RecordingofThemeandVariationsbasedonEtenraku

(PianoSoloTranscription)byYoritsuneMatsudaira

ByYusukeKomura

Awrittenprojectsubmittedinpartialfulfillmentoftherequirements

forthedegreeof

DoctorofMusicalArts

(PianoPerformance)

attheUNIVERSITYOFWISCONSIN-MADISON

2016

Dateoffinaloralexamination:12/10/2016

ThedissertationisapprovedbythefollowingmembersoftheFinalOralCommittee:Taylor,ChristopherP.ProfessorofPianoKarp,Parry.ProfessorofCelloJohnson,Jessica.ProfessorofPianoandPianoPedagogyCrook,David.ProfessorofMusicologyFischer,Martha.ProfessorofPianoandCollaborativePiano

i

TableofContentsPurpose 1ChapterI:YoritsuneMatsudaira–BiographicalInformation 2ChapterII:MusicofMatsudaira 13

Earlyperiod(1920’s) 13o Matsudaira’sImpressionism 14o UseofFolksongs 17

Neo-classicalperiodandAlexandreTansman(mid1930’s) 20o FolksongtoGagaku 23

Dodecaphonicperiod(1950’s) 26o Abstractionism 27o UseofTwelve-toneSystem 28

TotalSerialismandAleatoryMusic(1960’sandlater) 30Finalyears 35

ChapterIII:Gagaku

BriefHistory 38Classification 39Modes 40Instruments 41Etenraku(���) 42

ChapterIV:ThemeandVariationsonEtenraku 45

Reception 46Overview 47EachVariations 50

o Theme:MoltoLento 50o I.Andante 53o II.Allegro 56o III.Allegro 60o IV.Lento 65o V.Allegro 67o VI.Allegro(toccatameccanico) 69o Coda:RecapitulationofTheme.Lento 72

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ChapterV:PerformanceSuggestions

Dynamics 74Tempo 75Pedaling 77RollingofChords 77Rubato 78

Conclusion 79

Appendix:PossibleErrorsintheScore 80

Bibliography 82 Discography 87

1

Purpose

ThisrecordingandessayfocusonJapanesecomposerYoritsuneMatsudaira

(1907-2001)andhisbestknownwork,ThèmeetVariationspourpianod’après

“Etenraku.”Thepurposehereistoaddanaudiorecordingtothestillscarce

collectionofrecordingsofhisworks,aswellastodiscusstheevolutionofhisstyles,

inwhichThèmeetVariationspourpianod’après“Etenraku”markstheoutsetofhis

mostmaturecompositionalstyle.ByfusinginspirationsfromJapaneseancientcourt

musicknownasGagakuwithhisuncompromisingestheticsasamodernist,

Matsudairaproducedhismatureworks,whichcontributedtothemodernizationof

westernclassicalmusicinJapanandtheestablishmentofitsnationalisticidentity.

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ChapterI

YoitsuneMatsudaira–Biographicalinformation1

YoritsuneMatsudaira(���)wasbornonMay5,1907inKoishigawaku

HisakatachoinTokyo2asthefirstsontoNorikoandYoritakaMatsudaira.His

parentsnamedhimYoritsune,usingthefronthalfofhisfather’snamefollowedby

thelatterhalfofhismaternalgrandfather’s,DukeSanetsuneTokudaiji.Hisancestry

tracesbacktoIeyasuTokugawa(1543-1616),whowasthefounderofthe

TokugawaShogunatein16033,whosemonarchyremainedvirtuallyinpowerfor

260years.YoritakawasaformerfeudallordofIbaragiken-Ishiokata,aswellasa

veneuroftheministryoftheimperialhousehold,andalsoabirdresearcher.4

Fromayoungage,Yoritsuneshowedhisintellectualmaturityasastudent,

outperformingtheclassthroughouthissixyearsatGakushuinElementarySchool.

Hewasachildwhodespisedviolencefromsuchanearlyage,refusingtowearthe

uniformGakushuinhadstandardized,whichresembledtheJapanesemilitary

uniform,andnevertookpartin“playwar”amonghisfriends.Graduatingfrom

Gakushuin,heenteredintoGyoseiJuniorHighSchool.Despitehisfamily’swealth,

whichwasanobjectofenvyamongsthisclassmates,hebegantostarveforaffection

1ThischaptermakesuseofarticlesfoundinJapanesesourcessuchasOngakuGeijutsuandOngakunotomo,whichwerenotavailableinEnglish.2Duetonumerousreorganizationsofadministrativedistricts,itisnowTokyo-to,Bunkyoku,Koishigawa.3AlsoknownasEdoera(1603-1868).4YasushiTomigashi,“ContemporaryJapaneseComposers:YoritsuneMatsudaira,”OngakuGeijutsu11(1951):104.

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fromhisfamilyashegrewoutofearlychildhood.Inordertoconsolehissolitude,he

wentintotheherbariumattachedtohishomeinHisakatachoandpassedtimewith

taxidermybirdshisfathercollected,huntedbirdsinthegarden,orplayedwiththe

waterfowlskeptinhispond.5

Aroundthetimehewassixteenyearsold,hisfamilyfacedadeclineinwealth

andstatuswithintheimperialhierarchy,whichresultedintherelinquishmentof

theirestateinHisakatacho.Followingthisdevelopment,Yoritsunewassaidtohave

developedasevereinferioritycomplex.6Temporarily,heandhisyoungersister

movedtoAoyamawiththeirmother,whoseparatedfromherhusband.Beingforced

tobepartedfromactivitieswithwhichhepreviouslyevadedhislonelinessinhis

mansiongarden,hestartedtodabblewithhissister’spiano.OneofMatsudaira’s

earliestandimportantacquaintanceswithawesternclassicalmusiciantookplacein

1922,whenLeopoldGodowskygavearecitalinJapanaspartofhistourthrough

EastAsia.7Godowsky’sperformanceofworksbyChopinmovedYoritsunedeeply,

guidinghisheartasteptowardtheartofmusic.However,withinthesocialcustoms

inwhichlearningmusicwasconsideredaleisureactivityforgirls,Matsudairawas

prohibitedfromtakingpianolessons.8

Hedescribedhisearliermusicalexperiencesinanarticletitled“MyTeenage

Music”asfollows,

5YasushiTomigashi,“ContemporaryJapaneseComposers;YoritsuneMatsudaira,”104.6YoritsuneMatsudaira,“MyPovertyStory,”OngakuGeijutu4(1950):51.7CharlesHopkins,“Godowsky,Leopord”GroveMusicOnline,editedbyDeaneRoot.AccessedSeptember15,2015.http://www.oxfordmusiconline.com.ezproxy.library.wisc.edu/subscriber/page/gmo/boards8KuniharuAkiyama,JapaneseComposersTodayVol.1(Tokyo:OngakunoTomoPublication,1979),159.

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[duringthetimeIwasinjuniorhighschool]afriendMr.IhadanimmensecollectionofrecordsandabeautifulSteinwaypiano.AtthattimeIwasstillenthralledbyChopin,butMr.IwasaWagnerian.BecauseMr.I’sfriendswerealsothoroughlyWagnerians,theywouldhavemuchfunandexcitementbyguessingleitmotifstheysangorplayedonthepiano.Ifoundthisatmospherepedanticandintolerable.However,Iwaitedforthemtogrowtired,andthenhadthemplayrecordsofChopinbyVladimirdePachmannandIgnacyjanPaderewski…..Onedayanothermemberofthegroup,Mr.SwasplayingapieceIhavenevercomeacross.whenIaskedhimwhatitwas,herepliedthatitwasamazurkabyhisrelative,ShukichiAkiyoshi.Infact,IwascomposingaMazurkaatthattime,andthoughtinsurprisethatthereissomeonewhodoessimilarthingsasme……throughtimemyinterestshifted,andI,unnoticeably,becamecaptivatedbyDebussy.AsMr.Iisconversantwithallthings,helecturedmethatthewholetonescaleDebussyutilizesisconstructedfromnaturalovertoneseriesandthusextremelyscientific.IrecalledmyamazementsimilartowhatIexperiencedwhenIsawtheabundantuseofnumbersinanarticleonelectronicmusicwrittenbyMayuzumi.9AfterhegraduatedfromGyoseiJuniorHighSchool,heattemptedbutfailed

anentranceexaminationintoIkkouHighSchool.Aftertwoyearsofpreparation,he

wasadmittedintoKeioUniversity,wherehestudiedFrenchliterature.French

literatureneverbecameYoritsune’spassion;however,ithelpedhimgainfluencyin

FrenchaswellasgetacquaintedwithFrenchauthors,someofwhomheclaimedhad

deepconnectionswithcomposerssuchasDebussy.In1925duringhistimeatKeio,

heattendedapianorecitalbyaFrenchpianist,HenriGil-Marchex,inwhichGil-

MarchexintroducedmuchmorecontemporaryFrenchmusictoJapan,where

GermanmusicdominatedthenotionofWesternclassicalmusicatthattime.Atthis

time,hefinallybegantostudycompositionunderKosukeKomatsu.10Matsudaira

alsotookfiveprivatelessonswithGil-Machexinwhich“hewasgivenincredible

9YoritsuneMatsudaira,“MyTeenageMusic”OngakunoTomo6(1956):125.10ShuheiHosokawa,JapaneseComposers;ABiographicDictionary,ed.KatayamaMorihide,(Tokyo:NishigaiAssociatesInc,2008),621-622.

5

lightregardingpianoperformancethroughpsychologicalandphysical

transformation.”11Later,Matsudairaconstructedhisrecitalprogrammodeledafter

Gil-Marchex’s. DuringhisstudieswithKomatsu,hemetYasujiKiyose,12another

pupilofKomatsu,anddevelopedalonglastingfriendship.

Atthispointhehadnointentionsotherthantopursuehiscareerofmusic,

buthisconservativeparentsprovidednofinancialsupportforhisdecision.Thiswas

thebeginningoflongyearsoffinancialhardship,duringwhichYoritsunefaced

emotionalandphysicalstruggles.Nevertheless,hedecidedtoleaveKeioUniversity,

wherehewasenrolledonlytodeceivehisparents,andtransfertoKunitachiCollege

ofMusic,onlytoreturntoKeioUniversityayearlater.In1928,hedebutedasa

composerbypublishinghispianoworkBerceusefromasuitetitledSouvenirs

d’enfancebyOngakuShincho.13

Despitehisdebut,hismusicallifewasinperilatthattimeduetohisfinancial

difficulties.However,hisaunt,whosympathizedwithhimandhissituation,decided

tosupporthimfinancially,whichenabledhimtocommencepianostudieswith

CharlesLaudrup,andharmony,polyphony,andmusictheorywithAndreas

Werckmeister.In1930,hemarriedawomannamedYukikowhowasfiveyears

olderthanhimself,notwithstandinghisparents’objections.Alongwithhismother,

sister,andwife,hemovedtoAsagaya(aresidentialareainTokyo)closetohisfriend

YasujiKiyose;however,duetofamilyissues,heandhiswifemadetheirhomein

11AsakoShiraisi,“CulturalExchangebetweenJapanandFrenchbyHenriGil-Marchex2010”(PhDDiss.,AichiPrefecturalUniversityofFineArtsandMusic,2010),47.12YasujiKiyose(January13,1900-September14,1981),bestknownastheteacherofToruTakemitsu.13ShuheiHosokawa,JapaneseComposers,621-622.

6

Higashinakanoinfallofthatyear,awayfromhismotherandsister.Inthesame

year,hebecameoneofthefirstmembersoftheComposers’Association.

In1931hisfirstsonwasborn.Atthistime,hedecidedtodedicatehimselfto

musicanddroppedoutofKeioUniversityonceagain.April23rdofthatyear,he

debutedasapianist,givinghisfirstpianorecitalatAkasakaSankaidoinTokyowith

aprogramincludingworksbymodernFrenchcomposerssuchasRavel,Debussy,

Poulenc,andHonnegar,aswellashisown.Hegavesolorecitalseachyear

consecutively,focusingonFrenchmusic.Programsfromhisfirsttworecitalsare

listedbelow:

FirstRecital,April23,1931Debussy Children’sCornerRavel PavanepouruneinfantedéfunteRavel SonatineSatie EmbryonsdesséchésHonneger LeCahierRomandPoulenc MouvementsperpétuelsMatsudaira Souvenirsd’enfance

SecondRecital,November24th,193114Franck Prelude,choraleetfugue

Couperin LeDodo,oul'amourauBerceau

Couperin LeBavoletFlottantDaquin Lecoucou

Rameau Musetteenrondeau,andTambourin

Satie TyrolienneturqueandDancemaigrefromCroquisetagaceriesd'ungrosbonhommeenbois

Malipiero Omaggi

14AsakoShiraisi,“CulturalExchangebetweenJapanandFrench,”47.

7

Withtheseperformances,MatsudairabroughtthemostadvancedFrench

modernismintoJapan.Eventhoughtheseprogramsshowedhistechnical

proficiencydespitetheyearsofself-learning,hegraduallyrealizedthephysical

limitationsofhistechnique,andafterthefourthrecital,whichtookplaceon

November26,1934,helefthiscareerasaconcertpianistbehind.Hefocusedon

compositionfromthenon.

ItwasFebruaryof1935whenAlexanderTcherepnin(1899-1977)visited

Japanoutofhisinterestinorientalmusic.Matsudairanevertookaninterestinhis

compositions;however,thisofferedarareopportunityforJapanesecomposersto

comeintocontactwiththelatesttrendsinEurope.Bygivingrecitalsandadviceto

Japanesecomposers,andbypublishingtheirworksusinghisownfunding,

TcherepninstimulatedtheclassicalmusicindustryinJapanimmensely.In1935,

MatsudairaleftTokyoandfoundahomeinKamakuraintheKanazawaprefecture.

Thisyear,notonlywashisPréludeenRépublishedasapartofananthology,

TcherepninCollection,15butlater,TcherepninhimselfrecordedPréludeenRéand

performeditthroughoutEuropeandtheUnitedStates.InSeptemberofthatyear,

TcherepninfoundedtheTcherepninAward—acomposingcompetitionforJapanese

composers.Itsjuryincludedsomeofthemostrenownedcomposersandcriticsfrom

France—AlbertRoussel,JacquesIbert,Oscar-ArthurHonegger,Aleksander

Tansman,HarsányiTibor,Pierre-OctaveFerroud,HenriGil-Marchex,andHenri

15WorksbyJapaneseandChinesecomposerswereincludedinthisanthology.

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Prunières,amongothers.16Matsudairawonthesecondprizewithhisorchestral

piecePastorale(firstprizewasgiventoAkiraIhukube’sJapaneseRhapsody).

Pastoralewasfirstpremieredin1936ataJapancontemporarycompositionfestival,

and1937inUnitedStatesbytheSanFranciscosymphonyorchestraunder

conductorGiulioMinetti.Inthatsameyear,hereceivedfirstprizeatthe

WeingartnerCompetitionwithhisNanbuMinyoushuI.17HisSonatineforFluteand

Pianowasperformedandbroadcastover14citiesinEurope;theseaforementioned

workswereallinternationallypublishedbyTcherepnin.18Withthesenumerous

worldwideperformanceshesawtheearliestsuccessesofhiscareerasacomposer.

TcherepninhadaroleinamajorshiftofMatsudaira’scompositionalstyle,which

willbediscussedinalaterchapter,yetitwasnotwithoutanegativeeffect.Because

Tcherepnin’srecordingincludedsomecomposerswhoseworkswereinthestyle

Matsudairadescribedas“Japonica-cho”—facileexoticismbytheeasyuseof

pentatonicscales,Matsudairaandthosecomposerswerebundledandridiculed

togetherasthe“TcherepninSchool.”19Thatyear,hemovedbacktoNakano,Tokyo.

ThenextfewyearswerefruitfulyearsforMatsudaira;in1939,JOAK(now

NihonHousouKyoukai;NationalBroadcastingCorporation)commissioned

MatsudairaforapiecebasedonaJapanesefolksong.Asaresult,hewroteThemeet

16 Hitomi Sano, “Les Japonais enchantés par Debussy: La musique impressionniste française et le Japon à l’époque modern,” 表現文化研究 10 no.2 (2011): 173. 17AustrianconductorPaulFelixWeingärtner,EdlervonMünzbergcametoJapanin1937toconductShinphilharmonicorchestra(nowNHKsymphonyorchestra).DuringthisvisitHesetupWeingärtnercomposingcompetitioninJapan.18AlexanderTcherepninpublishedmanyJapanesecompositionsfromUniversalEdition(vienna),Schimer(NewYork),Ed.ProMusica(Paris),CommercialPress(shanghai)inordertointroducetheminternationally.19KuniharuAkiyama,ComposersfromShowaperiod:WWIIandMusic,ed.RinShukuki(Tokyo:Misuzushobo,2003):294.

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variationsd’aprèsd’uneberceusedeNanbu,whichwashisfirstattemptatapiano

concertosetting.In1940,MatsudairawroteFujiEngi,inwhichhecomposedthe

musictoatextandchoreographybySeijuFujkage.Thisworkwascommissionedby

NihonBunkaChuouRenmei(theCentralAssociationofJapaneseCulture)andwas

performedonJune17,1940atTeikokuTheatreaspartofthecelebrationofthe

two-thousandsix-hundredthanniversaryofJapaneseimperialenthronement,20

althoughitwasnotasuccessfulwork,accordingtoTomigashi.21InAprilof1941,he

wasappointedasprofessorofcompositionaswellasharmonyatNihonKoutou

OngakuGakkou.Hecontinuedtoteachatthisschoolfortwoyears;however,bythe

endof1943,itwasforcedtocloseduetotherelentlessimpactofWorldWarIIon

society,andeffectivelyterminatedhisposition.

WorldWarIIwasseverelydetrimentaltohisfinancialsituationaswellasto

hiscreativity.Hehadnosourceofincome,andwasconstantlyinterruptedby

emergencydrillseveryday.Ultimately,hedeliberatelysuppressedanymusical

inspirations,andasaresult,fellintoaslump.Hesays,“ArtisbornfromLove,but

whenwedetestotherhumankind,theMuses(Greekgoddessesofmusicand

poetry)forsakeyou.”22Matsudairathenrealizedthatthetormentofacomposer

whocouldnotcomposefarsurpassedtheseverepovertyhewasexperiencingatthe

time.Hesaid“Artistsaretheresultoftheirworks,and‘notbeingabletocompose’

20ToshikiMiyazaki,“KoukiNisenRoppyakunenn,”DevelopmentofResearchandStudyMethodologiesinTheatre1(2003):145-157.21YasushiTomigashi,“ContemporaryJapaneseComposers:YoritsuneMatsudaira,”OngakuGeijutsu11(1951):104.22YoritsuneMatsudaira,“MyPovertyStory,”OngakuGeijutsu,4(1950):52.

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brandsmeafailureasanartist.”23Duringthelastyearofthewar,heworkedata

juniorhighschool;thetitleasateacherwasmerelyonpaper,ashisactuallyduty

wastosupervisechildrenwhowerebroughttothefactory.Hedescribesthislifeas

“thelifeofawatchdoginthedesert.”24Thedayaftertheannouncementoftheend

ofthewar,whilefightingagainsttheharshcircumstancesforceduponhissociety,

Matsudairabegantodevotehimselfentirelytocomposingasiftofillinthelost

years.

In 1946, he formed Shin Sakkyokuha Kyoukai (translates as “New Composer

Association”) along with Humio Hayasaka, Yasuji Kiyose, Toshitsugu Ogihara, Akihiro

Tsukatani, Akira Ihukube, and Urato Watanabe. This association was modeled after

Alfredo Casella and his formation ofCorporazionedelleNuoveMusiche,25butitdid not

form under a certain ideology or slogan—instead these members were connected purely

through the friendship they formed during the time they all contributed articles for the

magazine Ongaku Shincho. Ongaku Shincho was the most avant-garde magazine at the

time; thus the underlying unspoken agreements among the members of Shin Sakkyokuha

Kyoukai were not only to aim for the most up-to-date music, but also to have the

foundation of their compositions based on ethnically Japanese materials. Matsudaira

wrote, “It was -unconsciously- a criticism to the totalitarianism forged during the war,

and we unanimously felt from our experiences that our activities as a group advanced the

23YoritsuneMatsudaira,“MyPovertyStory,”OngakuGeijutsu,4(1950):52.24Ibid.,53.25KuniharuAkiyama,ComposersfromShowaperiod:WWIIandMusic,ed.RinShukuki(Tokyo:Misuzushobo,2003):294.

11

composers’ movement.”26 After several meetings in which they discussed each other’s

compositions, their first recital programmed with their own works took place in

December of 1947. The success of this recital inspired the members, and they continued

to give recitals each year. Matsudaira’s works performed at these recitals were: Sonata

for Cello and Piano (first recital, 1947), Sonata for Violin and Piano (second recital,

1948), Piano Trio (third recital, 1948), String Quartet No.1 in A (fourth recital, 1949),

Piano Sonata (fifth recital, 1949), Suite for Flute, Bassoon, and Piano (sixth recital,

1950), String Quartet No.2 in G (eighth recital, 1951), and finally, Sonata for Violin and

Piano (ninth recital, 1951). In 1949, he became a juror in the composition division of the

Music Competition of Japan, a committee of the Japan Society of Contemporary Music,

and the manager of Shin Sakkyokuha Kyoukai. Works published during these years also

included Six Dances Rustiques for solo piano, and Concertante for Two Pianos (1947).

In 1952, he won the International Society of Contemporary Music prize with

Thème et Variations pour piano d’après “Etenraku” for Piano and Orchestra, and

became one of the most well-known Japanese composers at that time. He continued to

publish works that received critical acclaim, winning ISCM prizes fourteen times in total.

By this time, he had established a unique compositional system through which he

produced works that were praised by composers such as Messiaen, Boulez, Petrassi, and

Cage. He became the chairman of the Japan Society of Contemporary Music in 1956, and

was appointed professor at Ueno Gakuen University. In 1967, he became the first

Japanese composer to serve as a juror for the ISCM. In 1972, he received the

26YoritsuneMatsudaira,“WorkofShin-SakkyokuhaKyoukaiafterWWII,”OngakuGeijutsu4(1953):8.

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Shijuhoushou for his great achievement in music, a medal of honor with a purple ribbon

given to him by the Japanese government under the name of the Emperor. Later, in 1979,

he received a Kunyontou Kyokujitu Shoujushou, an order of the rising sun. Years later,

he was presented as the Person of Cultural Merit in 1996. His creativity never ceased

even into his senior years, and he continued to produce a large number of works until his

death on October 25, 2001 at the age of 94.

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Chapter II

Music of Matsudaira

Through Matsudaira’s life, his compositional style shifted drastically from

Impressionism to Neo-classicism, then finally to Dodecaphonism. What persists

throughout his works is the obstinate search for modernism, while incorporating elements

of Japanese culture, through which he revealed his own personal identity. Such

nationalism separates his music from western classical music as a unique identity. In his

later years beginning from early 1950s, Gagaku, a form of Japanese ancient imperial

music, became one of the most fundamental factors of his compositional technique,

bringing his style to its maturity.

Early Period

In many of his earliest works, Matsudaira featured Nanbu Minyou (folk song

from the southern region of Japan) with a harmony modeled after that of Debussy, which

he described as follows:

Somewhere along my compositional life, I began to develop interest in the relationship between sound and colors. Messiaen has articulated his accurate and lucid view on it, but mine is vaguer, and less recognizable by consciousness. I feel sepia on augmented fourths and minor sevenths, silver on major sevenths and minor ninths. The key of A major key is spring, G major is water, and I feel a field of blooming flowers in E major. Therefore, works of Debussy are sepia, and Ravel are silver. In the past I have toured around the countryside as an accompanist of a Tenor singer Eizo Terui. When we went to the Morioka area, I met a music teacher Chuitiro Takeda who also collected folk songs of the Tohoku region, much like Bartok. When I was introduced to Nanbu Ushioi Uta [literally translated Southern Bull Chasing Song], the first note of accompaniment occurred upon my mind. It was B flat to E, then it flows smoothly to F, the beginning note of Nanbu Ushioi Uta. The relationship of two notes I selected in my unconsciousness was an

14

augmented fourth. Yet It was a logical choice for me who was covered by the pollen of Debussy’s augmented fourth. In this way my first departure with Nanbu Minyou began. The reflection of Debussy dropped a shadow of consecutive minor seventh and perfect fifth onto accompanimental sections of other folk songs…. I was accustomed from young age to the bourgeois esthetics, and was repulsed by modes and rhythms of traditional Japanese music. The Nanbu Minyou I encountered was surely novel”.27

Matsudaira’sImpressionism

AdirectinfluenceofImpressionismcanbefoundinhisearliestpianoworks.

Atthattime,MatsudairaviewedFrenchmusicintotalitynotonlyasthemost

advanced,butalsomorenaturallyintelligibletoJapanesepeopleincomparisonto

Germanmusic.Inhisview,

ThemusicofDebussyandRaveliseasytounderstandfortheJapanese…Becauseitisamusic‘tofeel’ratherthan‘tothink’…So-calledImpressionismisafundamentalpartofJapaneseart.Itistoosimplisticinoneword,however,becauseofthelargenumberofimpressionisticarts;many[Japanese]aretrainedinsuchestheticswithoutknowingit.That'swhyitiseasytodigest.Ontheotherhand,thosewhoweretrainedwithGermanicsystemhavemoreresistance(toimpressionisticmusic).28MatsudairaevenillustratedthesimilaritybetweenJapanandFranceas

opposedtoGermanyandEnglandintermsofclimate:“JapanesearenotIdealistsbut

Realists.Whenitisconstantlycloudy[suchasinGermany],withoutsun—samein

England—theytendtobeveryromantic,aswasShakespeare.Meanwhile,countries

suchasJapanorFrancetendtohavemoreRealists.”29

27Matsudaira,Yoritsune,ŒuvresvocalsdeYoritsuneMatsudaira,recordedJune25,1992,ALMrecordalcd-48,compactdisc,Linernotes,528YoritsuneMatsudaira,“RegardtotheFeelingsofMusic,”OngakunoTomo1(1957):93.29YoritsuneMatsudaira,“FormationofMatsudairaYoritsune’sPersonalityandMusic,”OngakuGeijutsu7(1954):9.

15

DebussyinparticularwasaninspirationforMastudaira.Heregarded

Debussyasacomposerwhorevolutionizedtonality—previouslydevelopedtoits

limitationanditspossibilitiesexhausted—byrevertingbacktothedeepestof

classics,andcreatinganewerathroughthepoeticbreathsoftheeast.30Matsudaira,

asayoungcomposer,whosefundamentalidealwastocombinemoderndynamism

andJapanesesensibility,wasinspiredbyDebussy’suseofeasternmodessuchas

pentatonicscales.Thisgavehimcluesintoachievingsuchastyleofhisown,despite

thefactthatDebussywasnolongerthemostavant-gardeatthattime.

OneofhismostImpressionisticpiecesisasuiteforpianotitledSouvenirs

d’enfance(Childhoodmemories),31asetof10miniaturepieces.HecomposedNos.1,

2,5,6,and10in1928,andNo.7in1929.32Thecompositionyearoftheremainingis

unclear;howeverheperformedselectionsin1931alongwithpiecesbymodern

Frenchcomposers;thusitcanbeassumedthatSouvenirsd’enfancewascompleted

bythatyear.Abouttheset,Matsudairastates,“InspiredbyEugèneAynsley

Goossens’Kaleidoscope,performedbyHenriGill-Marchex,thereareinfluencesfrom

Debussy,Ravel,Poulenc,Tansman,andStravinsky.”33Althoughtheinfluenceof

Impressionismispredominantinthisset,thesynthesisofthesecomposersinto

thesepieceswasnotonlytogivestylisticvariation,butalsotoserveas 30YoritsuneMatsudaira,“IntentandUnderstandingofNewCompositions,”OngakunoTomo2(1954):46.31YoritsuneMatsudaira,“FormationofMatsudairaYoritsune’sPersonalityandMusic,”9.32ThesedatesareindicatedattheendofseveralpiecesinYORITSUNEMATSUDAIRAOeuvrespourPIANO.33 Asako Shiraisi,“CulturalExchangebetweenJapanandFrench,”48.

16

compositionaletudesinwhichheexperimentedwithstyleinordertokeephimself

uptodatewiththemostadvancedcompositionalmethodsofthetime.Thiswasa

necessarystepforMatsudairatoadvancehistechnique,astherewasnotraditionor

predecessorfortheyoungergenerationtofollowinJapanyet.

ThetitleSouvenirsd’enfanceaswellasitsstructureseemstobedirectly

inspiredbyDebussy’sChildren’sCorner,whichheperformedhimselfin1935during

anall-Debussyprogram.Itshouldbenotedthat,asinChildren’sCorner,Souvenirs

d’enfanceisnotasetofetudesforyounglearners,butrather,asetofinnocent

expressionsforadults’amusement.SomeofthepiecesfromSouvenirsd’enfance

requireanadvancedtechnicalskills,contrarytoitsseeminglywhimsicalscoring.

ManyoftheSouvenirsd’enfancehavetitlessuggestingvisualimagesthat

inspiredthecomposer,apartofMatsudaira’sinterpretationofImpressionism:

I. BerceuseII. PoissonsrougesIII. BoīteàmusiqueIV. ChansonpourjoueràlaBalleV. MauvaisrêveVI. ChevaldeboisVII. LesbullesdesavonVIII. JeuxIX. PierrotquijouedelaballX. Marche

Theusesofthewholetonescale(IandII),parallelfifths(III),andbitonality(VIIand

X)showhisefforttomanipulatethetechniquesemployedbythecomposers

mentionedabove.Japaneseelementswereyettobecomethecorefocusfor

Matsudaira,yetuseofthepentatonicscale(VIII)andthephrasestructureoffolk

songs(I)canbefoundinordertogiveafolkflavortothesepieces.

17

ParticularlynotableintermsofhisImpressionismisNo.2,Poissonsrouges

(Goldfish),whichiscomparabletoDebussy’sPoissonD’or.Thisisvirtuallya

catalogueofDebussy’spianisticwritingswheretitlesrecallimageryofwater,such

asPoissonsd’or,Refletsdansl’eau,andOndine,withtheuseofthewholetonescale,

rapidarpeggios,andtremolosinahighregister,whileitsunmeasurednotation

showstheinfluenceofErikSatie(Example1).No.8Lesbullesdesavon(Soap

Bubbles)takesdirectinspirationfromRavel’sJeuxd’eau,takingitsrhythmsand

sonoritiesdisguisedinMatsudaira’sdissonantharmony(Example2).Throughout

theset,sonoritiesofsepia–augmentedfourthsandminorsevenths,andSilver–

majorseventhsminorninths-permeate.

Exampe1 Example2

Use of Folk Songs

One of Matsudaira’s earliest existing works, Prélude en Ré (1934) for solo piano,

which was included in the Tcherepnin Edition, exemplifies his earliest inspiration from

folk songs. Although music critic Ginji Yamane described this piece as “like drinking

18

water when one is suffering from starvation,”34 it was recognized as Matsudaira’s

representative work owing to the recording made by Tcherepnin. Within the total of 36

measures of this piece, many aspects interspersed within the structure of Thème et

Variations pour piano d’après “Etenraku” can be found, though on a much smaller

scale. He explained that in this piece, some of the techniques he utilizes are as follows:

use of the augmented fourth, bitonality, and chromatic descending parallel motion.35 In

addition, there are uses of modes of Japanese folk songs in the melody, thin textures with

constant 8th-note motion, use of the interval of a tenth, and chromatic inflection are also

present before the return of the initial theme.

Example 3 shows the opening four bars of Prélude en Ré. The theme is drawn

from a southern—more specifically, of the Iwate prefecture – folk song titled “Sondeko,”

which resembles the pentatonic, but has a characteristic of different pitch sets between

ascending and descending lines.36 It is accompanied by an ostinato-like left hand,

consisting of augmented fourths and perfect fifths in a constant 8th-note motion. Neither

the analysis of pitch relation nor Matsudaira’s reference to Sondeko is the focus here, but

rather, it is a showcase that elevates a simple pentatonic scale in novel ways to avoid

mere sentimentalism and Nationalism, or Japonica-cho.

34YoritsuneMatsudaira,YoritsunéMatsudaïra;SelectedPianoWorks,recordedinJanuary7,2014,ALMRecords,ALCD-89,compactdisc,Linernote.35YoritsuneMatsudaira,OeuvrePourPiano,(Tokyo:ZenonGakuhuShuppansha,1991),preface.36YoritsuneMatsudaira,“FormationofMatsudairaYoritsune’sPersonalityandMusic,”12.

19

Example 3

As the melody unfolds, B flats are inserted within the theme at measure 11 in

order to give variation to the recurrences of the melody, as well as to give a D-minor

flavor to the harmony. This chromatic inflection also foreshadows the influence of

Gagaku, even though Matsudaira had no such intention.37 Beginning in measure 21, more

diatonic notes replace the augmented fourths, resulting in a more stabilized harmony.

Measures 25-31 showcase his use of the tenth in the left hand, a sonority Matsudaira

utilized throughout his life. Prior to the final return of the initial theme at measure 33,

Matsudaira harmonizes the top melody with a left-hand figure that descends

chromatically, along with an ascending chromatic line in the alto line (Example 4). Such

harmonic expansion is another technique Matsudaira uses in many of his tonal works,

specifically when a climax of the piece is placed right before a final return of the main

theme. It is a miniature piece that lasts just over a minute, yet it shows that Matsudaira’s

tendencies persist until much later in his compositional career.

37YoritsuneMatsudaira,YoritsuneMatsudaira:SelectedPianoWorks,recordedJanuary7,2014,ALMRecordsalcd-89,compactdisc,Linernotes,ii.

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Example 4, Prélude en Ré, mm.29-36.

Matsudaira had planned to compose a collection of preludes for piano in which

Prelude en Ré was to be the first. In 1940, he added another prelude, Prélude en Sol—an

etude-like work with a perpetual 16th-note motion, to include in the collection. Aside

from these two preludes that survived in print, Matsudaira had composed ones “in C” “in

E” “in A” and “in D-flat;” however, he struggled with the paradoxical, almost

oxymoronic relationship between the western major/minor keys and Japanese modes,

ultimately resulting in his abandonment of the plan. Prélude en Ré is the earliest example

of Matsudaira’s employment of folk elements, followed by Nanbu Minyoushu for voice

and piano, Pastorale for orchestra, and Kokonshu for voice and piano.

Neo-classicalperiodandAlexandreTansman

After being introduced to the music of Alexandre Tansman, whose works had

elements of Neo-classicism, Matsudaira began to take an interest in that style, an interest

shared by his friend Shukichi Mitsukuri, also an Impressionist-turned Neo-classicist.

EventhoughMatsudaira’sinitialmotivationtocomposeintheNeo-classiciststyle

wasmerelytomimichisfriend,thisattemptwaslaterreinforcedbytheencounter

21

withTcherepnin,whoconsidereditananachronisticerrortowriteinan

Impressionisticstyle.38

WhiletheinfluencefromLesSixandStravinskywasinevitable,PolishNeo-

classicalcomposerAlexandreTansmanhadparticularsignificancetoMatsudaira.

HisfirstencounterwithTansman’smusic,whiletheexactdateisunknown,was

withhis‘Melodie’and‘Berceuse’from5Impromptus.In1933,TansmanvisitedJapan

andgavelecturesonvarioustopicsincludingharmonyandform,aswellasa

performanceofhisownworks,throughwhichMatsudairabecameacquaintedwith

Tansman’sworksindepth.39In1950,MatsudairapublishedanarticleonTansman

intheJapanesemusicalmagazineOngakuGeijutsu;Matsudairaoftencontributed

articlesonFrenchcomposerstomusicalmagazinesatthattime,however,this

particulararticlewassignificantlylengthierthanthearticlesonothercomposers

suchasPoulenc,Saint-Saens,orevenDebussy,andfilledwiththehighestrespect:

“Undoubtedlyoneofthebestcomposerstoday.Romanticalchemistofsophisticatedsenseandintelligence”“ItisunknownwhatinfluenceJapanhadonhisart,thoughitiscertainthattheinfantileJapanesecompositionalsceneatthattimetookastepforwardduetoTansman’svisittoJapan”“Themelodiesbornfromthedepthofhishearthavetrulyrichlines”40

InanotherarticleinOngakuGeijutsu,Matsudairawrote,“Theutmost

necessityforanartististoavoidbendinghisinnateness…Whatweneedtoseekisa

38YoritsuneMatsudaira,“FormationofMatsudairaYoritsune’sPersonalityandMusic,”11.39KuniharuAkiyama,ComposersfromShowaperiod:WWIIandMusic,ed.RinShukuki(Tokyo:Misuzushobo,2003),288.40YoritsuneMatsudaira,“AlexandreTansman,”OngakuGeijutsu5(1950):6-7.

22

waywhichfollowsourtruenatureinoursincerity.”41Tansman’spositionasa

composerresonatedwithMatsudaira—toplacehimoppositethegroupofpost-war

modernistswhowerepetrifiedtobeassociatedwithRomanticism(andasaresult

ofbendingtheirinnateness.)ToMatsudaira,Tansman’smusicandideologywere

theembodimentsofsuccessful,nationalistic,andmoderncomposition.

LikethatofDebussy,Tansman’suseofOrientalismalsoattracted

Matsudaira’sattention.MatsudairapointsoutthatTansman’s5Impromptus,which

includestheBerceuseis,utilizestheJapanesemodeofthepentatonic.42Tansman

alsowroteasetofsongstitledHuitMelodiesJaponaises(1918)withtexttakenfrom

aJapaneseanthologyofpoetry,OguraHyakuninIsshu.Althoughsuchorientalism

mayhavebeenofinitialinteresttoMatsudaira,inhisview,Tansman’sworksalso

successfullyunifiedthePolishsensesandspiritwithmoderndynamism.Tansman

studiedPolishfolksongsmeticulously,asBartókhaddonewithHungarianfolk

songs.Theleapsofmajorseventhsandaugmentedfourthsinhismelodiesoriginate

fromPolishfolksongs,yetheneverdirectlyimitatesthemelodiesinhisworks.43

ThisideologyofreplacingthePolishwiththeJapanesespiritwaswhatMatsudaira

heldtobeamoreidealformofnationalism-theoppositeofwhathedespisedas

“Japonica-cho.”Heconcludesthearticleasfollows:

WhileIamatmyperiodofcompositionaltransition,Iwantedtowriteabio-bibliographyofTansmanwhowasoneofthefightersofpost-warModernismandalsowasoneofthemostsignificantinfluencesonme.Therefore,this

41YoritsuneMatsudaira,“JapaneseandAmericanContemporaryMusicFestival,”OngakuGeijutsu8(1948):60.42KuniharuAkiyama,ComposersfromShowaperiod:WWIIandMusic,288.43YoritsuneMatsudaira,“AlexandreTansman,”OngakuGeijutsu5(1950):10.

23

articleasaliquidation,isanexpressionofmygratitude,andatthesametime,avalediction.Historydoesnotstagnate,norstop.44

FolkSongtoGagaku

AlongsidehisexperimentswithNeo-classicism,hegraduallybegantaking

interestinGagaku(theancientimperialcourtmusicofJapan,discussedinthe

followingchapter).Matsudaira’sfirstencounterwithGagakuwasinsheetmusic,

whichheobtainedwhentheImperialHouseholdAgencyaskedhimtotranscribe

someoftheGagakurepertoiretoWesternnotation.45

Later,theImperialHouseholdAgencyGagakuDivisioninvitedseveral

composerstocomposesymphonicworksbasedonGagakumaterials.Unfortunately,

forMatsudaira,thissystemwassodrasticallydifferentfromWesternmusic,which

wastheonlymusichehadknownatthetime,thathedidnothavetheslightestidea

howtohandleit.46Writingin1971,KuniharuAkiyamamentionedthatMatsudaira’s

firstGagakuencounteroccurredabout35yearspreviously,hencearoundtheyear

of1936.ThereisapossibilitythatthisoccasionwasinpreparationfortheKigen

NisenropphakunenHoushukuGeinousai(JapaneseImperial2600thyearCelebration

PerformingArtsFestival),whichtookplacein1940.Itwasaseriesofperformances

andcompetitionsfocusingonfourareas:music,dance,drama,andmotionpictures.

Thefestivalwasheldover4dayswithoveramillionattendees.47Withinthelistof

44YoritsuneMatsudaira,“AlexandreTansman,”21.45JoaquimM.BenítezandJoKondo,“SerialisminJapaneseContext:AConversationwithMatsudairaYoritsune”,inGagakuandSerialism:APortraitofMatsudaraYoritsune,(India:OverseasPublisherAssociation,1998):88.46KuniharuAkiyama,JapaneseComposersTodayVol.1(Tokyo:OngakunoTomoPublication,1979),158.47ToshikiMiyazaki.“KoukiNisenRoppyakunenn,”DevelopmentofResearchandStudyMethodologiesinTheatre1(2003):145-157.

24

participants,composers,performers,andworks,Matsudaira’snamewasnotlisted

intheWesternMusicsectionofthemusicdivision;however,hecomposedmusicto

textandchoreographybyShizueFujikageinthe“moderndance”division,which

wasperformedonJune27,1940.Matsudairalatersaid,“Icouldbarelycapturethe

outlineofthemelodyline.Itisreflectedinoneofmyearlypieces,SonatineforFlute

andPiano,inwhichthesecondmovementisbasedonRinkokodatsu,arepertoire

fromGagaku,eventhoughtheoriginalmelodyisunrecognizable.Sincethen,I

becamecaptivatedbyGagaku.”Healsoexplainedthathecouldonlytakethemelody

andharmonizewith“…thekindofmodalharmonyyoucanfindinRavelor

Poulenc”.48

MatsudairacontinuedtousebothfolksongandGagakuelementsinhis

compositions.However,throughthediscussionandcriticismamongstShin

SakkyokuhaKyokaimembers,itbecameclearthatMatsudaira’sworkswerefar

moresuccessfulwhenMatsudairadealtwithGagakumaterialsratherthanfolk

songs.InMatsudaira’sview,thistendencywasduetohischildhoodbackground.He

states,“MyweaknesswhendealingwithfolksongisthatIdidnothavealifeofmud

(ofafarmer)myself.”49Ontheotherhand,hischildhoodasoneoftheroyalfamily

enabledhimtorelatetoGagaku,whichwasalwaysconfinedtoceremonialmusicfor

aristocraticfamilies.

AlthoughMatsudairafeltapersonalaffectionforGagaku,withthequalitiesof

nostalgia,nobility,grace,delicacy,anderoticismthatitemits,hisaimwasbyno

48BenítezandKondo,SerialisminJapaneseContext,89.49YoritsuneMatsudaira,“FormationofMatsudairaYoritsune’sPersonalityandMusic,”10.

25

meanstorecreatesuchesthetics.Infact,helovedGagaku,“asamanagerofa

museum,withrespectandproductiveaffection.”50Healsomentionedthat“To

collectmaterialsfromGagakuismerelyoneofthedevices,forthepurposeof

compositionandalsoforamusement.”51MerearrangementofGagakuwasan

unforgivablelackofcreativity,asitwaswiththetreatmentoffolksongs.Withacold

objectiveattitude,MatsudairabeganstudyingGagakuanditssystemmeticulously,

inorderto“…dissectandclassify[elementsofGagaku),payingespeciallyclose

attentiontotheintervalsandmelodiclines.”52Whenhe“peelsoffeventhe

feudalismandspiritualitythatareundertheveil,fromthestandpointofaliberal

composer,”53therewillremainan“ethnicityatthebottomofscatteredpieces.”54

DespitetheobjectivestandpointwithwhichheanalyzedGagaku,hewarnedthat

creatingmusicsolelyfromthematerialscouldresultinthedestitutionof

musicality.55Afterall,anexpressionofhumanityhadbeen,andcontinuestobe,

Matsudaira’sprincipaltheme,andhismindandpersonalityhadtopenetrate

throughtheexteriorofGagaku.

StillundertheinfluenceofNeo-classism,hestartedtoincorporateelements

ofGagakuintohiscompositionsinsuchworksasCelloSonata(1942),ViolinSonata

(1948),Concertantefortwopianos,PianoSonata,andWoodwindTrio(dates

unknown),whichwereallwrittenaroundWorldWarII.Hisdevotiontothestudy

50YoritsuneMatsudaia,“CenteringaroundtheWorks,”OngakuGeijutsu7(1948):41.51YoritsuneMatsudaia,“ModernizationofGagaku,”OngakuGeijutsu11,(1952):60.52YoritsuneMatsudaia,“CenteringaroundtheWorks,”41.53Ibid.54YoritsuneMatsudaia,“EstheticsofContemporaryMusic,”OngakunoTomo6(1954):77.55YoritsuneMatsudaia,“ModernizationofGagaku,”66.

26

ofGagakuandexperimentsbearsfruitasThèmeetVariationspourpianod’après

“Etenraku,”whichalsomarkstheendofhisNeo-classicalperiod.WhileThèmeet

Variationsbecamehismostwell-knownpiece,he“…destroyedmostofhis

productiondatingfromthattime.Itwasbecause,asyouverywellknow,inthe

sixtiesyoucouldnotbeaseriouscomposerunlessyouwroteserialmusic.That

atmospherewasvery,verystrongamongavant-gardecomposers.”56

Dodecaphonicperiod

DuringWorldWarII,whenhiscompositionalfreedomwassuppressed,

Matsudairaspentmuchofhistimestudyingmoderncomposersandtheirdifferent

stylesandtheories,whichledhimtocomposeusingtwelve-tonetechnique.57Using

thisdevice,Mastudairafoundpossibilitiesnotonlyfordevelopinghisownvoice,but

alsoforincorporatingelementsofGagakuinhiscompositions.Matsudairahelda

uniqueviewonthistechnique:accordingtohim,dodecaphonywas“…usuallyused

inviolent,roughexpression,Ithinkitshouldbeusedfortheexpressionofgrace.”

ThoughheisknownasoneofthefirstJapaneseDodecaphonists,hedeniedbeing

associatedwiththetermDodecaphonist.Instead,hecalledhimselfa“useroftwelve-

tonetechnique.”58Mostcrucially,theideologiesofhismusicwere“modernization

andethnicity,”andalthoughhefoundasimplebeautyinit,twelve-tonecomposition

initselfwasmerelyoneofthetechniquestodevelopsuchideologies,andnota

principle.Thephilosophybecomesclearinhisarbitraryapplicationofthis

56BenítezandKondo,SerialisminJapaneseContext,89.57Ibid.58YoritsuneMatsudaira,“EstheticsofContemporaryMusic,”OngakunoTomo6(1954):77.

27

technique.Whencombiningtwelve-toneandGagakumusic,hecastoffthesepiaof

Debussy,andproceededwiththesilverofRavel.WhatMatsudairabegantopursue

fromthisperiod,inhiswords,wasalusterofplatinum;theculminationof“thepath

ofsilver.”59ItonlytookafewyearsforMatsudairatoproducepiecesthatillustrated

suchqualitiesofplatinum;qualitiesliketheseledcomposerToruTakemitsutocall

himselfandhisgenerationgrandchildrenofMatsudaira.60

Abstractionism

Thenotionof‘abstractmusic’wasoneofthemostimportantcomponentsof

Matsudaira’scompositions.Neitherthe“expressionofgrace”northe“expressionof

humanity”hediscussedinseveralarticlesareinthecontextofhumanemotionnor

anexplicitsymbolism.AtthispointMatsudairawithdrewfromtheuseoffolksongs

andavoidedtheuseoftraditionalJapaneseinstruments,theshamisenorthe

shakuhachi,allfortheirsocialandemotionalconnotations,whichcouldnotbe

detachedfromeachother.TheJapaneseethnicitywhichMatsudairafoundwithin

theelementsofGagakuwasbynomeans“…particularsymbolismtheyimply,

includingthewayoflivingandtheemotionallifeofpeopleofaparticularsocial

classtowhichtheseinstrumentsandtheirmusichavebeenhistoricallyand

traditionallylinked.”61ItwasinevitablethatMatsudaira’smediumofpresentation

requiredsimilarabsenceofconnotationsorlinkage.

59YoritsuneMatsudaira,ŒuvresvocalsdeYoritsunéMatsudaïra,compactdisc,Linernotes,7.60ToruTakemitsu,“ContemporaryMusicinJapan,”PerspectivesinNewMusic2(1989):203.61BenítezandKondo,SerialisminJapaneseContext,95.

28

Matsudairafoundapossibilitytorealizesuchnotionsofabstractionismin

theuseoftwelve-tonetechnique.Thelackoftonalityanditsassociatedemotional

connotationsenabledhimtopursueabstractmusic.Fortunatelyitcoincidedwith

themodernismhecravedthroughouthisearlierlife,andhelpedtoaccommodate

bothmodernismandabstractionism.BycombiningdodecaphonywithGagaku,two

stylesofmusicvastlydistantbothgeographicallyandchronologically,whilesharing

acommongroundintheirlackofsymbolism,62hewasfinallyequippedtocreatea

sounddomainthatwastobehighlypraisedbysomeofthemostworld-renowned

composers.Matsudairaconciselyexplained,“Inmyworksafter1950,Icontinuedto

searchforAbstraction–howeveralongwithattributionssuchasdynamicsofsound

itself,continuity,flow,force,andtheaestheticsthatIfeel.AndwithutmosteffortI

avoidedtheemotiveworld.Inmythoughts,artexistedinaplacethatsurpassed

suchthings.”63Evenmoretersely,“Ihaveneverbeeninterestedincomposing

emotionallyexpressivemusic.”64

UseofTwelve-toneTechnique

In1951,heusedtwelve-tonetechniqueforthefirsttimeintheVariationIII

ofThèmeetVariationspourpianod’après“Etenraku.”ThesuccessofThèmeet

62“Gagakualsohasveryrichhistoricalconnotations,ofcourse.IthasbeenthemusicoftheImperialcourt.Itssocialovertonesareagainverystrong.But,formeatleast,theseovertonesareemotionfree.Gagakuis,sotospeak,averysophisticated‘ornament’ofcourtlylife,andhasthereforeanabstractnature.Ornamentationassuchdoesnotintendtoexpressanykindofemotion.TheremighthavebeensomeemotionalsymbolismattachedtothegagakurepertoirewhenitwasfirstintroducedintoJapanaboutonethousandyearsago,butthisemotionalsymbolism,iftherewasany,hasbeenwashedaway,‘mellowedout’asitwerebythelongpassingoftime.Asaconsequence,gagakuhasbecomeforusabstractsoundsveryelaboratelystructured.”Matsudaira,asstatedinConversationwithJoaquimMBenítez.63YoritsuneMatsudaira,ŒuvresvocalsdeYoritsunéMatsudaïra,compactdisc,Linernotes,3.64BenítezandKondo,SerialisminJapaneseContext,95.

29

VariationsgaveMatsudairaworld-widefame,yetitsidiosyncrasiesand

conservatismrelativetointernationalstandardswereapparent.Thus,he

constructedsubsequentworksbasedentirelyontwelve-tonepremises,pursuing

themarriageofavant-gardeWesternatonalismwithancienttraditionalGagaku.

Matsudaira’swordsexpresshisuniqueviewsregardingtwelve-tonetechnique:“I

adorealoof,ungraspablemassesofsounds,theunorganizedorganizationof

materialsthatisfilledwithanticipationbeforesomethingisabouttobecreated.”65

In1953,hecomposedMétamorphosed’aprèsSaibaraforasopranoand

chamberorchestra;itconsistedofthreemovements:Minoyama,Isenoumi,and

Koromogae.Saibara,theoriginalrepertoireofGagaku,isaoneofthefewvocal

subgenresinwhichancientsongsareaccompaniedbyinstruments.Thetitle

Métamorphoseconciselyexpresseshiscompositionalphilosophy:“Asthis

compositionisatransformationofanancientworkofartintosomethingultra-

modern.”66AlthoughMatsudairaconstructedSaibaradodecaphonically,according

tohisson,Yoriaki,“…hisuseoftwelve-tonetechniqueis,sotospeak,even

regressive.Adelugeofoctaves,asenseofstagnationcausedbyfrequentrepetition

ofsinglesegmentsofthetonerows,rhythmscallingtomindStravinskianostinato,

against-the-rulestreatmentofserialproceduresthatmakeseveryanalyst’seffortto

65KuniharuAkiyama,JapaneseComposersTodayVol.1(Tokyo:OngakunoTomoPublication,1979),166.66YoritsuneMatsudaira,YoritsuneMatsudaira:VariationsforthePianoandOrchestra:TheSaibaraMetamorphosis,recordedinApril23,1997,EMIMusicJapan,TOCE-9436,compactdisc,Linernotes,11.

30

identifytherowsanalmostimpossibletask”.67Useofportamentoandglissandoin

thesopranopartalsothreatensthesystematicsoliditywithwhichtwelve-toneis

usuallyassociated.WhileYoriakithoughtsuchfreedomwasagainstthecorenotion

ofserialism,italsoenabledMatsudairatofindafinebalancebetweenGagakuand

dodecaphony,alongsideexperimentsintimbreandrhythm.

Withthesamefreedominhisinterpretationoftheserialtechnique,he

continueddevelopinghissystemintomaturityandcomposedFiguresSonorespour

Orchestre(1957),writteninthefashionofapianoconcerto,consistingoftwo

movements,aCantilena-likefirstmovementfollowedbyadancemovement.

MatsudairadescribedFiguresSonoresas“ahybridofwhichIwasinspiredbyakind

ofaformofJapaneseancientmusicandtheequivalentthatbelongstoWebernian

school.Thus,theemphaseshavebeenplacedonvolume,timbre,dynamics,

virtuosityofthesoloist,andespeciallythevaluesofrests,orma(�).”68Onthe

contrary,Yoriakipointsouttheuncharacteristicprominenceofwesternsonorities,

owingtothelackofspecificGagakurepertoireasaninspiration.Perhapsthe

influenceofWeberncanalsobeaddedtoYoritsune’sexplanation.

TotalSerialismandAleatoryMusic

WithUmai(1957)andSamai(1958),consistingoffiveandthreemovements

respectively,hestartstomanipulatenotonlythepitchclassesbutalsotheother

67YoriakiMatsudaira,Trans.JoaquimM.Benítez,“MatsudairaYoritsune’sPathfromNeoclassicaltoAleatoryMusic,”inGagakuandSerialism:APortraitofMatsudairaYoritsune(India:OverseasPublisherAssociation,1998),8.68Yoritsune,Matsudaira.WorksbyYoritsuneMatsudaira,recordedinSeptember25,1998,Tontec,FOCD2542,compactdisc,Linernotes,2.“Ma”isaJapaneseterminologyforanuancedabsenceofobjectorsoundthatisacrucialcomponentofitsart.

31

parametersinaccordancetothevariousseries.WitoldLutoslawskihighlypraised

Samai,givingcommentssuchas,“WhydidyounotenterSamaiintocompetition,it

undoubtedlywouldhavewon.”69InIntroduzioneofSamai,Matsudairaserialized

pitchclasses,dynamics,andnotevalues;however,accordingtoJunichiIshiduka,

unliketheserializeddynamics,whicharedirectlyrelatedtothepitchorder,the

orderofnotevalueslacksarelationshiptoeitherofthoseparameters,butrather,is

distributedevenlywithoutarepetition.70Withitspointillisticsonority,theinfluence

oftheDarmstadtSchoolisapparent,yethesucceedsin“...becomingmore

authenticallyavant-gardeandmoreauthenticallyGagaku.”71Matsudairadeveloped

totalserialisminthefollowingyearsinKatsura(1959),DanceFinal(1959),and

Buraku(1961).

AsthecomposersoftheDarmstadtschoolstartedexperimentingwith“open

form,”Matsudaira,asanavant-gardist,hadtofollowthetrend.AccordingtoYoriaki,

“UnliketheindeterminatemusicoftheAmericanExperimentalistssuchasCage,the

‘openform’oftheEuropeanavant-gardeneverleadstoresultsbeyondthose

foreseenbythecomposer.”72Matsudaira’sadaptationofindeterminacywas

relativelyrestricted;whileheclearlycravedthebenefitsofmusicalmodernism,his

69YoritsuneMatsudaira.WorksbyYoritsuneMatsudaira,recordedinSeptember25,1998,Fontec,FOCD2542,compactdisc,LinerNotes,4.70JunichiIshiduka,MatsudairaYoritsuneandtotalserialism,lastmodified5/2/2014,https://note.mu/jishizuka/n/n4300bf2d1abf.71JohnQuinn,“Matsudaira:BugakuDanceSuite;theme&Variations”inAmericanRecordGuide(September2015),accessed5/8/15http://www.naxos.com/SharedFiles/Reviews/AMERICANRECORDGUIDE_SEPT-OCT05_8.555882_EN.pdf.72YoriakiMatsudaira,“MatsudairaYoritsune’sPath,”10.

32

techniquerepresentedonlyaslightstretchof“…theunorganizedorganizationof

materialsthatisfilledwithanticipation.”73

ThefirstsuchpiecewasSomakushapourflutesolo(1961),inwhichthe

performerchoosestheorderofvirtuosicfragmentedphrases,whichareorganized

accordingtotwelve-toneorganization.Whileitisbasedonanaleatoryprinciple,

Matsudaira’sdenseinstructionrestrictsthefreedomoftheperformerandthusthe

outcomeofperformance(Example4).Heexplainedthathisaimwasforan“over-all

impressionofspontaneityandimprovisationbasedonextendedserialismand

extremevirtuosity,”74whichagainrelatedbacktothe“unorganizedsoundwith

anticipation.”FollowingSomakusha,hisotheraleatorycompositionsinclude:

Serenadeforfluteandensemble(1962),Portrait(b)pour2pianoset2batteurs

(1967-68),Variationsd’après3MouvementsdelaDanseSacrée(Embu)pour2

GrandesFlûtes,2ClarinettesenMi�Batteurs(1980).

73JunichiIshitsuka,“SouvenirfromMatsudaira”HiroakiOOIOfficialBlog.ExciteBlog,lastmodified10/13/2010.http://ooipiano.exblog.jp/15280570/.74Matsudaira,Yoritsune.“AConversationwithMatsudairaYoritsune,”95.

33

Example4,firstpageofSomakusha

MatsudairaachievedhisunificationofGagakuandserialismbyderivinga

tone-rowfromintervallicrelationsfoundintheGagakurepertoire,whichwillbe

discussedindetailinalaterchapter.Moreover,JapanesecomposerJoKondopoints

outthatMatsudairagavelongernotedurationstoselectedpitchclasses,particularly

thoseinGagakumode,whiletheremainingaretreatedmuchlikegracenotes.Thus,

34

duetotheoverallcontinuity,itgainsamodalsonority,evidenttothelistener.75

Examplesofsuchmethodscanbefoundinhispianosuite,“LeBeauJapon,”asuite

forsolopianowrittenin1969andnowregardedasoneofthemostsuccessful

piecesforpianosolobyMatsudaira.(Example5)

Example5

Matsudairadidnotcompletelyrenouncetheuseoffolksongelements.Étude

pourPianod’aprèsModesJaponais(1970)isasetofthirty-threeetudesbasedonthe

modalsystemwhichhederivedfromchildren’ssongsoftheTohokuarea.Whilethe

purposeoftheseetudesisfundamentallytodevelopphysicaltechniquesrelatedto

thesemodesonthepiano,folkelementsandserialismcoexistwithinthem.

Matsudairadetectedatendencyofascendingfourthsinthosefolksongs,and

75YoritsuneMatsudaira,HommageàYumiNaraŒuvresvocalsdeYoritsunéMatsudaïra,recordedinJune25,1992,ALMRecords,ALCD-39.Compactdisc.Linernotes,4.

35

derivedascaleofascendingfourths,ofwhichthefirstsetoffivenotesforma

pentatonicscale.Thus,thepermeatingsonorityismodal,yetbyapplying

polymodalityandstackingpentatonicscalesahalfstepfromeachother,hesucceeds

inplacingthetwelvepitchesatequalfrequency.

Koromouta:Dodiciberceusesperpianofortenellostiledellecanzonipopolari

giapponesiperbambini(twelveberceusesforpianointhestyleofJapanesefolk

songsforchildren),writtenin1972,althoughmissingdirectGagakureferences,isa

miniaturecatalogueofhiscompositionaltechniques,assuggestedinthetitlesof

eachBerceuse:76

Berceuse(I):Bitonaliá Berceuse(III):allamanieradiClaudeDebussy Berceuse(X):Dodecafonia Berceuse(XI):aleatoria Berceuse(XII):informadiFugaa4voci

Finalyears

ThelastdecadeofMatsudaira’slifeasacomposerwashighlightedbythe

acquaintancewithJapanesesopranoYumiNaraforwhomhewrotemanyofhis

laterworks.Matsudairawasmesmerizedbythequalityofhervoice,hestates,

“Whenshesings,shecharmstheaudience,withtheevocationsofnotonlythe

colors,lights,rainbow,orscentthatthecomposerfailedtowritedownonthe5

linesofthestaff,butalsooffarawaycountriesandthetimeelapsedoverathousand

years.”77Shewasthesingerforwhomhesearchedforover30years.In1990,he

76BerceuseII,IV,V,VI,VII,VIII,IXdonothavetitles.Berceuse(XII):informadiFugaa4vociisfor2handsalthoughitiswrittenacrossfourstaves.77YoritsuneMatsudaira,HommageàYumi,Linernotes,4.

36

dedicatedhis3AirsduGenji-MonogatariforNara.Thisisthefirstknownworkby

MatsudairathatincludedGagakuinstruments.Uptothispoint,heavoidedtheuseof

suchinstrumentsfortheirsymbolicconnotations.78Matsudairadescribedthis

suddenshiftintheuseofthoseinstrumentsintermsofhaving“mostlychangedmy

mind…thatpeoplecannotescapethesuperintendentofnature(ordestiny,implying

thatitwascurrenthewasnotgoingtofightagainst).”79Nevertheless,itisnota

coincidencethattheencounterwithNaracollidedwithMatsudaira’suseofthose

instruments.PerhapsNara’svoicesufficedtoovercometheeasynationalismhehad

longcriticizedasJaponica-cho,orelseattheageof84,hehadreachedamaturity

wheretheuseofsuchinstrumentsortheirsymbolismdidnotinterferewiththe

“unorganizedorganizationofthesounds.”

Takenfrom3AirsduGenji-Monogatariasasteppingstone,hecomposedthe

mono-operaGenjiMonogatari-Echod’amourlointainsin1995,dedicatedtoand

premieredbyNara.Hecontinuedtocomposeworks,mostofwhichwere

unpublishedandarewaitingtobeperformedeventoday.Anunaccompaniedsong

forsopranoLebonvieuxtempspourvoixwaswritteninMayof2001bythe

composerattheageof94.Hismemosaid,“Ifoundyetanothertechnique!”80

showcasinghiscontinuingcreativityevenattheageof96.Hislastwork,Kyu:

L’oiseau(karyobin)poursopranoetflutewascommissionedbyOrchestreNational

deLyon,andwascompletedOctober18th,7daysbeforehisdeath.Theuncompleted

78useofshoasthedream-likedeedsofFujisubo,FluteasGenjiwasavirtuosoofflute,andkotoasAkashikiwasvirtuosoofkoto.79YoritsuneMatsudaira,HommageàYumi,Linernotes,5.80Yoritsune,Matsudaira,Echosd’amourlointainsŒuvresvocalsdeYoritsuneMatsudaiaIII,recordedinMarch7,2013,ALMRecords,ALCD-94,compactdisc,Linernotes,13.

37

scoreofKaryobin–aphoenixthatlivesineternalheaveninBuddhism-reached

NaraonOctober25th,thedayMatsudairapassedaway.

38

ChapterIII

Gagaku

BriefHistory

Gagaku,directlytranslatedaselegantmusic,isknownastheoldestmusical

anddancetraditionthatexistsinJapan.AswithotherculturalphenomenainJapan,

manyofitsaspectswereimportedmaterialsthattookrootintheJapanese

indigenousethosandexperiencedadistinctivedevelopment.Somerepertoireand

instrumentswerefirstbroughtfromthecontinentalcountriestoJapanduringthe

5thcentury,aroundthesametimeasBuddhism.Whiletheimportationcontinued,in

701,Gagaku-ryo,alsoknownasUta-ryo,wascreatedasasectionofagovernment

officeforthesystematicorganizationofperformanceandeducation,aswellasthe

maintenanceofinstruments.DuringtheHeianperiod(794-1185)Gagakuflourished

andsawitsgreatestpopularity,andbecamewhatweknowasGagakutoday.Asit

hadbeenstrictlyassociatedwithceremonialuseattheImperialPalace,itfaceda

declineinpopularitybeginningattheendoftheHeianperiod,duetothe

transferenceofpoliticalauthorityfromtheemperortothefeudalmilitary

government.

DuringseveralmilitarygovernmentssuchastheKamakuraperiod(1185-

1333),theMuromachiperiod(1336-1573),theAzuchi-Momoyamaperiod(1573-

1603),andtheEdoperiod(1603-1868),Gagakufailedtoregainitsmainstream

status.Althoughitapproachedthebrinkofextinction,variousattemptsforrevival

atvariouspointsinhistorywereundertaken,andfinally,alongwiththeMeiji

39

restorationin1868,Gagakumusicianswhomanagedtoinherititstraditionsand

survivedinseclusion,weregatheredinTokyoforreorganizationandrevitalization.

Althoughitsperformancepracticeevolvedoverthecourseofitslonghistory,

Gagakuisnowknownas“oneofthelastremainingexamplesofamusicalgenre

whichflourishedthroughoutAsiaduring7thto9thcenturiesA.D.,”81aswellasthe

oldestformoforchestraintheworld.

Classification

ThemusicdepartmentoftheImperialhouseholddefinesthefollowingtypes

ofGagaku:82

1. KuniburinoUtamai;vocalmusicnativetoJapanfromtheearliesttime.

2. InstrumentalensembleandDance.Theinstrumentalensembleiscalled

Kangen,whereasitiscalledBugakuwhendancersareinvolvedinthe

performance.Itisdividedtotwosubcategories:

a. Togaku(musicoftheLeft):musicbroughtfromChina,Vietnam,

India,Iran,etc.

b. Komagaku(musicoftheRight):musicbroughtfromKoreaand

Bokkai(kingdomofP’o-hai,northeastofChina)

3. UtaimonoorKakyoku:songscomposedduringtheHeianperiod.

However,inanarrowdefinition,certaindiscussionsuse“Gagaku”torefertothe

secondtypeexclusively.

81RobertGarfias,Gagaku:TheMusicandDancesoftheJapaneseImperialhousehold(NewYork:TheatreArtsBooks,1959),8.82ImperialHouseholdAgency,Gagaku,accessed9/21/2016,http://www.kunaicho.go.jp/culture/gagaku/gagaku.html.

40

Modes

InthetheoryofGagaku,therearetwoprincipalmodes:Ryo-mode(���)

andRitsu-mode(��)whichcanbedescribedasmixolydiananddorianmodes

respectively,intheirWesterncounterparts.Eachmodeconsistsofsubcategoriesof

modesdependingonthetonic;Ichikotsu-cho(D),Sou-jo(G),Taishoku-cho(E)

belongingtotheRyo-mode,andHyo-jo(E),Oshiki-cho(A),Banshiki-cho(B)

belongingtotheRitsu-mode.

Example6Ryo-mode84

Ichikotsu-cho

Sou-jo

Taishoku-cho

Ritsu-mode Hyo-jo

Oshiki-cho

Banshiki-cho

84ThefourthandseventhnotesofRyo-modeandthethirdandseventhnotesofRitsu-modearevariableandoftenfunctioningaspassingtoneormodulatorytones.

41

Thefourseasonsarealsoassociatedwithsomeofthesemodes:Sou-jowith

spring,Oshiki-chowithsummer,Hyo-jowithautumn,andBanshiki-chowithwinter.

Transpositionbetweenthemodesispossible,howeverduetothestructureand

limitationsofinstruments,theoutcomeofthetranspositionisoftensubstantially

differentfromtheoriginal,unliketheexacttranspositionsfoundinWesternmusic.

Instruments

InatypicalGagakuensemble,thereareeightinstruments:threewind

instruments,twostringedinstruments,andthreepercussioninstruments.

• Windinstruments

o Hichiriki;adoublereededpipemadeofbamboo,analogoustothe

oboe.ItssoundrepresentshumanityandthevoiceoftheEarth.

o Ryuteki;atransverseflute.Asthenameoftheinstrumentsuggests,

(“Ryu”meaningdragon,and“Teki”meaningflute)itrepresentsthe

dragonthatfliesbetweenEarthandHeaven.

o Sho;areed-freemouthorganwithseventeenbamboopipes.Its

uniquesoundsymbolizesthelightfromHeaven.

• Stringedinstruments

o Sou:azitherthathasthirteenstringswithmovablebridges.Strings

arepluckedbya“tsume”(nail)thatperformersinstallintheirright

hands.

o Biwa:afrettedlutewithfourstrings.

• Percussioninstruments

42

o Kakko:asmalldouble-headeddrum,playedwithtwomallets.

o Shouko:abronzegong,suspendedbysmallwoodenframe.Itisstruck

byawoodenorstonestick.

o Taiko:alargedrum,suspendedinacircularringedframe.Itisstruck

bymalletswithleatherheads.

StringinstrumentsareomittedinaBugakuperformance.

Etenraku(�� )

EtenrakuhasbeenthemostpopularpiecesincetheHeianperiod,85andits

popularitycontinuestoday.Themusictextbooksinmiddleschoolsandhighschools

inJapantodayadoptEtenrakuasanintroductiontoGagaku,anditcanbeheardat

variousshrinesortemplesonoccasionssuchasNewYear’svisits,weddings,and

othercelebratoryevents.Thus,mostofthosewholiveinJapanarefamiliarwiththe

piece,althoughtheymaynotbeawareofthedetailssuchasthetitle.

Itstitleliterallytranslatesas“MusicofHeaven.”Itbelongstotherepertoire

ofTogakuwithKangenstyleofperformance,astheaccompanyingdanceisnowlost.

Itsoriginisunknown,thoughitiswidelybelievedthatitwasabanquetsongin

ChinaduringtheT’angDynasty(618-907),fromwhichitwasbroughttoJapan

duringthemid-Heianperiod(794-1185).However,scholarssuchasYokoMitani

85HumikazuHiyama,“Etenraku”inBugakuKaisetsu(Tokyo:GagakuKokyukai1932),121-122.

43

statethatonlythetitlewasgiveninremembranceofsomeChinesemusicalpieces;

itscontentwasnewlycomposedduringtheHeianperiod.86

EtenrakuexistsinthethreeprincipalRitsumodes:Hyojo,Oshikicho,and

Banshikicho,whichsuggestsaseasonaladaptationinwhicheachvariationwas

performed—Oshiki-choinsummer,Hyo-joinautumn,andBanshiki-choinwinter.

Suchseasonalconnotationsarenowlostanditisperformedregardless,throughout

theyear.Therehavebeendisagreementsastowhichmodeistheoriginalorthe

oldest.ItiswidelybelievedthattheversionofHyojoistheoldest;however,scholars

suchasStevenW.OttosuggeststhroughhisanalysisthatBanshikichoprecededthe

othertwoversionsforits“leisurelyconjunctmelody,aidedbytheconsistentuseof

appropriateformsofShoandU,87thatportrayahomogeneousbalanceseemingly

unadulteratedbythepressuresofmodaltransposition.”88

ThepopularityofEtenrakuhasgivenrisetocountlessnumbersof

arrangements.DuringtheheightofitspopularityintheHeianperiod,asetoftexts

wasadaptedtothemelody,andthesongwascategorizedasImayo,andenjoyed

withinthecourt.Later,itflourishedasafolksongwithadifferentsetoftextscalled

KurodabushiinKyushu(thesouthernmostofthefourmainislandsofJapan),

particularlyinFukuoka.KurodabushiwasevencoveredbyaJapaneserockband

calledSharanKyūin1995,evidenceofitslong-livedrecognition.Thecomposer

HidemaroKonoe(1898-1973)arrangedHyojoEtenrakufororchestra,whileMichio

86YokoMitani,,“ChineseMusicandInstruments,”inTheOriginofJapaneseMusicandEntertainment,ed.TomoakiFujii(Tokyo:NihonHousouShuppanKyoukai,1985),341.87VariablenoteswithinRyoandRitsumodes.88StevenW.Otto,“TheStructuralInfluenceofEtenrakuontheEmergenceofJapaneseKotoMusic”(PhDdiss.,WesleyanUniversity,1968),36.

44

Miyagi,whowasknownasthepioneerofSou/Koto,wroteathemeandvariations

basedonthethemeofEtenraku.Countlessnumbersof“fantasies”havebeenwritten

byplayersofJapaneseinstruments–notconfinedtothoseusedinGagaku.Their

tendencyistoharmonizethemelodyofEtenrakuviaWesternharmonyand

instruments,typicallywithpianoandstringsinthemannerof“easylistening,”

whichembodiestheJaponica-choMatsudairasoevidentlydespised.Insuchcases,

theuseofEtenrakuismerelytobringasenseofhistoryandthealmostsacredaura

thatsuchancientmusichasbeenassociatedwith.Nonetheless,theseexamples

illustratethepopularityithasretainedthroughapproximatelyathousandyears.

45

ChapterIV

ThemeandVariationsonEtenraku

MatsudairacomposedThémeetVariationspourpianod’après“ETENRAKU”

(henceforthreferredasThemeandVariations)betweenJulyandSeptemberof1951

inTokyo.ItwassubmittedtotheInternationalMusicFestivaloftheInternational

SocietyforContemporaryMusicandwaspremieredattheISCMMusicFestivalon

June29th,1952inSalzburg,AustriabyconductorEttoreGracisandpianistEva

WollmannwiththeViennaPhilharmonic.TheJapanesepremierewasonJuly29th

1952,withconductorKurtWössandpianistYoshieNaitou.

TheworkmarkstheendoftheNeo-classicalperiodandbridgesinto

Matsudaira’sDodecaphonicperiod.WithThemeandVariations,hebecamethefirst

JapanesecomposertowintheISCMprize,whichundoubtedlycontributedtothe

globalizationofJapanesecontemporarycomposersatthattime.Inthatsameyear,it

wasperformedbyHerbertvonKarajan,whoalsoselectedthispieceaspartofhis

programwhenhevisitedJapanforthefirsttimein1953,whichmarkedtheTokyo

premiereofThemeandVariations.Inthefollowingyears,YvonneLoriodperformed

itinEurope.JapanesePianistEikoSasakiin1981commissionedfromMatsudaira

thesolopianotranscription,andpremieredthisversionin1982.Shecontinuedto

performthisworkalongsidehisotherNeo-classicalworks.

46

Reception

Asmentionedabove,thisworkwasanunprecedentedsuccessinternationally,

notonlyforMatsudaira,butalsoforaJapanesecomposer.Latercritics,however,

havenotconsidereditoneofMatsudaira’smostestheticallyrewardingworks.Inhis

reviewoftherecordingmadebytheOsakaCenturyOrchestrawithpianistIchiro

Nodaira,musiccriticJohnQuinnsuggestedthatthesuccessofthisworkwas

partiallyduetotheunderlyingpoliticalclimateatthetime.Alongwiththe

deliberateexoticismwhichThemeandVariationscarries,itwasspecificallytargeted

towardEuropeanaudiencesthroughtheobviousfabricationofaFrenchNeo-

classicalexterior.89ThisviewunfairlysuggestsunscrupulousnessonMatsudaira’s

part,perhapsduetoQuinn’slackofknowledgeofhiswork.Nevertheless,its

accessibilitywasatargetofcriticism.Referringtotheboogie-woogierhythmthat

appearsinVariationV,composerHumioHayasakawarnedMatsudairanottobend

hismusicinsuchadirection.90Ontheotherhand,composerOsamuShimizupraised

ThemeandVariationsasamonumentalworkofmodernJapanesemusic.91Asa

composerbornintoandgrowingupamongafamilylineageofGagakuperformers,

OsamuShimizuwasthoroughlyacquaintedwithGagakuandaimedtorecreateit

withmoderncompositionaltechniqueshimself.Thus,hewasabletorecognize

Matsudaira’ssuccessinunitingGagakuwithmodernesthetics.Hestates,“Every

elementGagakucontains,andeverymusicalphenomenon–nottechnique-that

89JohnQuinn,“Matsudaira:BugakuDanceSuite;theme&Variations”90JunichiIshitsuka,“SouvenirfromMatsudaira”HiroakiOOIOfficialBlog.ExciteBlog,lastmodified13October2010.http://ooipiano.exblog.jp/15280570/.AccessedSeptember2016.91OsamuShimizu,“ThemeandVariationforPianoandOrchestra,”OngakunoTomono.2(1953):109.

47

derivedfromthem,hedidnotleavethemmerelyasphenomena,buttechnicalized

them,andletthemcontributetothethrobbingoflife[ofthemusic].”92

Overview

ThroughThème et Variations pour piano d’après “Etenraku,”Matsudairastrives

topreservethearchaicvisionsandcolorsofJapan,whileprocessingthemwith

obstinatelymoderncompositionaltechniques.93Outofthreemodesinwhich

Etenrakuexiststoday,hechosetheBanshikichomodeasthematerial.Historically,

Banshikichowasassociatedwithwinter,andastantalizingastheideaofsucha

hiddenconnotationmaybe,Matsudairahadnosuchsymbolisminhismindfor

ThemeandVariations.InMatsudaira’swords,“ItisbecauseIloveit.Inmyview

EtenrakuistheloveliestofallGagakumelodies….Theoshikichooneismusically

uninteresting;thehyojoversion,thoughverypopular,is,inmyviewlessimpressive

thantheoneinbanshikicho.”94Inaddition,fromhismeticulousstudiesinGagaku,it

isassumablethatMatsudairamayhavecometothesameconclusionasSteven W.

Otto:thatBanshikichowasbettersuitedtotraditionalinstrumentsusedinGagaku,

thusisindeedtheoriginalversion.

PriortoThemeandVariations,Matsudairahadwrittenathemeandasetof

variationsforsolopianobasedonEtenraku,butinHyojo.Detailsareunknown,as

thesheetmusicremainedunpolished,andthepiecewasneverrecorded.Ichiro

Nodairaconjecturesthatthecompositionyearwasaround1940,whileYoriaki

92OsamuShimizu,“ThemeandVariationforPianoandOrchestra,”109.93YoritsuneMatsudaira,“ThemeandVariation”OngakuGeijutsu3(1953):96.94JoaquimandKondo,SerialisminJapaneseContext,89.

48

Matsudairamentionsthatitwasa“…shorttimebeforetheThemeandVariations(of

1951).”95EachvariationoftheearliersetwasbasedonHyojoEtenraku,andlikethe

1951versiontheyfollowedthestyleofseveralImpressionist/Neo-classical

composers:thefirstvariation,titledDancers,wasaparodyofDebussy’sprelude

DanceusesdeDelphes;thesecondandthirdvariationstitledNocturneandPièce

brêverespectively,hadresemblancestoFaurewithahintofStravinsky,aswellasa

parodyofhisownLiedIandII;thefourthvariation,Intermezzo,hadthestyleof

JacquesIbert;andfinally,thelastvariationwasachromatictoccata.96Thisearlier

versionofThemeandVariationsstillcontainedtracesofImpressionism,whichleads

NodairatobelievethatitwascomposedaroundthetimeMatsudairahadnotyet

shakenofftheinfluencesfromImpressionism.Eachvariationofthe1951Themeand

VariationsisanimitationofvariousNeo-classicalcomposers,whichwillbe

discussedindetailbelow.

Thème et Variations pour piano d’après “Etenraku” of1951consistsofatheme

andsixvariations,withareturnofthethemeasthecoda.EachsegmentofEtenraku

(whichisinternaryform),isrepeatedinitsoriginalGagakuperformance;however,

therepetitionisomittedinMatsudaira’scomposition.Eachvariationfollowsthe

unblemishedternaryform,usuallyfollowedbybriefcodasofeach.Thedescription

belowisatranslationofthenotebythecomposer97:

95YoriakiMatsudaira,“MatsudairaYoritsune’spath,”6.96ExacttitlesofeachvariationwerelikelyinFrench.HeretheyaregiveninanEnglishtranslationoftheJapanesedescriptionbyIchiroNodaira.97Matsudaira,Yoritsune.Nétori[Prélude];ModeBanshiki;ThémeetVariationspourpianod’après“Etenraku”(Tokyo:Zenon1991),Preface.

49

Theme:ratherfaithfulrenditionofEtenrakuforpiano.ItdiffersfromtheEtenrakuthatiscommonlyheardtodayasitis“transposed”toadifferentmodality.TheformalstructureofthethemeisA+A’+B+A+A’+Coda.

VariationI:apianisticvariationwithbrilliantornamentationscattered

throughout.VariationII:eachofthelow,middle,andhighregistersarecontrastedin

differentkeys(ormodes.)Thethemeappearswithinarpeggiatedchords,whilereminiscentof“shō”inthemiddleregister.

VariationIII:basedonatwelve-tonerow.VariationIV:hasasubtitle“songwithoutwords.”Amelodiousandtranquil

variation.VariationV:basedonaboogie-woogierhythm,widelypopularatthattimein

1951.VariationVI:technicalToccataMeccanico.Themiddlesectionisprinted

alongsideanelaboraterearrangementbyEikoSasaki.Coda:aftertheclimaxinVariationVI,thethemeisrecapitulated.Itends

quietlyafteranimitationofaJapanesestringedinstrument,theKoto.

Asmentionedearlier,theprincipalconceptofthisworkistoprocess

Etenrakuwithvariousstyles,particularlythatofNeo-classicalcomposers.

Matsudairahimselfneveridentifiedthecomposersafterwhicheachvariationis

modeled,butYoriaki,fromwhomMatsudairasoughtadvice,speculatedthat“The

fourthvariationisbasicallywritteninastyleveryclosetoPoulenc’s,although

disguisedunderboogie-woogieandbe-boprhythms.Thefifthvariationmirrors

Szymanowski’sstyle.And…thethirdvariationisinfluencedbySchoenberg.98”In

addition,bitonality/modalityofthesecondvariationrelatestoStravinskyor

98YoriakiMatsudaira,“MatsudairaYoritsune’sPath,”6.

50

Milhaud.Whilethereisnodirectinfluencethatcanbefoundinthiswork,itis

notablethatMatsudairamentionstheuseofnon-retrogradablerhythminGagaku

pieces,whichalsoappearsinthethemeofthiswork,suggestingtheinfluenceof

Messiaen.

EachVariation

In this chapter, each section will be discussed in terms of Matsudaira’s

arrangement technique, pianistic difficulties, and miscellaneous points of interest. As I

was unable to obtain the orchestral score, the comparison of the piano solo transcription

is made with the two piano reduction published by Suvini Zerboni. Hence, while the

discussion will focus on the piano part, my speculations may differ from the intentions of

the composer. The arranger of the orchestral part is not indicated on the Suvini Zerboni

edition.

Theme:MoltoLento,measures1-35

Theinitialtheme,scoredentirelyfororchestrawithoutsolopiano,isa

faithfultranscriptionoftheoriginalEtenrakuintotheWesternorchestra.Thus,in

itsway,itsharesmuchincommonwithHidemaroKonoe’sEtenraku(1931),in

whichthepurposeisamererecreationofGagaku.Hisorchestrationislogical:the

ryutekilineiscarriedbyflute,andsimilarly,hichirikibyoboe,souandbiwabytwo

harps,viola,cello,anddoublebass.Sho,whichhasnoWesternequivalent,is

imitatedbythreegroupsofviolinsplayedsenzavibrato.

Onthepianosolotranscription,Matsudairanotatedthewindandstringed

instrumentsoverfourstaves:shointopstaff,ryutekiandhichirikiinthesecond,sou

inthird,andbiwainthebottomstaff,whileomittingthepercussionpartentirelyin

51

thethemesection.Eventhoughhisnotationacrossfourstavesgenerallycorrelates

totherangeofinstruments,theyoftencollide;sinceMatsudairadidnotincludeany

fingeringorhanddistribution,thepianist’sfirsttaskistodeterminethem.Asthe

fiveinstrumentsencompasssuchawiderangeonthepiano,itisimpossibletocover

allpartssimultaneously,butheresolvesthisproblembytheuseofpre-attacksand

post-attacksofsomeofthepartswiththehelpofpedal,particularlythebiwaand

sholines.Itsstaticmodalharmonysustainedbythedamperpedalforanextended

durationevokestheImpressionisticsonorityofDebussy.

Shochords(Example7-1),一(Ichi),下(Ge),乞(Kotsu),凢(Bou),乙(Otsu),十(Ju),

areplacedwithakindofappoggiaturathatisheardinbetweenchordsofthesho,in

ordertorecreatetheinstrument’sperformancepracticeinGagaku.(Example7-2)

Example 7-1, Sho chords and their names below

52

Example 7-2, sho chords and appoggiatura realized on piano by Matsudaira, Theme and Variations measures 10-14

AsinmuchGagakurepertoire,thehichirikiandryutekipresentthemost

dominantandelaborateversionsofthemelodyofEtenraku.Theinteraction

betweenthesetwoinstruments,mostnotably,themicrotonalinflectionthatbrings

theminandoutoftunewitheachother,whatShimizucalled“atonalpolyphony”is

oneofthecharacteristicsofGagaku.99Itmaysound“outoftune”toearsthatare

accustomedtoWesterntuning;however,itssubtletyandnuancesareamongthe

fascinationsandappealsoftheGagakuorchestra.InMatsudaira’ssolopiano

version,thesetwovoices,whichappearinthesecondstafffromthetop,areboth

markedcantabile.Theatonalpolyphonyisrealizedbychromaticinflectionsin

betweentheintervals.Thoughvisuallyanaccessiblescoring,itposesdifficultiestoa

performer.First,bothoftheselinesmayseemunusual,withseeminglyrandom

99OsamuShimizu,“ThemeandVariationforPianoandOrchestra,”109.

53

phraselengths,oddintervals,andnotesthataresustainedforanextendedduration.

Second,Matsudaira’sscoringnecessitatesboththeryutekiandhichirikilinestobe

splitbetweenbothhands,makingthecontinuityofthesealreadytortuousmelodies

morechallenging.Third,althoughthesustainedbiwaandshopartsrequire

generoususeofthedamperpedal,fromwhichthehichirikiandryutekilineswill

alsobenefit,apotentialproblemisthattheresultingresonancecouldoverwhelm

theoverallsonority.Theperformerneedstoadjustthedepthofthedamperpedalin

accordancewiththeresonanceinordertomaintaintransparencywhilebringingout

theinteractionofthetwowoodwinds.Thequasistaccatomarkingsattheendofthe

themeareimitationsofpluckingonstringedinstruments–biwaandsou-,andthus

mustresonate,somewhatsimilartothestaccatoindicationsofDebussyorChopin.

I.Andante,measures36-67

ThefirstvariationiswritteninastylethatresemblingthatofRomantic

composerssuchasChopin,Liszt,andThalberg.Afterthepiano’sdramaticentrance,

soloyaltothetraditionofaRomanticpianoconcerto(Example8-1),thesoloist

introducestheEtenrakumelodydecoratedbyvirtuosicfioritureswhicharederived

fromGagakutheoryanditsinstrumentalfeatures,whiletheorchestraprovidesa

chordalaccompaniment.Inthisway,theoverallstyleofthisvariationhasmuchin

commonwiththepianoconcertiofChopin.

Theseornamentalpassagesarenotmeredecorativeadditions.Theyare

productsofMatsudaira’smeticulousstudyofGagaku,andhavetheiressences

rootedinthattradition.Thepiano’sarpeggiatedentranceexemplifiesGagaku

54

elements—notonlyisitbasedontheRitsumodeofGagaku,butMatsudairadirectly

referstotheSou,withits13stringstunedinBanshikicho100(Example8-2).The

fioritureatmeasure39isanarpeggiationoftheIchi(�)chordofsho.Measure45,

whichisbasedontheGe(�)chord,itsfollowedbyanornamentalpassagebasedon

Banshikicho(Example8-3).

WhileharmonicallythepassageispersistentlyinBminor,thepresenceofG#

addsamodalsonorityofBanshikicho,orBDorian.TheplacementofG#coincides

withchordsoftheShointhetheme,whichindicatesthattheaccompanimental

harmonywasdeterminedbytheshochordsaswell.Theoriginalshopartis

preservedinthebackground,contributingtosuchmodalharmoniesaswellasthe

Example8-1,ThemeandVariationsmeasure36

100Dependingonthemodesandthetuningsaccordingtothemodes,the13stringsofsouchangetodifferentpitches.

55

Example 8-2, tuning of thirteen strings of the sho in Banshiki-cho

Example 8-3, Measure 45

ornaments.Themiddlesection,consistingofflatteringpianofigurations,isderived

fromsho’sstylewhilethelowerregisterofthepianoandorchestraplayaharmony

thatdescendschromatically.

Inthetranscription,Matsudairagenerallykeptthepianopartrather

untouchedwithanoccasionaladditionoforchestralvoices.Theprimarysonorityis

themelodyinthetrebleregisteroveranaccompanimentinthelowandmiddle

registers.Inthemiddlesection,hereworkedtheflatteringfigurationinahigh

registerinordertoaccommodatethedominanttrumpetvoiceinthemiddle

register,whichresultsinasimilaritytoThalberg’sfamedthreehandtechnique

(Example9).Thisarrangementphilosophyofpreservingthepianopartasmuchas

possible,whileincorporatingimportantadditionalvoices,remainsthefoundation

56

fortherestofthevariations,posingvarioustechnicalproblemslateron.However,

thisvariationisperhapsphysicallythemostorganicunderthepianist’sfingers.

SomeofthefigurationsbasedonGagakumodesarenotidiomatic,requiringunusual

stretchesinbetweenfingers;forinstance,thepassageinmeasure45(example8-3)

forcesanunidiomaticstretchbetweenfourthandfifthfingersintherighthand.It

mayhavebeenpartofhismotivationtocomposethesetofÉtudespourPiano

d’aprèsModesJaponais.Here,manyofthesepassagescanbepartiallydistributedin

thelefthandtogainmorefluidity.

Example9,Measures53-54

II.Allegro,measures68-91

Thesecondvariationconsistsofaperpetualthirty-secondnoterunin

octavesinthepianopart,withpolytonality/modalityandtherhythmicdrive

providedbytheorchestra.Matsudairaneveradmittedtoanyinfluencefrom

Prokofiev;howeverthesimilaritybetweenthisvariationandthescherzomovement

ofProkofiev’ssecondPianoConcerto,Op.16,isobservable.

57

Inthefirstsection(mm.68-75)thepolymodalrealizationisthree-fold:the

repetitionofB�majortonic-subdominantprogressionsinthebassinstruments—

playedoverchordsthatbelongtoeitherAmajor/Bdorian,orBanshikichochordsin

themiddleregister(thisdistinctionisvagueastheysharethesameaccidentalsof

F#,C#andG#)—inturnsuperimposedoctaverunsinthepianopart,inspiredby

Gagakumodesmuchinthesamemannerastheornamentalfigurationsinthefirst

variation(Example10).

Example10,Measures68-69,twopianoreduction

58

Inthemiddlesection(mm.76-79)shochords�(ichi)�凢(bou)and�(otsu),

inthatorder,arearpeggiatedbythepianoinitsupperregister,whiletheorchestra

placesmotivesinB�pentatonicinthebassregister,andtheBanshikichotheme

appearinthetrebleregister.Throughoutthevariation,theEtenrakumelodyis

shortenedtohalfitspriorlength,preservingonlythecharacteristicrhythmicand

intervalliccomponents.Thesolotranscriptionofthisvariationdemandsacrobatic

techniquesforapianist.Matsudairareducedtheoctaverunintoasingle-noteline

playedbytherighthand,whilethelefthandcarriesboththeB�chordsandA

major/Bashikichochordsinconjunctionwitharhythmicdisplacement.The

Etenrakumelodyisplacedinthemiddleregistergenerallytobetakenbytheright

handamidthesurroundinglines.Asaresult,itcreatesunrealisticfour-octaveleaps

withinablinkofrapid32ndnotes(Example11-1).Frommeasure73,thethemeis

doubledattheoctaveinthehighestregister,while32ndnotesthreadthroughthe

octaves,againforcingapianists’handsintowideleaps.

Example11-1,measure70

59

Inthemiddlesection,thearppegiatedshochords,distributedbetweentwo

hands,arenowappliedtoonlytherighthand,whiletheuppermotifsarealso

playedbytherighthandinoctaves.Unlikeinthefirstsection,Matsudaira

dismantledthemotifandaligneditsregistertotheshoarpeggios.Althoughitmay

looklogicalonthescore,eachchordrequiresdifferentwristpositions,resultingin

rapidshiftsamongawkwardpositions.Matsudairamercifullyindicateslégèrment;

however,giventhattheoriginalretainsanAllegromarking,adrasticalterationin

tempowouldnotbesuitabletothenatureofthisenergeticvariation.Anytempo

adjustmentsmustbecarefullyconsideredinrelationtotheoutersectionandthe

pianist’stechnicalcapability.

SimilartowhatwefoundintheTheme,twoaccentsthatoccurwithinthe

arpeggiatedShochordsarederivedfromthecharacteristicsofsho—becausethe

progressionofchordsontheshoisagradualandsuccessivemovementofeach

finger,onehearsasortofappoggiaturasbetweeneachchord(example11-2).

Example11-2,measure79.Theaccenthappensatthelastnotesofbottomstaff.

60

III.Allegro,measures92-134

Thethirdvariationemploysserialtechniques,inwhichthetonerowsare

derivedfromintervallicrelationsfoundintheBanshikichomelodiesaswellasHyojo

Etenraku—itishisfirstcompositionbasedonSerialism,andhenceforththe

majorityofhislaterworksarecomposedwiththesameprinciple.Thus,even

thoughhistwelve-tonetechniquewouldlaterbefurtherdeveloped,thisvariation

wasoneofthemostimportantturningpointsofhismusicalcareer.Hisincipient

strideintoSerialismcametodefinehismusicallanguage,butthelaborwasnot

withouthardship—duetoexhaustionandanimminentdeadlinefortheISCM

submission,hehaddoubtsofwhetherornottoincludethethirdvariation.

However,withYoriaki’sinsistence,heeventuallycompletedtheworkwiththethird

variationasinitiallydesigned.

Thisvariationincludesthreetonerows. Matsudairaderivedthefirsttone

rowfromthefirstfourpitchclassesthatappearinBanshikichoEtenraku:G,A,G#,

andF#(Example12).Itisalsoanornamentalmotifthatoccursfrequentlyin

Gagaku,particularlyintheryutekipart,whichMatsudairaalsousesforornamental

figurationinthefirstvariation.Asthisgroupoffourpitchclassesencompassesthe

intervalofaminorthirdfillingeachhalfstep,atonerowcanbederivedbystacking

threeofthemamajorthirdapartfromeachother.However,Matsudairaavoids

simplerepetitionofthesegment,andinsteadvariesthem—thesecondgroupin

retrograde,andthethirdininversion.Inthisvariation,thefirstfourmeasuresare

basedonthebasicformofthefirsttonerow,andthefollowingfourmeasuresarein

itsinversion.

61

Example12.BanshikichoEtenraku

First tone row

Matsudairaalsopilesupalltwelvepitchclassesinaverticalline.According

tothetwo-pianoreduction,sixpitchesaredistributedaccordingtotwointervalsin

theorchestralinstruments:aperfectfourthbetweentheupperfournotesanda

minorninthbetweenthelowerthreenotes—the“silver”intervalhecametoadore.

Thischordmovesalonginparallelmotionwiththeremainingsixnotesinthepiano

part(Example13).Therhythmicorganizationdivideseightbeatsintosegmented8th

notesof3+3+3+3+2+2,withaccentedoff-beatspassedbetweenthepianoand

orchestra,whichcontributestothedrivingforceofthisvariation.Theresultis

propulsiveandenergetic,simultaneouslygivingasenseofstabilitydespitethe

relianceondodecaphony.

Example13,measures92-94,twopianoreduction

62

Thesecondtonerowappearsinmeasures100-105.Matsudairaselectedthe

firstfournotesinthesamemannerasthefirsttonerow,fromthemiddlesectionof

HyojoEtenraku;however,thefollowingsegmentswereselectedlesssystematically,

preservingonlythecontour,yetwithseeminglyarbitraryintervals(Example14).

Betweenmeasures100-105,thepitchorganizationasawholeavoidstherigid

applicationoftheserialmethod;instead,theharmonyfromtheaccumulationof

fourthsisprioritized,despitetheemphasisoncertainpitchesasaresultofthe

repetitions(Example15).Accentedchordsevensuggestatonalcenteroramode.

AlthoughYoriakisawthisuniquelibertyasneglectoftheserialprinciple,itis

indeedwhatenabledYoritsunetoproducesomeofhismostmaturepieceslaterin

life.Yoriakialsopointsouthisuseoftheoctaveas:

…thesymbolicintervaloftonalitythatthecomposersoftheSecondVienneseSchool,aswellasthepost-Weberniancomposers,contemporariesofMatsudairahimself,avoidedsoconsciously….Matsudairaevenemphasizesitinordertoachievetexturaleuphonioussonorities…asinheritedfromthemusicwritteninthenineteenth-centuryWesterntradition.101Whilethefirsttonerowinthisvariationissubjectedtothefullrangeofserial

techniques,onlytranspositiongetsappliedtothisrow,anditsmusicalfunctionis

merelytransitional.

Example 14, Etenraku in Hyojo, middle section

Second tone row

101YoriakiMatsudaira,“Matsudaira’sPath,”7.

63

Example15,measures100-103

Thethirdtonerowisderivedinthesamemannerasthesecondtonerow,

fromthebeginningofHyojoEtenraku.(Example16-1),appearingatmeasures106-

109initsoriginalformand110-113inretrograde.Thistonerowistreatedmore

melodically,withrhythmicmotivesthatresemblethemiddlesectionofthetheme.

Ofthetwelvepitches,mostofthemappearinaverticallineonceagain.Perhapsitis

reasonabletoassumethatMatsudairainfactusedtwelvepitchesineachvertical

line,butsomewerelostintheprocessofmakingthetwo-pianoreduction.

Example16-1,HyojoEtenkaru,beginning

Third tone row

Matsudaira’s writing of the original piano part is already full in itself; hence, it leaves

64

little room for any addition of extra notes in the transcription for solo piano. Thus, in the

initial section (Example 16-2), the first tone row only incorporates the top notes of each

orchestral chord to the original piano part.

Example 16-2, mm.92-95.

The transitional section containing the second tone row is left as in the original. Here, one

may disagree with Matsudaira’s method, as he abandoned an important violin line, which

is clearly audible in the recordings. In the middle section (mm.106-113), he discards the

systematic patterns of the original piano part, and instead prioritizes the main melody that

was originally played by flute. This melody is emphasized by an octave in the top register,

while the upper instrument parts and piano parts are scattered throughout as

accompaniment. Similar to Variation II, it requires constant wide leaps for both hands,

and the systematic pattern of the original is lost. This section does not closely follow the

twelve-tone technique in the solo transcription. Because of this, it is difficult for the

65

pianist learning the variation to discern its system, leaving the performer feeling rather

discombobulated. Matsudaira left detailed articulation markings here in order to indicate

the melody and emphasis within the phrase.

IV.Lento,measures135-169

Matsudairadescribesthisvariationas“…akindofNocturne,orRomance

sansParole,pianoaccompaniedbythestrings,quietlyplayingthemelodywith

chromaticfioritureoftransverseflute.”102Themelodytowhichherefershereisthe

motiffromwhichthefirsttonerowofthepreviousvariationwasderived.Whilehe

suggeststhattheuseofchromaticinflectionsispurelyornamental,itsfrequent

occurrencesuggeststhatitisindeedacentralconceptofthisvariation.

DespitethesubtitleofRomancesansParole,orSongwithoutWords,it

distinguishesitselffromthestereotypicaltextureofasongwithoutwords—a

prominentsinglevoiceagainstanaccompanimentalpattern,oftenassociatedwith

Mendelssohn.Whilethelefthandprovidestranquilchordalaccompanimentsin

whichopenfifthsmoveinparallelmotion,therighthandplaystwoprimevoices,

perceptiblyreflectingtheunisonbetweenhichirikiandryuteki.Atthesametime,

Frenchhorns,violins,andflutesalternatebetweensoloisticsegmentsabovethe

pianoandorchestralaccompaniment.Asaresult,thetextureoftheprimesection

becomesmorecontrapuntalthanthesubtitlesuggests.Themiddlesection,

however,hasacleareraccompanimentagainsttheprimaryvoice,withthe

orchestrachieflydoublingthepianopart.

102YoritsuneMatsudaira,“ThemeandVariationsforPianoandOrchestra,”OngakuGeijutsu3(1953):98.

66

Whentranscribedforsolopiano,theonlymodificationstotheoriginalpiano

partaretheadditionsoftheFrenchhorn,violin,andflutemelodies.Therestisleft

unaltered,sincemostoftheotherorchestralpartsaremeredoublingsofthepiano.

Althoughtherearesomewidespreadrolledchordsthatrequiretechnicalattention

inordertoachieveevenness,itisstillmuchlessphysicallydemandingthanthe

othervariations.Asatradeoff,theinteractionbetweeneachvoicemustbebrought

outinthesamemannerasthetheme,inwhichsubtlemelodieswithunusual

intervalsmustretaintheircontinuitywhilewindingaroundeachother(Example

17).

Example17,measures140-143

67

V.Allegro,measures170-216

Thefifthvariationisanenergeticvariationbasedonrhythmscommonly

usedinjazz,particularlyboogie-woogierhythms.Inthisvariation,percussion

instrumentstypicallyassociatedwithjazzsuchastom-tomsandsnaredrumsare

used.WhileonemightassumethatMatsudairaisusingjazztodeliveraccessibility

tothemassaudience,itisactuallyinspiredbydancemovementssuchastheminuet

whichhadalreadybeenutilizedinvariousformsbypastcomposers.103Etenrakuin

itstimeoforiginwasaccompaniedbydance,andMatsudairaaimedtorevitalizethis

historybyincorporatingmoderndance.Anotherinspirationrevertsbacktohis

earliestmodel—Tansman,whodecoratedsomeofhisworkswithpurifiedjazz

influencesoutofhisinterestinAmerica.OnesuchexampleishisSonatineforflute

andpiano,whoseScherzomovementisreplacedbyafoxtrot.104

Yoriakisuggests,“…thefourthvariation105isbasicallywritteninastylevery

closetoPoulenc’s,althoughdisguisedunderboogie-woogieandbe-boprhythms.”106

Hisspeculationmaybeduetotheclassicalphraselengthsthisvariationcontains—

oftwofour-barphrasesandaneight-barphrase,allthreeendinginadominant-

tonicprogression.Thisvariationisalsoharmonicallythemoststable,withthe

frequentoccurrencesofthedominant-tonicprogression.Meanwhile,themodal

ornamentalpassages,generatedbythesameprincipleastheearliervariations,

givesaGagakuflavortothejazzvariation.Inthemiddlesection,Matsudairauses

103YoritsuneMatsudaira,“ThemeandVariationforPianoandOrchestra,”99.104Matsudaira,Yoritsune.“AlexandreTansman”OngakuGeijutsu(1950):8-5.105ClearlyamistakebyeitherYoriakiorthetranslator,JoaquimBenítez.Evidentlyitreferstothefifthvariation.106YoriakiMatsudaira,“Matsudaira’sPath,”7.

68

thebasslineofaboogie-woogie,withitssyncopatedswingrhythmrealizedbythe

useoftriplets.

Thetranscriptionissimpleinitsfirstsection—itisleftuntouchedalmost

entirely,withtheexceptionofthepercussionpartsrealizedbytherepetitionofF#’s.

Themiddlesection,however,isreworkedconsiderablytoaccommodateboththe

melodyandaccompaniment,whichwereseparatedbetweenthesoloistand

orchestra,respectively.Matsudaira’swritinghererequiresawidestretchofthe

handsextendingoverintervalsusuallyimpossibleforaverageplayers.Accordingto

KyokoUemura,hehadlargehandsthatcouldreachatenthwithease.107Thosewith

smallerhandshavenochoicebuttoplaythemasarpeggios,effectivelyraisingthe

difficultyofthisvariation.Theboogie-woogieaccompanimentinthemiddlesection

emphasizesitschromaticinnervoicesratherthantheharmonyoftheoriginal

(Example18).

107YoritsuneMatsudaira,NanbuMinyou-shu(Tokyo:Zen-onMusicCo.,1987):Preface.

69

Example18Measures186-187

VI.Allegro(Toccatameccanico),measures217-252

Onthescoreofthetwo-pianoreduction,thisvariationismarkedmerelyas

“Toccata,”butonthepianosoloversionitisreplacedwith“ToccataMeccanico.”The

pianopartconsistsofperpetual16thnotesthatalternatebetweenhandsthroughout

thevariation.Bothhandsfrequentlycrosseachother,creatingtechnicallyrather

awkwardbutvisuallyeffectivepassages.Themiddlesectionconsistsofpassages

thatstretchoveratenth.Unlikeintheothervariations,thereturnofthevariation’s

primesectionisreplacedwithapassagefeaturingchromaticmovementsofthe

innervoice,whichgraduallymovesincontrarymotionandleadsbackintothe

dramaticreturnofmeasures(249-251),atechniqueheusedinmanyofhisworks,

includingPreludeenRé.

Thesolotranscriptionofthisvariationrequirescompletelydifferentsetsof

techniquesfromtheoriginal.Whiletheoriginalhasrightandlefthandalternating

70

chordsthatarerelativelysimple,Matsudairaaddsthebasslinetothosechordsin

thesolotranscription,whichforceseitherorbothhandstoleapwiderangesinthe

tempoofatoccata.Itisnotatedoverthreestaves,withthechordsinthemiddlestaff

tobesharedbybothhands.

Matsudaira’sstemminghereisproblematic.Whiletheuppertwonotesofthe

innerchordsarestemmedinaccordancewiththeuppervoice,thelowestnotesof

thechordsbelongtoboththeupperandlower-staffvoices,withtheexceptionofthe

firstchord(Example19).Thepossibilitythatthisisareflectionoftheoriginal

orchestration,consistingofalinedoubledbytwoormoreinstruments,cannotbe

confirmedherebecausesuchvoicesareabsent.Itisperhapsmorereasonableto

interpretsuchstemmingashisindicationofhanddistribution,inwhichcasethe

bottomnotesarealltobetakenbythelefthand.Nevertheless,thisisnotalways

technicallyideal;thusperformersshouldsearchforthemostefficienthand

distributionbestsuitedfortheirhands.Eventhoughnotedistributioncanbe

reworkedtofitaperformer’spreference,itstilldemandsthatbothhandsare

constantlyleapingwhilemaintainingthevelocityofaToccata,andthemetrical

precisionimpliedbythedesignationMeccanico.Here,theEtenrakumelodyappears

asaninnervoicewithintherighthandoctave.Thismethodoftranscriptionrequires

apianist’sdelicatecontroloffingersduringtheperpetualleaps.

71

Example19,measure217-218

Matsudairatranscribedthemiddlesectioninmuchofthesamemanneras

theprecedingsection,conservingtheperpetualmotionwhileaddingbassand

Etenrakumelodylines.PianistEikoSasaki’sarrangementisasuccessfulalteration

thatMatsudairaapprovedof,emanatingfromherexperienceasapianist.Her

arrangementconsistsoftheexactsamesetofnotesfromMatsudaira,however,she

breaksdownthechordsintoarppeggiatedsextuplets,reducingthenumberofkeys

depressedsimultaneously(Example20).Asaresult,theawkwardhandpositions

aretransformedintomoreorganicmovements.Thearppeggiationalsoeasesthe

difficultyofemphasizingthemelody,astheyarenolongerburiedwithindense

chords.Italsoprovidesarhythmicvariationtotherhythmicallymonotonous

Toccata.Thetranscriptionmethodofthefollowingsection(measures241-252)is

consistentwiththeearliersectionsofvariation,howeverthemelodyreplacesthe

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righthandoctavenotesasopposedtobeingincludedwithin,thusmakingitless

technicallydemandingforthepianist.

Example20,Measure229.Upperstaves:Matsudaira’soriginal,lowerstaves:arrangementbySasaki

Coda:RecapitulationofTheme,Lento,measures253-279

Inthereturnofthetheme,whichprimarilyfunctionsasacoda,theEtenraku

melodyisshortened,becomingprogressivelymorefragmentedasitunfolds,untilit

endswithaserenepizzicato.Theoriginalpianopartconsistsofsimplepatternsin

imitationoftheSou,whiletheorchestraprovidestheremainingparts.Inthe

transcription,thepianopartbeginsidenticallytotheinitialtheme,despitethe

shortenedmelody.Gradually,thetexturedisperses,asifeachorchestrated

instrumentceasestoplay,andendswithanimitationofasoutechniquecalled“ren,”

whichisaglissandoonstrings,followedbyanattackwithafingerpickthat

verticallystrumsthestring,creatinglessimpactbutmoreresonance.

73

Theendingfigurationdiffersbetweentheoriginalandthetranscription.

Presumably,Matsudairasimplifiedthispassagetosuitthescarcetextureofthesolo

transcription.ThisfigurationimitatestheendingoftheoriginalGagaku

performanceinwhichthewindandpercussioninstrumentsdropoutconsecutively

andstringinstrumentsendtheperformancewithpointillisticstrumming.

74

ChapterV

Performancesuggestions

Dynamics

Inmanyofhisearlierpianopieces,Matsudairaleftdetaileddynamic

indication;however,hegraduallyabandonedtheminlaterperiods.Forexample,the

suiteSouvenirsd’enfance(1928-29)hasmeticulousdynamicindicationswiththe

exceptionofafewpieces;incontrast,SonatinepourPiano(1947)hasonlyafew

dynamicindicationsatthebeginningandendofthefirstmovement,lackingentirely

inthelattertwomovements.Inthepianosuite,LeBeauJapon(1969)andÉtudes

pourPianod’aprèsModesJaponais(1970?),suchdynamicindicationsarenon-

existent.

InthesolotranscriptionofThemeandVariations,Matsudairaincludesonlya

fewdynamicindications:

mfatm.1patm.76sfffatm.134sffatm.170ffatm.194ffatm.249sffatm.253

Someofthedynamicindicationsthatappearinthetwo-pianoreductionare

absentinthesolotranscription;thusitmaybehelpfultoconsidertheminaddition.

Thefollowingdynamicindicationsappearonlyinthereduction:

75

pbelowthestaffatm.10patm.33fatm.80forthemelody(thisisreplacedbyaccentsinthesolotranscription)ffatm.88fatm.92fortheorchestrapartfatm.100ffatm.106and<>inthefollowing5measuresfatm.122patpickuptom.155ffatm.154fatm.172fortheorchestra,aswellas173fatm.178fatm.186fatm.205pwithmoltoseccoatm.212fpatm.217-224inorchestrasffimmediatelyfollowedbymfforpianopartandppfororchestrapartatm.253pppatthefinalmeasure.

Theseindicationsmaybeaddedtothetranscription,yettheyarebyno

meanssufficient.Performersmustsupplementtheirowninterpretationwith

considerationtotheoverallscheme,particularlyattheclimaxinmm.251-253,as

wellastheexpressivequalityofeachvariationinaccordancewiththetheir

structures.

Tempo

TherearetwoexistingrecordingsofThemeandVariations.Matsudaira

mentionedthatthereisonlyonerighttempoforapieceofmusic,whichshould

76

revealitselfthroughtheperformance.108ItisunclearwhetherthiswasMatsudaira’s

beliefatthisstage;however,twoexistingrecordingsshowdifferenttempi;

Tempiofeachsectionstakenbytworecordings109 Cond.KazuoYamada

Pf.YoshieTakayoshi

Cond.KenTakasekiPf.IchiroNodaira

Theme♩=63 ♩= 48~50 ♩= 44~48Var.I♩=72 ♩= 48~52 ♩= 50~54Var.II,Allegro ♩= 66~69 (slower coda) ♩=62-64Var.III,Allegro ♩= 150~152 ♩=138~142Var.IV,Lento ♩=50~52 ♩=56~58 ♩=40~44 ♩=48~50Var.V,Allegro ♩= 120~126 ♩= 94~98Var.VI,Allegro ♩= 120~126 ♩= 100-104ReturnofTheme ♩= 42~46 ♩= 44~50

Eachrecordinghasvalidityinitschoiceoftempi;YoshieTakayoshigavethe

Japanesepremierein1952;henceitisseemslikelythatMatsudairaworkedclosely

withher.IchiroNodairahadacloserelationshipwithMatsudairaandNara,

recordingMatsudaira’svocalworkswithher.Healsoplannedtorecordthebulkof

Matsudaira’swork,andwasentrustedwithmanyofMatsudaira’smanuscript

scores.Thus,bothrecordingscanbeconsideredtoreflectMatsudaira’sdirect

intentionforthepiece.

Incomparingthesetworecordings,anumberofpointsemerge.Firstly,both

recordingsneglectthetempomarkingsofthetheme♩=63andthefirstvariation♩

=72.However,bothagreemoreorlessonthetempoofthetheme,whichis

significantlyslowerthanMatsudaira’sindication.TakayoshiandNodaira’stempois

108Matsudaira,Yoritsune,“RitsueTanakaPianoRecital,”OngakuGeijutsu7(1950):127.109MetronomenumbersaretakenfromtheAandA’ofeachvariation.Theseareroundedupassomeofthemfluctuatesubstantiallyintempo.

77

closertothatoftheoriginalGagakuorchestraperformanceofEtenraku,whichthey

prioritizedoverMatsudaira’sindication.Inbothrecordings,thetempoofthetheme

extendstothefirstvariation,whichisagainmuchslowerthanthemetronome

marking.Secondly,thetempiofvariationsVandVIaredistinctivelydifferentfrom

oneanotherbetweenthetworecordings,yettheybothretaintheirtempointo

variationVI.ThetempioftheotherAllegromovementsaretakenfreely,thusthis

tempochoicemayreflectMatsudaira’sview—thatthroughvariationsVandVIthe

temposhouldbemaintained.

Pedaling

Matsudairadidnotleaveanypedalindications.ItisprobablethatMatsudaira

expectedperformerstohavetheabilityandexperiencetoexecutetheappropriate

pedalingatanygivenpointinthepiece.Similarly,unacordashouldbeapplied

whereappropriate.Throughoutthetheme,thebiwabasslinefeaturesF#’sandB’s

sustainedinmostmeasures;thus,theymaybeheldbythesostenutopedalatthe

beginningbeforetheperformanceinordertogainmorecontroloftheresonancesof

theuppervoicesindependentfromtheBiwabass.InVariationIII,toachievethe

appropriatepolytonalandmodalsonority,anampleamountofthedamperpedalis

needed,whilemaintainingtheclarityofrapidrunsintheupperregister.

RollingofChords

AsoneofthetechniquesfavoredbyMatsudaira,widelyspacedchordsthat

rangeoveranoctaveappearfrequently.Mostofthemcanberolledwhenthe

performer’shandsareincapableofsuchastretch;thecomposerseemedtoassume

theseadjustments,assomeofthemareanatomicallyimpossible.Thatbeingsaid,

78

thereistheexceptionoftheShochordsinthetheme—thesechords,locatedonthe

topstaves,aswecanseeinexample7-2above,shouldnotbearpeggiated.The

iconicsoundofthesho,particularlyintheGagakuperformancetradition,isa

combinationofthe“accumulationofuncompromisedperfectfifth’sanda‘lackof

tonguing.’”Undoubtedly,itisalreadyimpossibletorecreatesuchsonoritiesonan

equal-temperedpiano,butthearpeggiationofthesechordswouldcertainlycause

thethemetobetoofarremovedfromthesoundofsho.

Rubato

AlthoughEtenrakuintheGagakuorchestrasettinghasnorubatoanalogous

towhatWesternclassicalmusiciansuseforthepurposeofexpressivity,thereisa

subtleyetgreatlibertybetweeneachpulse,sometimessostretchedthatitis

impossibleforalistenertoperceiveasteadytempo.Asiftoreflectthisdurational

inflection,slowervariationssuchasIandIVconsistofornamentsinsuchawaythat

somerubatoisunavoidable,whilefastervariationssuchasII,III,andVIconsistof

perpetualmotionswherelibertyintempoislimited.ParticularlyinVariationVI,the

indicationofmeccanicoimpliestempogiusto.

79

Conclusion

AlthoughThèmeetVariationspourpianod’après“Etenraku”wasyettoreach

thelevelofsophisticationthatMatsudaira’smorematurecompositionsachieved,it

showcasestheinclinationtowardssuchastage.Hismeticulousresearchinto

GagakuenabledhimtosuccessfullyestablishabranchofJapanesenationalism

withinwesternclassicalmusic’sinternationalstandard,arguablyforthefirsttime

ever.Thetranscriptionforsolopianomanagestopreservessuchcharacteristics

whilemaintainingthebrillianteffectsofaconcertosetting.

Thedensityofnotesinthistranscriptionpresentsaformidablechallengefor

theperformer.Thetechniquesutilizedheretoaccommodateallofitsvoicesare

someofthemostdemandingrealizedonpiano;however,itssonorityisunlike

anythingelse,particularlyinthetheme,wherehemasterfullyrecreatesGagaku’s

serenity.Despitethetechnicaldifficulty,Ibelieveitscontentisworthytobecome

thepartofstandardrepertoire,tobeperformedasthemainpartofarecital

program.

InrecentyearsmanyofMatsudaira’sworkshavefallenoutofprint,andasa

resultrecordingsarerarelymade.Itismyhumblewishthatmyrecordingwillshed

lightonhisworksandencouragemoreperformancesandpublicationofhis

compositions.

80

Appendix

PossibleErrorsintheScore

ThischapteraddressesthepossibleerrorsonthescoreofThèmeet

Variationspourpianod’après“Etenraku”publishedbyZEN-ONMusicCo.,Ltd.Ihave

includedobviousmisprints,whatcanbeconsiderederrorsincomparisontothe

two-pianoversion,andpossibledeliberatedifferencesinthetwo-pianoversiondue

tothetranscriptionprocess.Itshouldbestatedthatnoteverythinglistedhereis

strictlyanerror;manyitemsshouldbetakenassuggestions.Isuppliedmy

interpretationinfootnotes.Dynamicsarenotlistedhere,astheyhavealreadybeen

discussed.

• m.26:thebassclefonthethirdstaffshouldbeatrebleclef,asA#doesnotbelongintheharmony.

• m.36-37:Timesignaturesaremissing.Itis6/4atm.36and4/4atm.

37.

• m.39:topstaff:thelastB6ofthegracenotesistiedtothenextoctaveofB6intheoriginal.111

• m.40:topstaff:lowervoicehasanA5atthesecondhalfofthelast

beat,whichisabsentinthesolopianoversion.112

• m.42:topstaff:thelastD6ofthegracenotesistiedtothenextoctaveofD6intheoriginal.

• m.45:bottomstaff:TheoriginalpianopartconsistsofG#2andD3at

firstbeatwhichareabsentinthetranscription.

111IhaveselectedtoperformwiththeB6untied,thusrepeatedinbeattwoformypreferenceofmorebrillianteffectinthismeasure.112AsMatsudairaleftthefirstninemeasuresofthisvariationunalteredbetweenoriginalandsoloversion,IhavetreatedthelackofA5asamisprint.ThepresenceofA5alsocontributestotheflowandcontinuityasawhole.

81

• m.45:bottomstaff:secondbeat—theoriginalhasG#3-B3insteadof

G#3-A3.113

• m.54:topstaff:lastbeat—thepatternisbrokenwiththeabsenceofE5,butthispatterncontinuesintheoriginal.114

• m.64:topstaff:lastbeat—themelodylineoftheoriginalisD6-D�6insteadofC#6-D6

• m.68:middlestaff:thesecondAmajorchordshouldbetiedasitisin

repriseofthesectionatm.80,beattwo.

• m.80:alongwiththereturnoftheAsectionofthevariation,itshouldbeindicatedTempoI.

• m.93:upperstaff:lasttwoaccentednotes—hisstemmingsuggestsC4

andD4aretheprominentvoice,howeveritisD4andE4thatindeedfollowthetonerow.

• m.115:sameasm.93,thus,accentsaboveC5andD5mayalsobea

misplacement.

• m.140:topstaff:firsttwo8thbeats—thetopvoiceE5-F5areE5-F#5intheoriginal,andmostlikelyamisprint.

• m.150:upperstaff:thelast8thbeat—theoctaveB4octaveshouldbe

16thnotesinsteadof32nd.

• m.220:topstaff:firstbeat—E#6isamisprint.ItshouldbeC#6asitisintheoriginal.

• m.253:middlestaff:lastbeat—G4shouldbenatural,asitisinthe

original.

• m.254:bottomstaff:3rdbeat—D3isindicatedhere,however,thetwopianoversionaswellastheinitialthemeinsoloversionhasF#3.

113ThesepointssuggestthatMatsudairareworkedmeasure45considerablycomparedtotheprecedingmeasuresofthevariation;thusIprioritizedthesoloversioninmyrecording.114WhileitispossiblethatthelackofE5isareflectionofamotiforamelodylineplayedbytheorchestrathatisabsentinthetwo-pianoversion,itismoresensiblebothmusicallyandtechnicallytocontinuethepatternwiththeinclusionofE5.

82

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Discography

KunaichoShikibuShokugakubu.TraditionalSoundinJapan:EtenrakuinThreeDifferentModesperformedbytheMusicDepartmentoftheImperialHousehold.Recordedin1984,ColumbiaMusicEntertainment,COCQ-84222,2006,compactdisc.

MatsudairaYoritsune.YoritsuneMatsudaira:VariationsforthePianoandOrchestra:TheSaibaraMetamorphosis,performedbyYoshieTakayoshi,EmikoKubota,andTokyoSymphonyOrchestraconductedbyKazuoYamada.recordedinApril23,1997,ToshibaEMI,TOCE-9436,1997,compactdisc.

Matsudaira,Yoritsune.Echosd’amourlointainsOeuvresvocalsdeYoritsuneMatsudaiaIII,performedbyYumiNara,Pierre-YvesArtaud,TenJinchi,andChinitatiUeno.recordedinMarch7,2013,ALMRecords,ALCD-94,2013,compactdisc.

Matsudaira,Yoritsune.HommageàYumiNaraOeuvrevocalsdeYoritsunéMatsudaïra,performedbyYumiNara,IchiroNodaira,MayumiMiyata,

88

HiroshiKoizumi,andChiekoFukunaga.RecordedinJune25,1992,ALMRecords,ALCD-39,1992,compactdisc.

Matsudaira,Yoritsune.MatsudairaYoritsuneSakuhinshu:WorksbyYoritsuneMatsudaira,performedbyIchiroNohira,KenTakaseki,TokyoPhilharmonicOrchestra,BrunoMaderna,andNetherlandsRadioChamberOrchestra.RecordedSeptember25,1998.Fontec,1998,FOCD2542,compactdisc.

Matsudaira,Yoritsune.ŒuvresvocalsdeYoritsuneMatsudairaII,performedbyYumiNara,IchiroNodaira,andShigeruIkushima.RecordedinMay30,1999.ALMrecord,ALCD-48,1999,compactdisc.

Matsudaira,Yoritsune.YoritsunéMatsudaïraSelectedPianoWorks,performedbyNodairaIchiro.recordedinJanuary7,2014.ALMRecords,ALCD-89,2014,compactdisc.