呉泰次郎(GOH Taijiro) - 七つの前奏曲(Seven Preludes)(Synthesized) скачать в хорошем качестве

呉泰次郎(GOH Taijiro) - 七つの前奏曲(Seven Preludes)(Synthesized)

タイトル：七つの前奏曲 Composer:GOH Taijiro Title:Seven Preludes 呉泰次郎の名は、もう今はすっかり忘れられかかっているものと思われる。ひとえに多くの作品が戦災等により消失してしまったからなのだが、残された作品を見てみると、語り伝えられるドイツ・ロマン派の系譜だけでなく、その時々で大きく様式を変えていたこと、そしてその技術が言われているほどのものではなかったことも再評価に繋がらない要因だと思う。 呉泰次郎は1907年に日本支配下の大連で生まれた。生家は代々雅楽を演奏する家系だったようだが、父は実業家でもあり、音楽一家と言える家族で不自由なく暮らした。 若くして園山民平にピアノを習うなどし、多くの楽器に触れると同時に作曲を独学で習得したという。 こうして本格的に音楽家を志し、家出して本土にわたり、東京音楽学校のチェロ科へ入学を果たす。研究科では作曲部へ進んでクラウス・プリングスハイムに師事し、そのまま母校に奉職したが、上司とのいざこざでこの仕事を辞し、武蔵野音楽学校で教鞭をとった。 戦後は戦争責任を音楽学校にも問う声が多かったこともあり、一切の職を辞して後進の指導に情熱を注いだ。 特に音楽の理想はドイツ・ロマン派様式のオーケストラ曲だとして、自身の価値観を重要視するあまり、この価値観を強く求めたことで。弟子の中にはそれを窮屈と感じるものもいたようだ。 しかし指導者としては、当時は若い音楽家にはなかなか敷居が高かった、オーケストラを借り切って作品を演奏する機会を積極的に与え、一癖ありながらも熱心な教育者であったことがうかがえる。 更には女性の活躍にも理解を示し、助成だけのオーケストラを組織して指導に当たるなど、リベラリストの側面をも持ち合わせていたようだ。 この作品は彼の作品のうち、出版されることで消失を免れた数少ない作品で、もともとは2つの別々の前奏曲集として書かれたものを合併したもののようだ。 後期はフランス印象派の影響が濃くなっていったとのことだが、この作品にはそういった要素が見え隠れする。 しかしドイツ的、フランス的、日本的といった様々な要素があまり熟れずに共存することからやや破綻があり、曲想が単調である面は否めない。 とはいえ、我が国の隠れたシンフォニストでもあった彼の作品を聴く機会は現代まずないことから、ここにデータ化し、その功績を後世に残したいと考えた。 この動画は名古屋作曲の会の協力を得て作られています。 使用楽譜：龍吟社 使用写真：「日本の作曲家」富樫康著より The name of GOH Taijiro is now on the verge of being completely forgotten. This is primarily due to the loss of many of his works in wartime destruction. However, even among the few surviving compositions, one finds that his style underwent significant changes over time—not merely following the lineage of the German Romantic tradition as often narrated—and that his technical skill may not have matched the reputation once ascribed to him. These factors, too, seem to have hindered any meaningful reevaluation of his legacy. GOH was born in 1907 in Dalian, then under Japanese rule. His family appears to have descended from generations of gagaku (ancient Japanese court music) performers. His father, however, was also a businessman, and GOH grew up in a musically inclined family that lived in relative comfort. From an early age, he studied piano under Mimpei Sonoyama, and it is said that he not only came into contact with various instruments but also taught himself composition. Thus inspired to pursue a professional career in music, he left home and traveled to mainland Japan, where he was admitted to the cello department of the Tokyo Music School. In the advanced course, he switched to the composition department and studied under Klaus Pringsheim. He subsequently joined the faculty at his alma mater, but due to conflicts with superiors, he resigned and later taught at Musashino Academia Musicae. Following World War II, amid increasing criticism directed at music institutions for their wartime roles, GOH resigned from all official posts and devoted himself entirely to the education of younger generations. He upheld orchestral works in the German Romantic style as the highest ideal in music. However, he held this aesthetic value so strongly that he often imposed it on his students. As a result, some reportedly found his instruction stifling. Nonetheless, as a mentor, he actively provided young composers with opportunities to have their works performed by full orchestras—a rare and difficult feat for the time. This attests to his dedication as an educator, despite his idiosyncrasies. He also demonstrated an understanding of women’s active roles in music, going so far as to organize and direct all-female orchestras. This suggests that he possessed a liberal-minded side as well. The present piece is among the few of GOH’s compositions that escaped destruction by virtue of being published. It appears to have originally consisted of two separate sets of preludes that were later combined into a single collection. In his later years, GOH’s music is said to have been heavily influenced by French Impressionism, and traces of this influence can indeed be discerned in the present work. However, the coexistence of Germanic, French, and Japanese elements appears somewhat unrefined, leading at times to structural inconsistencies and a certain monotony in thematic development. Nevertheless, as one of Japan’s overlooked symphonists whose music is almost never performed today, the digitization of this work is intended as an effort to preserve his contributions and pass them on to future generations. This video was made with the help of the Nagoya Composers' Group. 00:00 Opening 00:24 1.Lantern Boat 03:06 2.Break Light 08:56 3.Loneliness 14:25 4.Ant 18:56 5.Fairy 21:41 6.Autumn 26:20 7.Torrent 名古屋作曲の会 http://nu-composers.main.jp/ #Classic #Japanese #Rare