Page 1 PRAŽSKÉ JARO PRAGUE SPRING 56. MEZINÁRODNÍ

Page 1 PRAŽSKÉ JARO PRAGUE SPRING 56. MEZINÁRODNÍ

PRAZSKE
JARO
PRAGUE SPRING
56 MEZINARODNI HUDEBNI FESTIVAL
56TH INT[RNAT10NALヽ 4uSic FESTIVAL
27 KVETEN SPANELSKY SAL
14ハ 1
27 SP411lS■ 1鳳 [ι
Komornl orchestry
Prattsk6 iar0
PFague Spring
2001
56 mezinarOdnr hudebnf festival
rl
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Piaha 12 kvё ten-3 0erven tla/ ′2 プuη θθ
PRAZSKE JARO
PRAGUE SPRING
Me2 n`子 oO■ f卜 udebnた ■ival Pra2skO iarO d`k両 e za bSkavou podpo「 ulさ mto spo eさ nosI・ m(
gene■ lninu pa● merovi Cesk`spoiitelnt a s olc lln mu partneЮ vis p rransgas
a Onて
"`賄
9oo,4″
d n mu automoblu Mercede,3en2
Jttk"`e口 らわ′め″
`わ
aa`ο
rd″
σ "箔
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η′IO●al恥skF“ ●va″ お力
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gで
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aで"d″
d巫 3aッ ーリ鐵 b′"珈
ω
a,d″
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`p rral`,ぉ
Komorni orchestry
nedde 27 kvё tna.20:00 SllB∂
a´
Aぬ/2Z aθ θρ
″
,ぉ ll″ a″
,panё sky s6 5ρ ∂
F可 :naga
Kengy0
●ri Kel Azech,Rosen TOSha Mmoru M H)
Shin Vachivolishi
MinOFu M:ki
Parafra2e na davnOu iaponskou hudbu
Paiapll`asで
∂力で
「 4Л aθηrlapan6θ Must`
l Pre ude
2 50hmon
3 Tanomai
4 Rulka
5 Kagei
prestavka lll口 νa′
Takashi Voshimatsu
ηs
ve snach.bez snl 171ttl17'で ∂ , И力t力 ουt,で∂′
`η
ν
ν
a″
r
l Sen vody″ eaη llF
2 Sen dreva ,で ∂″ 0′ ″ood
ηO′ Flle
3 Sen ohnё ,で ∂′
4 Sen mrakO,で a″ Or dο υ
5 Sen vzduchu″ea,0′ 4″“
Akira lfukube
Bintatara per 16 strumenti di Ciappone
PRO MuSicA NIPPON:A
Takuo Tamura‐
d rigent
ωηdll● o′
elfolag
spdu`dnklleク υ
“`ρ sqθ rarο
Tere2a M6tlova― soprdn
Myttenka wJを l v soudobё kompoJで pra瀾 zulζ tnosl iaponSk`tradて ni hudby
h n6stroll.m3を eb′ t v mnOha
a,dnetn,(h ZVUkOv,ch mOを nOsJ,pOnS●
“ (h hudebnに
ohttdech vdに e inspraivni Me洒 obzv O,tё pFinosoO nsp raて ni momenty iapOnSkさ
hudebni tradに e patr wznamn6`応 ha tOmbru iakO fOrmOwOrnlho prostFedku
zelmё na v souv`o● e(h s vyJを lim un k`iniho zvuku tradて n ch nOstrO10,iakO iSOu
θ 0ゎ apod dde u口 atnёnf
tFebaぬ んねこ η
O絡 o kagυ fa"e sJ b′ ll a●
"な `々 nosi tradい ho notopも u
nに h slntuttnに h myttenに vych koncepti,vに eznaて
tra出 て
a v nepottedtt FadO p肖 引oveて n`uspOlnOsu ttadFOVacに h prOstFedk`
ivい ponsk`tradttt hudbё jab ieden z iOた h
CharaktelslckO s6ntnost.fung可 に
Havnに h formoivoin′ ch prOStFedku′ kOrespondule s nё kte″ mi V,VO10V′ m trendy
soudobO kompozて ni praxe z6padoevropskё hudby kde se v reakc na pFevさ dalに
mdodに ko molИ ck,plndp poJednに h staに Oo切 eV可 l rOl noそ tendence k posle“ funk〔 e
1
t`mbru Oを
vuli〔
i nlhradou zaオ rO(en6 ntonaて ni spec ika a pnrOzenOu charaktelslku
ko
nbstroov`hO ZVuku u Ookonaに zn可 ににh a temperovanё mtonulに にh nOstro10 Ma引 〔
romani(k● ho olchestru m12o bvt prlvё .7uを li pivod“ ho mゞ rumentlr・ Tadに 前
i mnOhostrannO moを nosu
pnIozenで adё ni a tで mbrovO zv O,toosl tOchlo n6stroil nabレ 可
k
Юz`千 に市,klり
vy adぬ Va(に h prostぬ dka
sOudOb7ch skbdatdi
Ved e tO(hto spge techR(k,Ch aSpektu matte nsp"ace myttenim Dl n`hO
V,ChOdu s iehO pFttnaて nou t・ ndenci k p uraltё a snahou nach`zet vに e sprlvn,(h
ёse nevy uさ uli(〔 Ch Fe,enitё hott prob Omu p odn0 0bohalt souて asnou
hudbu nbviaw k pOstuplm.znさ m′ m nelenOm z mimoevropsk,(h hudebnich kuLu:
Ыei zd`vnё Mstone na引 uastni hudb,Mea tabvё patr napF nё kd可 唸labita
8 otevFenost iorem plnc p neurて 10stiて opё lovn`poslen1 6 ohy improv
“zacelako
a VZliern■
SV`b,nd ro■ ny hudeb“ hterpreta(e,pFekraて 可にI PO StЫ er z6vazn′ mOdd"υ S
g籠 〔 Ve stnkt“ pOdObё ttxoⅥ nOho dla l.ko Fdnё Spぬ vnё mo2nosu
ρ
"● sebevЙ 6dreni
hudebniho
)I ZⅥ 8t“
lodコ い
ol s″
一
勁わつ
¨
ansbmblovou lpravou klasickO skladby pro koま 2
“
`n ldて
nё
■i口 出て
pЮ
いdё na
lko s∂
η
ゆa
―.hudba tF・ tedy v obsazeni々 0わ se zpё vem.
ll`“ aS∂ 々ll・ ∂dVて stё nstrumentl ni ve21
●′
kterou v rOce 1975 upra輌
I Mhoru Mttt隆 中Azech
(K・ da Azed)a Rosen Tosha(Rosen To,dl卜 OU
zduraznё ny pivkv tradて nho tance slsl"∂
dopЮ v6zendho lё tnou a bubny a vztahuiに` ihO Se
km′ ICk・ ″
時 bytosu Sttadbaて aslo引 ouオ iak0
1・
1akbl,OVertura na pFに hodnou・ k v astnlmu
vys10upeni bOhem kterO hrad postupnё nastupuJ
na leViζ
tё
M■ 0子 O M kl
豊
autOrem ie Fujinaga KengyO(M str
Fudttnaga a b′
′４
itlrmを
Komorni orchestry
Mhoru Mi晰
930)引 o副 Sttadbu焔 あ ′わυゅ
0″ ″ /t乃 ′∂ρ力raSθ (Parafrbze
na dlvnou lapOnskou hudbO vに 10Ch 1965 66 a ta se vzろ pOl staぬ wznamn,m
“
mezniに m na pol soudobё iaponsk`● orby AutoriOim prOStFedncMIn manrestonl
sv`p・ svё dて enl,2e pr6vё v nezkrotnosti vl`nich a ene● 1 ldi d6Vnё ho,aponska lze
nJ`zi mhdstvou a raznorOdOu pnЮ zenOst hudtt keЮ uレ e podtovat,ko Opavdu
moderni Sttadba mさ pё tて ,sti Ovodni″eludit,Vych6ゴ z iednoducho formy
l oddly"″ ο
η
zJo2en`na mstrumentOhi barevnosl,pた dznamenlvaに inl引 ed可 に
ya SkuOna dterん o a poddn`
oゎ a butnaわ ル
bSky Sopr6n,pFに n`netna η
le pも
nさ ina勢 々
“ 昴 adzde vzaemnO PFezn∼ 可1 0dpOVdaF● ′a lm vytvさ re iり ￨(kOu vё tu
ο
na′
ψov`m pdゐ η
ie scherzO v rOzhOdnё m pregnantnim rvtmu,ktett ie
odvozen z pra・ tarё ho pOsvlinOho tan(e pro ceremonぬ slzeni「 vを ov′ (h whOnku
Tdnec na
Do proudu
Ыubok,ch
t6n3●
々
昴advnさ Jedu
d pohFeb“
p“
前動ka
vstup11
力∂どve ysOk・ poloze Zlvё retnl
.lamentace citery koゎ a tOny dal,iヽ a々 υ
n`引 avnosl,pn kterё J m ad千
さst κ∂
O
ie
hudebnim
obrazem
dlVn`ldovO
taneて
だ
ク
‖
dO vzliemnё Zp● al p“ nё bsky a v t.aFd mに necに pbtt PFlemno vzru`ent kter`
m`,vO koFeny v idsk,Ch hSunktech,zde postupnё narOstさ aを k vrchdu a pak se
energi〔 ke
,Ch e ulζ i
Ptt kompo力
(sk adby力 ″θ
alVaSeル
・・εレ θ e snO(h,beze
Sn3)Se Takashi Voshimatsu
A・
“
(Taka蒟 JOlmacu′ 1953)ins口 rOⅥ
I
Wttadem a mterpretacr sn3,sOu
pFttn vё
てn ko,vaレ e zmOnl,
nepHz市 v`na takove ktere pln6菊
,tё sti?Skladba
mb pё
tて Osti
千
sen
vody sen dFeva,sen ohnё ′sen mrakl
a sen vzdu(hu Vznikla pavOdnё
(1988)pro vyn kajに l hrま ku na々 οわ
Nanae Yosh mura(Nanae Joζ mura)
bka,師 お
a soubor Waner sOも ten iak0
`hmaも
o
sttadba pro d.acelstrunnё ttο o日 annet.houtte a udon(dtt V roce 1998 1
nに h nOstro10
sHadatd pた pra(ovЫ pro々
ο
"a sedm
tladで
zkOmpOnott v roce 1973 Akira
θ
η″ppons,(h
dl G●
SHadbu θわ●●″ρer′ 6S"η
rukube(19141 Je ms口 rovさ na hudbou=1埼oれ
""θ
,kterl vzkvetЫ a v,aponsku v obdobr
Hdan(7921185)a bJa nelspに
la● ml
prdm6nim formttni posvOinO hudby(`a`k・ ho
e leli Charaktensl(k`"sy
dvora se svetskou hudbou‖ dovou PFedpO鳳 ldl sら せ
a ndode bJysmё
ダhud,t・ hdttζ hO Japonska Cmy a mde,,●
zlan6 tё
を
nで formy ttdO pけ
Himυ ●●
ρbプ a ZFttmё hudbou pro憫 zenou zpё vem,be2 n匈 ak`pFも"η
pn“ mprOMzOvanё tantt allに h
tance vに
hdけ nakOne(v ЫOz品 vё m vre“
Pro v,echny kte肖 (hteli nas ouchat,miを e bi setk`ni s vvlimeて
n′
m sOubOrem
iak,m ie PrO Musca N ppOn a,skutetn,m muL kuLumim mostem a tak`led neて nOu
pFneを 10sti k daに r vzalemn`nsp rac v mnOha rovinさ (h meコ r`zn′ mi kuLurami
rozdln′ mi hudebnim tradに
em myttenkowm kOncepty V,chOdu a Z6padu
Va`lJav Matouヽ ck
lnstrumenthF souboru
いstrumentaF
souboru tvor tradて Or nostrole Ze vζ ech h`tol〔
Japonska Mnohё
●(h Obdob〔
z nに h isou
obsaを eny uを v unikbtni sbirce
dnceu tr dШ hu nbst Olu
ヽklhll"よ ● ひ
Z neirlZnttζ iCh konて n tehdeiζ fhO
svё ta,kter6
se do(hovda v prottJ`pouad■
h avnim mё st・ JapOnska Nara
“
Ve sb"ce z po ov ny 8 sto etile u o2enO nё
kolk exemp 6Fuて ,r d pё Jstrunn0
いsk・ 崎uiny ρ ぬ
bプ y Zl・ lmё pFedohou cd`lady laponskych vanant tOhOto nOstrole,ぃ
“
“
ν∂a daに 1 0dpoて
dneζ nf saα ″η∂―
b′ No,いkυ zenめ ん
buiny'lla kterさ
'
に sσ soわ v chr6mu"ぬ ′
∂
′v nё kdo,im
ゃuastnё ObdObou zn6mOて
tO butny
T・
k`pFedStav可 千
ahiavnim
“
3 stoleti
byla
b′
vu″ θ
ke 7・
οη
οク∂
doprovodn′ m nostrolem pn rechad hrd nsk,Ch epick′`tku(h1 Zpё
"rl
pFedn`ζ enych potu nymi buddh sl(k′ mi mn(hy
Z depoz10FI動
znlme nastarJ do(hovan`dnsk・ ust“ varh`nky贅 り
pou2¨ nou v(eremonめ hr
`0わ
pFimOu pFedbhu pro,1に
h lponSkou modikad“
(`a`k`ho dvoo""kυ ltl uttechlb● vltrbenO hudba a pH
nych a podO nych 16ten isou
oけ adech MeJ Fadou tamnに hp百 て
hudbё ,ponsk・ h。
srわ
`=,"ふ
n6strae
z bambusu,ze引 o■ o宙 ny z Jabastru a leden dOkOn(ez,denu PO(hlィ
tny potuh′ ch
odtud naSta``znlml podoba ttk〃 わ
∂
d podЫ n`bambusov`悧 ё
,m面 chi nco,・ 2 1pOnSkehO stFedovё ku Ze zde dochottn,ch plて n′ (h neten se
abυ e a ttο bυ e
Zttmё wⅢ nuり pFedevttm v動
ふ ltulは h pouを
″υ
"aΠ `々 6pravou,voを enim
pouを
′
々
υPozdttζ F drobnou
a nelspgei n`tna″
"anl
v 939∂
a netna
η
oゎ
出n′ mdOd(k′ nlstra d Юdb η。
Zu芝 可
にhO kanlku rο`k贅
oO vz市 劇
0`ヽ
」
eho
力
WOFr kiOmo 10iny η
Oわ ηu21enom in
″a“`●
a"″ OJ旬 にh pFed ohy znOme samozFamё tak`
‐″′
`0‐
vpravdё askel(k,orChest4 zvan′
bubnμ
々
ο
6z17・
Komorni orchestry
z poHadnに eSあ 0わ
●cbz開 ′Oαz〃
"mai a War
pFeS,pacich hod n.rOzeznival se rderem rukOu
lei ch
ton lze pF hFe mod fikovat napinlnim ihir lvazu
V ied neて
n6mnお troiovOm
SOubOru sbrrky ma ce Ou
radu pFed oh i nesm"nё
pOpu lrnilaponSk6(lera
bo Hudba pro● fa vzkvOtab zom`na v ObdoЫ
ど
dQ
od 17 stdel,kdy tt takeた 9endl「 ni neⅢ dom′ unuOz
na tentO nast OI YatsuhaSh KengyO(M`tr Jacuha引 )
PrakJcky v,echny zmmё n`nbstrole卜 Ou souて 6SJ
instrument6Fe souboru Pro lvlusica NippOnia Pro
up nOstie le'tё OVζ em nutno dOp nl Fadu daRに h
nOstroin PFedevttm isou tO rlzn`b cr n6stiOle,
po(hlzttKf Z hStrumentlγ e buddhstに 対ch chrlmo
jako napF,dFevё nb
ζ
tOrb■ ovё ho
r・ ba・
v pr3mё ru a s ouセ ik
ゃxtl―
sゴ
で4
―ηο
々
υ
ブοve
t7aru
bubnu′ kte″ m]芝 e mttiVに ne2 metr
Ⅳtm
za(pn pFednesu posv6in′ ch
nebo do引 ova,vdk′ buben・
-0ある
J nO zas naopak po(h6zelispSe z hudby ldov`
a dvaddnl lkO dV可 にe
dFevё n,ch perkuダ
,2
金kυ δ
"
nebo dFevё nё k apaて ky bわ ″
,M鶴剛 穏 鑑 :T糖譜咄 朧 舞
Jedい ,m
smyと Owm nOStrO em iapOnSke tradこ ni hudby ie
bendお v`ho,pu s korpusem pOtaを en′ m kO江 a ten,m krkem
bez praを
(l a zdom6(nё ly v JaponSku tepⅣ e
ctvl stde“
smyて cem a ,viO10ncelovO・
△
bё
hem poslednich
Nam“ O obFmo trsltka se btt rOzeznm douh′
drを enli smyて
m
(ov6 te(hnika
odkazu1l spge na lehOて いske neを evropskё smyて (ov`
,pFibuzn`・
Nё kter`tradに ni n6strole bプ y
V pottedni dobO novovan“
VZnkり tr・ ba nnanw dtew kο O v basovO pdoze a o vetダ m
l・ ∂
rozsahu s dttceu strunam neb0 1`ina力 々
こkterl m`to
h anhemlonに kou
pet tOnov,ch OtVOtt vydlⅥ iに に
pentatOnku,m6otvora sedm.d dokonce dⅣ ё
t a umOを htte
tak snaz“ hru d atonに k,(h i nё kter・ (h chromal(k,(h t6nl
V asl,av Mabugek
The idea to apply to contempOrarv(ompOs tion the special character st cs oF
trad tional,apanese musi(and the unique sound of,apanese musi(al instruments
may in many respeds′ prOvide 9reatinsP rat On Among the paⅢ culaHy ere(t ve
insp rational sour(es of the,apanese mulcal tradit on,timbre plays an impOrtant
ro e as a form creatng med um plnc paly n(onneclon w th the unique(haractr
of trad面 onJ mstruments su(h as the"a々 昴∂ ′″δ
々aa bク υ
″
e Sわ o勤 ∂
`abυ
々οゎ et( the app cat On oftrad tional sp r tualintelle(tual
con(epts′
the various`¨
“
(onnotat,ons of trad t,onal notation and′
last but nllt least the proverbial e(onomy
of express ona means
The,pCa sound qua w spe(I(10 tradl ona Japanese mul(as one of ns chief
form crealng med a.(orrespOnds w th some oFthe devo opmenta trends n
ing motf and melodi(
pln(p e establshed overthe ast f● w(entules,we wl see trends to c nfoκ e
contempOratt VVeStern music fvhere,in resPonse to the preva‖
the fun(t on oftimbre The use of or ginalinstruments may indeed provide
a restorat ve subst tute for lostintonat onal spe(fi(s and the natural(haracter st cs
Of peFe(t and tempered intoning instruments found in the Classi(al Romantic
Orchestra The trad tiOna,natural tuning and spe(ial timbre of these instiuments
Otter versatle oppOltun ties to b「 oaden the ran9e of the expresslonal means open
to(ontempOrarv(ompOsers
Apait FrOm these more technical aspe(`the inspirat on of FarEastern thinking.
wlh ts d sund ve tenden(y tovvards p uralit・ and the endeavourto lnd more corre(t
and mutualy comprehensive solut ons to the same problem,may、
vel enhan(e
(ontempOraw mus(by return n9 1o approaches faml ar not on y from mus(a
(u tures outside[urope but also from the distant historv of our o、
nc Jde′
vn music These
for examp e.erstwhie valabl,and Openness Offorms′ the pln(p e ofthe
indef n te or the r・ inforcement of imprOvisat on as llustrat ve levels of musi(al
ραイ p
`dυ
wnh nits stld iamework.as the on y(orred fOrms Of mus ca seFexpress on
″
n9ement
Ofa
das釧
e
ar●
(d
work
forthe
、
"b“by Fulinaga
`a spedJ
ensemЫ
々οo “
w"ten
Kengyo(MaestrO
Fuinaga).and`tradl onaly
performed as`∂“nぃkυ ― mus(of three・ ,namey 8(Omb nalon ofthe々 οo wlh
singe`sわ an′ ηand slla々 υ力∂cl・ ′The purely instrumental verslo■ ,arranged in 1 975
by MmOru Mk `θ
Kett Aze(h and Rosen Tosha contЫ ns domhant dements ofthe
tradl ona dance勁 おわ
■′
ηa,a((ompan ed by the nute and drum■ and s asso(ated
・
、
v th the mythical
lon creature The vvork frequent y serves as a kind of・ arr.al
ovetture・ for the main performance′ dulng whに h the musに ians 9radua‖ y make ther
interpretation,for centur es transcending the binding mOdel of the opυ
appearan(e on stage
10
s
Komornl orchest"y
rbゐ ″ 力
Minoru Mim 1930 wrotethe work綺 あ′
θらりん η
′
″se
ンο
“pelod 1965 66 wh(h
(Paraphrase ater Andent,apanese MuJO dunng the
immed ate y became an important andmark n(ontempo「 arv Japanese wrt ng
Through this、vork the(ompOser man fested his convict on that the unru ness′
pass10ns and energy of the people of an(ientJaPan embody the youth and
heterogene tv of muJc wh ch can be th astru y modern The work has lve patts
The introductow preル lb(omplses a lmp e form based on nstrumenta co our
、
vhich anticipates the subsequent palts ∫ο
hnο ηis a song Oflove The sopranQ
side blo、vn flute
ηOkaη ′the
b′
Ⅳa
lute′
the 9rOup of々 0わ z thers and the end―
blo、 vn
fute sわ ∂
々υ力∂ひ′interJveave the r melodies and respond to each othei thus(reat ng
a lyr(al movement The ri(e f eld dan(e
ゐηαη∂′is a s(herzo in a decisive adept
rhythm′ del ved'om the ancient sacred dance for the(eremonial plani n9 0f rice
in the next palt the Rυ ′
々a
shoots The current oFthe deep tones of the s3a々 υわ∂ひ′
dirg⊆ carr es along v・ th it the energet c ・ lanentat on・ of the々 οゎ z thers and other
SI∂ 々
LI∂
′h a hghに 」stel The inЫ pa嗜 く
age,off・ rsa mul(Ы mage ofan
ancient folk
“ dan(e ceremony dur ng、 vhich yOung people sang love sOn9s to each
other and selected the r paitners The agreeable ex(tement born of human inst ncts,
here 9radually grows to a(lmax and then swit y fals slent
Takashl Yoshlmatsu 195助
found inspi at on in the narrat on and
nterpretalon OF dreams whle he was
wrt ng力 ″θ4囮 se)4″ ηθ●9aθ
(Wnhn Dreams Wnhout Dreams)Are
they favourable or negative2(an
unpleasant dreams be repla(ed by
those vvhich br ng good foitune2 The
、
vork has five partsithe Dream of
ヽ
Vatei the Dream of 711ood,the Dream
of Fire the Dream of Clouds and the
Dream Of Aに
w“ ten forthe "was
exce olg
ent々naly(1988)
0ゎ p ayer
Nanae Yoshimura and the Vienna
So o sts ensemb e as a work for
lar net′ vio n
a■lventy str nged kc、、〔
and(e‖ o l■ 1998 the compOser
にwrote tfor kο ゎ and seven
tiadit onal,apanese instruments
A,ra lFu`u)3
11
″ηね●々 ρer′ σ υ″ ″′ σlρροpevVaswlten n 1973 byAkira lfukube
“
lk,純 muttc wh(h loulshed m Japan dunng the Hdan
910"Was hslred `″
by θ
penod(7921185)and waS probab y some k nd offus on offorma sacred mus(at
“
the imper al court and secu ar rOlk mus( 15 charadelsi c tra ts and melodies were
¨ ra asO
supposed y a blend of mus(from,apan,(hina and lnd a atthat time a‐
1,vvas evident y mus(aC(Ompan ed by song.wthout any stlct
known asいヽ
Rυ
form P・ ople are"●
sald tO have improvised dances dur ng this musi(、 vhich(ulminated
n a frenz ed wh H of movement
For a‖ those、 vho、vish
to hear music,an en(ounter,vith su〔 h an excelent
ensemble as Pro 14usi(a Nipponia generates the setting fOr a truly mu ti(ultural
bldge n aに o provides a un que oppOrtuni,forfurther mutua nsplaJon on vanous
planes―
bet、 veen
diI・ rent cu tures dissimilar musical trad tions and the inte‖
(oncepts of[ast and VVest
ectual
vlast s av Matoし
t・
ω b心'ek
昴
′″ 鮨Ю″
instruments performed by the ensemble
The instruments played by the ensemble are tradit onalinstruments dat ng from
al per ods in,apanese histor・ lvlany of theln are(ontained in a unique(olect on of
tAen,thに e tvpes of mstruments from valoJS pa“ ofthe reJon aS t Wasthen
whに h suⅣ Ved h the cdebrated SAあ 0あ treasu″ Of theわ め″itempい h Nara,
the former cap ta1 0f Japan
The co‖ e(t on from the rnid-8th(entu"compr ses several examples of
fou卜 or ive― stlnged b lta lutes、 vhich aie sim‖ arto the fam‖ iar Chinese lute
These lutes,vere evident y the modelfor a・ ・vhole ser es
of Japanese var anS Of this instrument Su(h as
todayヽ
,お 切ηa b続,aklzeη 窃 !Ma
and others From the
beginning ofthe 13th centu"the b′ 142ヽ VaS the chief
nstrumental ac(ompan ment dulng performan(es of
ta″ heroに epに songs pe formed by
Heike nll′ 0ク ∂
traveling Buddhist monks
The Sl δ
sδ ′
n depOstow alSO〔 Ontained the eariest
suⅣ iving(hinese mouth or3an sl・
ε、、the d re(t
inspiration for its,apanese mod fi(at on sha used during
(eremonial mus(at the lapaneSe imper al(oun.9agakυ
O e nOЫ
たl ntuJs
0 0rreined mu10 and dunng勁
The range of side‐
blo、 vn
"ゎ from this
and end‐ blo、vn flutes
source nc udes nstrumenも
made from bamboo vorv
12
ρ′
]o∂
Komorni orchestry
々
′
Jso
〃
abbaSter and one even from lde rle ea‖ たst known,pe of`わ ∂
"“ monks of
Or 9inates irom here― end― blo、vn bamboo flutes played by the it nerant
nothingness・ dur ng the Japaneseヽ 4,ddle Ages The side― b10An flutes surviving fiom
e and"わ Obυ θused dulng
ths b(alon probabけ chefy gave nse to the●9υ
`abυ
the 5わ
たi ntuaに ′and presumably a so the γυ″k'lut・ performed as part of the
"ゎ
vn
A later minOr rnod fication involving the inseltion oF a tapered tube kno、
クaga々 」
as
η
οσ
●produCed
the
η
θ
力ηlute′ the
o‖
y mdodに mstrulnent used by the″ ο
わ
theatle ns tuv as(etC Or(he“ o.cJに d力 3yashi em口 Oyed
add t on to the
η
δ
々
∂
ηfute
ηう0お
the々ο
Z17・
Osδ
natura‖ y a so olginate from the Sわ`uz′
iesemble hour glaSSes they are struck
O‖ y three drums h
′
and the"lko The r mOde s
0々 οおlz.r′ and Oお
by"treasu"■
hand and theii
lz lm′
notes may be mod fied
dur ng play by tightening the str ngs of the binding
llle highly popular,apanese々 0● zither also has a ser es of or 9inal mOdels in
this unique conect On Of instruments lrlusic for々
EOo per od,'om the 17th(entur″
οo f our shed particular y dur ng the
the era of the legendav bind virtuoso on this
ηg/0(Maestro Yatsuhash)
いstrument bお υわθ ′κθ
`力
PradiCaly al the instruments mentiOned here are used by the Pro 14usi(a
NippOnia ensemble For the sak of(ompleteness one should also ment on a number
of othes These chief y include var ous percussion instruments、 vhich、 vere played in
Buddhも ttemp e■ such as the・ wooden ish・ ―″ο響
wh(h can measure over one metre n d ameter and seⅣ
ac(ompanying rhythm during the rec tal of sacred texts―
vvhi(h itera‖
o,n the shape of a ttn drum.
esto prOv de an
sυ
tra,or the instrument
y means ・ large drum・ ―ι
da々 O Others.hO、 vevei or ginated more in the
folk or theatre musical env ronment′
lke the pair of、 vooden percussion instruments
sllab、ふ ′orthe wooden dappes b′ ηza`∂ o
The only bo、 ved instrument from the、 vor d of,apanese trad tional music is the
々ο゛ 、basicaly a smaler velsion Of the p ucked`力 ap`e■ a so known as sar9eη ―
iteraly tlp e stlngヽ 3oth resemb e banioS Wに h Skin strethed overthe corpus and
a na「 ow neCk wnhout frets they ontt beCame oca to Japan duno9 the ast four
centunesい stead Of uJng a gant口 edrum′ the々 0`γ jも pbyed with a ttng bow and
the・(e‖ o' postion and bo、 ving technique are suggest ve more of its Chinese rather
than European bo、 ved counterparts
Recent times have seen the innovat on of(eitain trad tional instruments For
examp e.bass valantS Of the々 οゎ ather and the arger verJon wth twenw stlngS
々υ力∂[h′ flute、 vhich′ instead of five finge「 holes generat ng an anhemitoni(
or the s力 ∂
pentatOnic s(ale.has seven holes or somet mes even nine.enab ng the playerto
produ(e d aton(and(etta n(hrOmaJ(notes w th 9reater fadl″
lrS′
Va,11av Mabし ,ck
昴,い わυb
"Ker。
13
PRO MuSlcA NIPPONIA
Soubor Pro 14usi(a NippOnia zaloを lo v ro(e1964 ctrnO(l skladatell a hudebnFkl
s neviedni deou:hrlt pledevζ im uastni soudObOu hudbu′
ovζ em
nalaponsk・
tradに ni n6strae Duchovnrm otcem tOhoto prolektu by M nOru M kt kteけ
lё
ta vndて l osObnOstisouboru V souて
se sta na
asnosi mO soubor kolem ζedes6t てlen3.kteFi dle
pOtFeby wl.￨ぬ i narlzn。 引Sestavy a komЫ na(e tradtnに h iaponSk,Ch nOStro10.lk
tO Wを adur aktu`hё reJレ o唸 n6vystoupenf a prOlektV
Konce蔵
roて nё
aklviw se sOustFedも I kdem pё l praИ ddn,ch temal(k,ch kOn(enu
kompoJce pЮ iaponSに tndて ni
い酬e
ぬ novё
Jeden“
z ni(h napFrklad v20y poて
vytvor・
n`
`tkem
uv6di v premiё
nlstrOle
Od 10ta
n・ laponSkych
sHadatda z cd`hO svё ta
praMddn,ch temal(kych kon(ennに h podni soubor uskuteて htte rOtno kdem
kuLulni mst"uce a ζ
ko,pO(dё m
,aponsku Vedぬ toho se vё ntte nahr6v6“
repFzentaJvnに
h
sttadeb
svlhO repenol出
“
a samoz● mё se pod“ na nahravkOch prO wslln rozhbsu a tdeⅢ ze
Vede sw(h ak」 ut V」 apOnsku vЙ 貶
ditdeso naて asta koncettni turnO dO
zahran ti P「 o Mus(a N ppOn a hrh aj2 v destk`(h zem千 Evropy Amenk"As e
10(ein e MeJ svё lozn6m′ mi kOncertnimi sb y ve kte″ (h12 SOubor wstupovat
stovky dJζ に
h wstoupenf pro narizn可
nechybi napFiktad Carnegie Hal v Ne、 v Yorku o DvoFlkova sih Rudo fina′
lИ
kde Pro
Ъmuヮ pOpⅣ 0 30 zOγ 1972
t・ hdy natoて en Cesko引 ovenskou tdeuイ a,hO Z6Znam le dnes uastno●
usi(a NippOnia hr`la pod taktovkou dir genta Tdkuo
Kon(eⅢ bプ
Cenn′ m
h stOlck,m dOkumentem
SoubOr tasto takO spO upracuie na spo eて nych prOlekteCh S Vyznamn′ mi
zahranて nim oκ hestり Sttadba`″η
続 をρわσ
,kterOu Mmoru l・
k
"'た
zkomponOⅥ vfo(e1981 na o町 ednovku k dvoustで
muv′ rOd ZJOを e● or(hestru
14
Komornl orchestry
‖pskOho Ge、 vandhausu osobitvm zpasobem prezentlle iapOnsk・
tradに ni n`strole
vる mbhad sinstrumentlFem evrOps● m SOubOr Pro Mu引 (a N ppOna Odto doby
mnOhokr6t uved tuto sdadbu spdu s rnzn′ m5V010Wm Symfon(k′ m tdes"vて etnё
NewyOrsk・ l harmonに a spdupra(ovJ t02 s mnoh′ m ζpに kOWm Sdも ヽ jakO卜 Ou
lsaac Stern a Yo Yo lvla Za svouて
innost obdrを el takOこ Ptn6 mezinbrOdni ocenё nf
PRO MUSICA NIPPONIA
The Pro Mus(a N ppOn a ensemb e ltas
estabished in 1964 by fOuneen(omposers and
musicians un ted by an unJsualidealto perfOrm
ch ely the"own(ontempOray mus(but on
trad t,onal,apanese instruments 14inoru lvliki vvas
the SlrLutt father of the proled who.for years.ms
a leading 19ure in the ensemble The ensemble no、
v
has around ttx,members whq depend ng on the
o((asion form vanOus arrangemenS with asso t・ d
combination5 of trad tionalJapanese instruments as
req面 red by(urrent performances and prde(tS
The ensemble.sa(i v ties are concentrated around
ive regular(oncetts per year each based on
a palti(ular themo One ofthes⊆
力に ,T● mJ「 1
for examplq is alvvays held at the be9inning Of
summei presenting the prem eres of new works fortrad lona」 apanese nstruments
by non Japanese compOse`from a‖ overthe wond Apart from these regu ar
themat(con(etts the ensemble a15o peHに rms approximately one hundred other
a(ross,apan They aК o
concerts annua‖ y for various culturalinst tutions and schooに
record mttor WOrks from the"reperto re and.natura y aし O appear on te ev`,on and
radio
Apan from the r Japanese engagements the ensemble also frequent y travels
abroad on toui PrO iИ usica NippOnia has appeared in dozens of(ountr es in[urOpq
Amel(a.As a and Ocean a Famous venues nc udq for examp c Carneg e Ha‖ n
Ne、 v York and the Dvoγ
Ok Hal at the Rudolf num in Prague vvhere the ensemble vvas
conduded by Takuo Tamura for the frゞ t me on Saturday 30 September 1972
The concett was re(orded by Czechoslovak Telev sion and the programme is now
〔
onsidered a valuable histor(al document
The ensemЫ e Jso iatures m idnt praeds withに adhg fordgn orchestras
iヽ
ふ,wltten by M noru M k n 1981 as a(omm`s on
The work ttη ρ
わ
ο
ο
η
/rol rlla′ レ
for the ttlo hundredth anniversa"of the teipz19 Govandhaus.o■ ers an eie(t ve
presentat on of trad tionalJapanese instruments in(Ombinat on f.th the r[ulopean
15
PRA「 1● l iAH:｀
PRACllE SPRI‖ G
1:l[:臨 鰤:lI翼 楓
冊糧朧悧if酬 紀
脚器需;l:こ ]詰 よ
]』
York Phlharmon(Orchestra,and has appeared w th numerous top so10ists
su(h as lsaac Stern and Yo Yo lИ a The ensemble has also re(eiVed a number
Of nternaJonal awards
,m々
PRO MuSlcA NIPPOlllA
obsazeni pro fest市
2θ O′
Ы Pra2ske iar0 2001
Юsrer
Plaglle,p颯
"θ
"Festlya′
Takuo Tamura
d rigent ωηdtlcゎ ′
Kohd N`hkavja,Shgeto Ochi fue
Naoyuki Manabe‐ ,6 sh0
YuI N`hihara― hに il晰 力
'6,"k,
んacll,
akuhaこ
Kfu Miも uhash ζ
Shbeyasu F可
Hiroshi
`ak
Soekawa―
Ke“
ん
aclli″ ″々
511a々 υ
ttute‖ `hakυ
々
υ
力
aclli
ηOkaρ
nOkan
`わ
∂
;akuhaて ′
ζ
akUhad
こ
Azech‐ ko町
Sh"o M noda ,am sen`的
ttanlsell
り
unko Tahara Vasutaka Aral‐
b vva
Nanae Yoshimura.Kelko Miyakosht Chte SakuralAに miYamada― koto
ShntarO Sendo.Taknoo MO(hレ Jk,Mに hip UsuИ Ыd ndstrole ραてυ
lall
“
IBI
《
m)The」 apan
￨￨lt l'
Cutura Arai6 of,apan
N乱 留1馴I‰
NDATЮ N
Foundation
v