Ikuma Dan: Five Fragments (1946) [Jpn & Eng sub] скачать в хорошем качестве

Ikuma Dan: Five Fragments (1946) [Jpn & Eng sub]

Ikuma Dan [團伊玖磨] (1924~2001, Japan) 五つの断章 Five Fragments 00:00 1. Fields 野辺 02:45 2. Boat Song 舟唄 06:06 3. Holly Berries あかき木の実 08:25 4. Dawn 朝明 11:37 5. Hope 希望 poems by Hakushū Kitahara [北原白秋] (1885~1942, Japan) translated by D. Guyver Britton & Yukinobu Kagiya from SJK-1030/1 "Kyoko Ito sings Collection Songs of Ikuma Dan" booklet 1. 野辺 Fields なにゆえに汝は泣く、 [O tell me why, tell me why you weep?] あたたかに夕日にほひ、 [A lovely fragrance warms the sunset air] たんぽぽのやはき溜息野に蒸して甘くちらぼふ。 [While dandelions fill the sultry fields,　　With the soft wet vapour of their sighs.] さるを女、 [Tell me, then, fair maiden,] なにゆゑに汝は泣く。 [O tell me why, tell me why you weep?] 2. 舟唄 —片戀— Boat Song あかしやの金と赤とがちるぞえな。 [The gold and scarlet of the acasia tree is drifting down.] かはたれの秋の光にちるぞえな。 [Beside the river, in autumn's pale afterglow, gently drifting down.] 片恋の薄着のねるのわがうれひ [And I am yearnig for you, my love, who spurn me,] 曳舟の水のほとりをゆくころを。 [Thin clad, in autumn gown.　　Across the water, just now,] やはらかな君が吐息のちるぞえな。 [As a river boat was passing by,　I heard you sigh. I heard you ever so softly sigh.] あかしやの金と赤とがちるぞえな。 [The gold and scarlet of the acacia tree is drifting down,　　Gently drifting down.] 3. あかき木の実 Holly Berries 暗きこころのあさあけに、 [O heavy my heart at dawn, with sorrow and rue: ] あかき木の実ぞほの見ゆる。 [The red holly berries I but dimly can see.] しかはあれども、昼はまた [But when at nooontide you come to me] 君といふ日にわすれしか。 [My heart is lifted up with the sunlight of you!] 暗きこころのゆふぐれに、 [O heavy my heart at dusk, with sadness anew; ] あかき木の実ぞほの見ゆる。 [The red holly berries I but dimly can see.] 4. 朝明 Dawn あはれ、あはれ、すみれの花よ。 [Alas! Alas! violets, O violets,] しをらしきすみれの花よ。 [So tender and sweet,　　Violets, O violets.] 汝はかなし。 [Flowers of sorrow,] 色あかき煉瓦の竈の [Beside the kiln, the red brick kiln you grow.] かげに咲く汝はかなし。 [O flower of sorrow, of sorrow.] はや朝明の露ふみて [At dawn, early at dawn.　　Cold the dew 'neath my feet,] われこそ今し [With heavy heart I come] 妹の骨ひろひにと来しものを。 [To fetch the ashes of my little sister.] 5. 希望 Hope 明日こそは [Tomorrow, indeed!] 面(かほ)も紅めず、 [And proudly, and with no shame,] うちいでて、 [And head lifted high,] あまりりす眩ゆき園を、 [Thro' amaryllis, bright amaryllis,　　Together let us go!] 明日こそは [Tomorrow indeed! Tomorrow indeed!] 手とり行かまし。 [Hand in hand let us go!] Kyoko Ito [伊藤京子], soprano Yoichi Miura [三浦洋一], piano Recorded: 1969 at the Victor Studio All five songs are based on poems by Hakushū Kitahara, and were first introduced in 1946 by Toshiko Toda. Compared to the previous work, "Six Songs for Children," this piece is completely adult, and its technique is more complex. Moreover, the lyricism unique to this composer is incorporated in this work. With the exception of the fifth piece, "Hope," the other four pieces all end in a vanishingly weak manner, which was also Dan's favorite style of writing in his songs. In the piano accompaniment to the first piece, "Fields," the effect of the accumulation of intervals in the fifth and fourth degrees is emphasized. The piano accompaniment to the second piece, "Boat Song," is quite impressionistic. In the third piece, "Holly Berries" and the fourth piece, "Dawn," the writing style is quite different from that of these two pieces. In the fifth piece, "Hope," the pentatonic scale is favored. by Naomi Monma from booklet mentioned above In "Five Fragments," there is a determination of a young man, just as the opera "Luminous Moss" expressed the strength of his will 26 years later. The joy of "creation," which he grasped with all his might in the face of the anxiety of creating unknown music, plays the hymn of praise in the fifth piece, "Hope." Some of these five pieces are so full of the composer's thoughts that they seem to be out of control, while others, such as "Boat Song" and "Hope," have a solid structure. The reason why we can easily grasp the hesitations of the composer's mind at the time is because, as Dan says, "Songs are the diary of my heart, and the home of my work - they are my companions who always follow me wherever I am and never leave me," there is not the slightest lie in his songs, and his songs reflect everything he is at the moment, honestly. by Ryosuke Hatanaka (1993). "Japanese Song Collection Vol. 33: Ikuma Dan I," Ongaku-no-tomo-sha. 5曲とも北原白秋の詩による。1946年の作品であり、戸田敏子の独唱ではじめて紹介された。前作の《六つの子供のうた》とくらべると、完全にこれは大人の世界のものであり、手法的にも複雑化している。しかも、そうしたなかに、この作曲者独特のリリシズムも盛りこまれている。第5曲《希望》をかりに例外としても、他の4曲がみな消えるように弱々しく終っているのは、歌曲での團の好んだ筆致でもあった。 第1曲《野辺》のピアノ伴奏では、5度と4度の音程の積み重ねの効果を重んじている。第2曲《舟唄》のピアノ伴奏は、かなり印象主義的である。第3曲《あかき木の実》や第4曲《朝明》となると、これらの2曲と相当違った趣きの書法があらわれてくる。第5曲《希望》では、五音音階が愛好されている。 （門馬直美、SJK-1030/1『伊藤京子による團伊玖磨の歌曲』解説書より） ・・・『五つの断章』には、26年後の《ひかりごけ》が、断固とした〈意志〉の強さを表明したのと同じような、青年の〈決意〉がある。未知の音楽創造の不安を前にして、ともかくも彼が必至で掴みとった「創造」のよろこびが、第5曲の《希望》のなかに讃歌を奏でる。この5曲の中には、あまりにも作曲者のいいたいことが溢れていて収拾つかないような面と、《舟唄》や《希望》のように、しっかりした構成を持った曲など、当時の心の屈折が手にとるようにわかるのも、「歌は私の心の日記であり、仕事の故郷である。日記であり故郷であるもの——歌は、私の居るところ何処へでも必ずついて来る決して離れることのない伴侶であった——」という彼自身の言葉にあるように、歌の中に少しのウソもない、素直な彼自身のその時々のすべてが、歌に反映しているからなのだろう。 （畑中良輔「團伊玖磨とその作品」『日本歌曲全集33 團 伊玖磨 Ｉ』（1993、音楽之友社）より）