22–23, illustrated with a photograph of him in a checked shirt in a boat. He opens by saying that he has few works — counting from his university days, and including the three new pieces at the coming concert, only seven. Spreading the old ones out again, he was surprised that across so many years his preferences — as to building by thought a stretch of time translated into sound, and as to the linking of combined resonances — had changed so little at a deep level despite outward and technical change. Since the period of composing is governed too much by chance, this was a relief. Technically, he writes, from the Viola Concerto onward his basis has been construction by a self-sufficient unit and a chain of its transformations. He avoids the word 'cell', because a cell divides and multiplies and so implies developmental change; in his case music is not a laying-out of units but a chain of transformations, carried out in the manner of an atom whose electron orbits widen when heat is added: the unit only expands and transforms. This, he says, differs in kind from European music built on thematic development, though he has no interest in grasping sound in ethnic units, still less in the notion that a Japanese should write Japanese music. He dislikes composing under the banner of an -ism. The issue also prints the day-by-day Tokyo listings, including the entry for his 25 June concert with its full cast. Contents as the document gives them: 表紙 (Cover): 音楽案内 Vol. 2 No. 6, 6/'62 · 目次 (Contents): ☆リサイタル☆ 関種子・日本歌曲の夕／☆作品発表☆ 端山貢明（第一生命音楽鑑賞会）, 丸田昭三（芸大定期演奏会）／☆6月の案内☆ · 端山貢明「私の作品演奏会」(pp. 22–23) · 6月の案内 (June listings), including 25日(月) 第78回第一生命ホール音楽鑑賞会 端山貢明作品演奏会, 第一生命ホール, 7時 (p. 26) · 日本音楽家クラブ委員名簿 and colophon (p. 32). People named: 端山貢明 (Hayama Kōmei), 池内友次郎 (Ikenouchi Tomojirō, chairman of the Japan Musicians' Club), 西宮安一郎 (Nishimiya Yasuichirō, editor and publisher of the issue), 関種子 (Seki Taneko, subject of another article in the issue), 丸田昭三 (Maruta Shōzō, subject of another article in the issue). Noted: The scan is not complete: pages 20–21 and 24–25 of the issue are absent from the PDF. In the article Hayama writes that even counting the three new pieces there are 'only seven' works; he does not list them. One word in the article, printed 素猫, appears to be a misprint and could not be read with confidence.