"Dorian" for Orchestra - Takashi Yoshimatsu скачать в хорошем качестве

"Dorian" for Orchestra - Takashi Yoshimatsu

Tokyo Philharmonic Orchestra conducted by Sachio Fujioka. I - Section I (0:00) - Section II (2:59) - Section III (4:43) - Section IV (6:10) - Section V (8:53) - Section VI (10:58) Yoshimatsu's "Dorian" was composed in 1979, being premiered on June 21 of 1980, performed by the Tokyo Symphony Orchestra conducted by Kazuyoshi Akiyama. The work won an award from the Composition Prize of the Foundation for the Promotion of Symphony Music, launching the young composer's career in classical music. The work is part of Yoshimatsu's early work, which was strongly influenced by contemporary classical, before the composer ended rejecting this type of music in favour of a lyrical neorromanticism. The work is structured in a single movement, which is divided in several sections. The first one opens with a syncopated, dissonant rhythmic cell accentuated by a varied percussion ensemble. This cell, which is the basis of the whole work, is transformed and variated. The music reaches a strong climax based on the cell, which leads us to the next part. The second section opens with a gentler variation of the rhythmic cell, presented in a more colourful way. However, soon enough the music adquires it's original dissonant force. After a dissonant climax, follows brief dialogues between the woods. The third section begins with a jazz-like passage, in which piano and drums are highlighted, offering some contrast from the more angular style, despite it's constant rhythmic drive. This part concludes with another dissonant climax. The fourth section opens with the constant stacattos from the strings, over which the orchestra explodes in several outbursts. The rhythmic cell is recapitulated in its original form. Follows an extensive section for percussion solo, in which the composer experiments with different rhythms in the whole percussion ensemble. Several glissandos take us to the brief recapitulation of the cell over a percussive background. The fifth section begis with several lines that converge in a chaotic anticlimax for the whole orchestra, with a constant barrage of sounds. The strings suddenly appear presenting a dramatic climax that leads us to a massively dissonant anticlimax. The sixth and final section begins with the strings presenting a melodic theme over this dense texture, which slowly rises and takes us towards a powerful coda. Picture: "Yorimitsu Tries to Capture Hakamadare by Destroying His Magic" (1858) by the Japanese painter Utagawa Yoshitsuya. Musical analysis written by myself.