JAPANESE ORGAN AND HARPSICHORD MUSIC

JAPANESE ORGAN AND HARPSICHORD MUSIC Calvert Johnson RCCO, Victoria BC, July 2010

Organs and Western music in Japan • Organs introduced by Catholic missionaries, 1579 • Missionaries expelled, Christians persecuted, 1633 • Commodore Perry forces Japan to open up, 1853 • Western music adopted in schools, & for military bands • New organs installed, from 1858 • World War II destroys about half of organs in Japan • Since 1950, hundreds of organs imported from Europe and North America • Japanese organ builders trained abroad now active • By 1930 Japanese composers are up-to-date on developments in Western music

Organs in Japan Today • About 1% of Japanese are Christian • Organs are found in churches (mainly Catholic) • Most organs are located in major concert halls, at least one in the arts complex of each prefecture • Hence, organs are heard mainly in a secular concert environment rather than at religious services

Musical Styles & Themes • Traditional Japanese Music • Christian Music • Western “abstract” instrumental music • Fusion of Japanese and Western musics

Japanese musical characteristics • Rhythm: based on breathing • Free and flexible, hence more expressive • Silence is part of the music • Tempo: slow to very fast • accelerandos for excitement • Melody: mostly based on pentatonic scales • Form: melodies are motivically constructed, with repetition, ornamentation • Jo-ha-kyu: slow introduction (jo), building of tempo (ha), and rushing that slows before the end (kyu)

ASAOKA Makiko (b. 1956) • Studied composition, Tokyo National University of Arts • Four Pieces for Harpsichord (1994) • Prelude: evocationof ancient Japan • Koto music; sequence and inversion of motives • Les Tourbillons: Classic French clavecinistes • Bitonality (A and Ab) • Caprice: Classic French clavecinistes • Two main ideas: • wide ranging melody with P5 and P8 • Short, capricious motives, whether chordal or melodic • Rio: evocations of Brazilian-Japanese music

Isaac NAGAO (b. 1938) • Doctorate, Columbia Pacific University • Professor emeritus, Naruto University of Education • Organist, Tokushima Baptist Church • Ancient Cities (1986): evokes ancient Kyoto, Nara • Nearer My God to Thee (1988): expresses text • Based on triple meter version of hymn • Hosanna! (1987): on Jesus’ last days • Palm Sunday triumphal entry • Peter’s denial (note the cock-crow) • Use of BACH fugal theme • Irony of audience/congregation shouting “Hosanna” through depiction of Jesus’ march to Calvary (with pedal ostinato)

Shinji INAGI (b. 1978) • DMA student (organ & composition), U of Arizona • Wind of Ryukyu (2008) • Evocation of traditional Ryukyu culture (non-Japanese) • Based on Okinawan pentatonic scale CEFGB • Features Flute and Celeste stops

Toru TAKEMITSU (1930-1996) • Self-taught composer, influenced by Messiaen, Cage • Modal melodies • Free meters • Chromatic inflections and accompaniments • Conscious use of timbre and register • First internationally acclaimed Japanese composer • Rain Dreaming (1986) • Features rising P4 • Water is a recurring theme in Takemitsu’s works

Karen TANAKA (b. 1961) • Study at Toho Gakuen School of Music, • later with Tristan Murail, IRCAM, Berio, • Professor of Music, U-C, Santa Barbara • Organist, St. Michael’s Episcopal, Santa Barbara • Jardin des Herbes (1989) • portrays aromatic qualities of 3 herbs: • Rosemary • Sweet Violet • Lavender

Asako HIRABAYASHI (b. 1960) • MM, composition, Aichi Art University • DMA, harpsichord, Juilliard • Frequent prize winner in composition, harpsichord • Sonatina No. 1 (2001, rev. 2002) • Inspired by Busoni’s Sonatina for Harpsichord • Simple, quiet motive pervades the work • Neither homophonic nor polyphonic throughout • More or less polytonal • Very idiomatic to the harpsichord

Jiro CENSU (b. 1934) • Master’s, Kyoto University • Revelation in a Cradlesong (1987, rev. 1988) • Improvisatory introduction: quartal harmonies • Pentatonic Lullaby theme in 6/4 (then played as P5s) • Development of quartal harmonies and theme • Fugue on variant of lullaby theme (in 4/4) • After stretto, combined with lullaby theme • Improvisatory cadenza and quartal harmonies • Lullaby theme with imitation in accompaniment • Overall: Quiet & slow, building to fast and busy, then gradual return to quiet & slow

Takashi MATSUOKA (b. 1950) • Master’s, Tokyo National University of Arts • Further study in Dusseldorf on DAAD • Professor, Naruto University of Education • Fuga in C# Minor (1980s) • School Fugue, theme begins tonic-dominant, descent • Exposition (“real” answer begins dominant-tonic,& 6#) • Counter-exposition: subject is inverted • Development includes stretto and cancrizans • Final bass statement for pedals

Reiko ARIMA (b. 1933) • BA, Composition, Tokyo National University of Arts • Professor, Tokyo College of Music (1961-2004) • Dean of Composition Teachers in Japan • ‘Miyabi’ Ballad for Pipe Organ (1987) • Rondo-like form • Programmatic: about her 16th century ancestor who travelled to Europe as an early Christian • Impressions of gagaku • Opens with angular, chromatic theme answered by “heavenly voice” on flute • Fugue in center, interrupted by rising/falling open P5-P8

Kiyo WATANABE (b. 1966) • BM, Baylor University, with Joyce Jones • MM, DMA, Manhattan School of Music, with McNeil Robinson • Music Director, First United Methodist, Wichita Falls • Composed many organ works based on hymns • Toccata on ‘Blessed Assurance’ • Derived from French perpetual motion toccata style • Theme in pedals, rhythmically adjusted • Exuberant, jubilant, audience-pleasing postlude or encore

JAPANESE ORGAN AND HARPSICHORD MUSIC