2003 WASBE Conference

The opinions expressed
herein are those of the
authors and not
necessarily the opinions
of WASBE.

Kanagawa University Symphonic Band

Concert Review by Timothy Reynish

I am tempted to suggest that, if you buy only one of the Mark Custom compact discs from this Conference, buy this one, but that would mean leaving out another dozen excellent concerts, including Jim Croft's final concert with Florida State University, a very moving occasion of wonderful music and music-making. However, I wrote some time ago that many Japanese composers have a virtuosic command of wind band scoring, matched by the performance levels of the bands, whether amateur, educational or professional. The influences are clearly from France (especially from the impressionists) and America (particularly in works which echo the big band idiom). Every so often, a composer will use traditional Japanese musical elements fused with Western influences, and the results are sometimes very striking.

I am at a loss to discover why Japanese music makes so little impact on our programmes in the West. Part of the reason must be difficulty in accessing the music (now made easier by Bravo Music); part is that so much of the repertoire imitates American models slavishly. However, here was a balanced programme of original Japanese music, most of it avoiding popular cliché, and all of it worth hearing.

For more information about purchasing Japanese music or recordings, contact: Bravo Music, 1500 SE 3rd Ct., Suite 152, Deerfield Beach, FL33441, USA, web site: www.bravomusicinc.com

Suite for Wind Orchestra
Yukio Kikuchi (b. 1964)
Manuscript; Grade 5; duration: 15’

The opening Suite for Wind Orchestra is in four movements. The first is a somewhat conventional two minute fanfare, but like most Japanese music, it is sumptuously scored; devotees of John Williams will love the Hollywood ending. The second movement is reminiscent of Ravel, with gentle mixed metres emphasizing flute, clarinet and saxo-phone colours, while the third begins with a riot of Japanese drumming, a raw energy reminiscent of West Side Story. This eventually dissipates into a pointillist section with strange chords and motifs. The finale is more extended, a rather portentous introduction leading to a development of the opening motif, by turns pompous and energetic. This should be published and programmed!

Yugayo Chugan-azuma kagami ibun
Masamicz Amano
Rental, Brain Music, 1997; Grade 4; duration: 7’25”

Azuma kagami is a history book of the Kamakura era in 12^th Century Japan, and the music is redolent with the mystery of that far-off age, with the birth of various aspects of Buddhism. I love the sound and the inflections of the Japanese flute, and this work begins with a languorous evocative solo, taken up by figurations in the rest of the band. A cadenza-like passage for marimba and percussion follows, which breaks into a crazy very complex dance that is stilled briefly by voices.

Subliminal Festa (Secret Rites)
Akira Miyoshi
All Japan Band Association / Maecenas Music, 1988 ; Grade 4; duration: 4’5“

Akira Miyoshi is one of the leading contemporary composers of Japan today. His studies in Tokyo were followed by further study at the Paris Conservatoire under Henri Dutileux, that most fastidious of composers, and you can hear something of his teacher's brilliant organizational skills in all of Miyoshi's work. This work was written in 1988 for the All Japan Band Competition and is indicative of the technical expertise of the Japanese band movement. In less than five minutes, Miyoshi introduces a post-Stravinsky sound world, full of the swirling energy of the opening pages of Le Sacre – maybe it is the opening bassoon theme that suggests that to me. This is a real piece. It is useful as a virtuoso opening number, although perhaps too short for its myriad of ideas to be developed. It is published by All Japan Band Association but also is on sale from Maecenas Music, so I am biased.

Pretty Woman
Fumio Tamura
Rental, Brain Music,1995; Grade 5; duration: 9’

This is an unashamed tone poem based on Checkhov's novel of the same title, and the musical episodes depict each of the men who affect the life of the heroine. Each is separated by a short chorale passage. The theme of the "pretty woman", Orenka, is stated at the start and is then treated in four contrasting ways: “Orenka and Kukin,” the manager of an amusement park, “Orenka and Prostwarlov,” the manager of a lumberyard, “Orenka and Sumilnine,” the veterinarian, and “Orenka and Sashya,” the son of Sumilnine. This work is tougher than the rest of the programme. I must confess to having heard a cassette a few times and found the music dense and uncompromising. In this performance, there was so much contrast and detail that I found it very powerful indeed. I was interested to see that Tamura studied with Robert Saxton at the Guildhall, and it was fortuitous that the Guildhall Wind Ensemble played Saxton's only wind work in their concert.

Symphonic Movement for Band
Bin Kaneda (1935-1981)
Ongaku no Tomo Sya Corp.; Grade 4; duration: 10’30”

Like Tamura's Pretty Woman, this was commissioned by the Yamaha Wind Orchestra. Written in 1975, it is the earliest work on this programme. It is more traditional in idiom, and I suppose that you could consider that it comes from the middle ground of late romantic/twentieth century styles. Other works which seem to me are cast in that mould, but written with passion and integrity, are Piet Swerts' Cyrano and Jules Strens' Danse Funambulesque, similar perhaps to Marco Pütz' Meltdownor Alexander Comitas' Night on Culbin Sands. This is emotional music. The programme note says that emphasis was laid on hopes to express the symphonic capabilities that are harboured in band music performance patterns. Whether or not it was possible to express not only what lies in the surface of the human mind but also the vague emotional feeling that stagnantly lies profoundly in the bottom of one's heart. The composer has weighty ambitions, but the result for me is a work with tension and contrast—some very exciting writing after the agonized opening statement that is built on a falling figure full of yearning. This figure becomes the basis for a fast moving fugato, giving way in turn to a slightly sentimental slower section.

Fu-Mon (Sand Dunes)
Hiroshi Hoshina (b. 1936)
Rental, Bravo Music; Grade 4; duration: 7’10” .

Hiroshi Hoshina is a much revered figure in Japanese wind band music, an unashamedly romantic composer and a fine conductor; it was good to have him with us. His music is more traditional in idiom, with the impressionistic palette of Ravel and Debussy implied both in his masterly orchestration but also in the snatches of melody which burst forth. Derivative though it may be, it is very effective in its use of the colours of the wind band and with only a hint of American influence in the more grandiose sections. I think that this composition as well as his Deux Paysages Sonores [11’.23”] and An Ancient Festival [13’33”] would make a strong addition to the repertoire for a small college, high school or community band.

Les Trois Notes du Japon;
Toshio Mashima
Rental, Bravo Music; Grade 5; duration: 17’10”

This suite was performed by the Kosei Wind Orchestra under Douglas Bostock in 2001. The music is intended to depict three typical Japanese scenes with western instruments, scales and harmonies. Despite more than a nod toward America and the "big" band sound, the idiom is clearly Japanese. The first movement, The Dance of the Cranes, after a striking opening gesture, is based on a short modal motif which provides for fast and slow material in a traditional ABA form. The second movement, Snow River, is extremely evocative of a desolate black and white snow scene, with its consecutive fifth harmonic background and snatches of wind solos. The third movement, Festival, storms in with a kaleidoscope of noise, concerning which the composer writes: “La fête du feu” (“Festival”) is the collage of various rhythms and notes describing the vigourous Japanese summer festival. In the middle, summer scenery with towering thunderclouds in the scorching blue sky is expressed. The rhythm of drums approaching from far away is that of the Neputa Festival of the Aomori region where my mother was born.”

I believe that any one of these works would add colour, excitement and originality to any programme in our Western concerts. The infallible Jim Cochran of Shattinger Music, I am sure, can get materials, but there is now in the USA an agent for the recordings and much of the music.