The Answers:

April 21th, 2017

Red; original text from Teruyuki Noda

Black; translated by Eriko Noda

 

1. How did you come to the unique and interesting instrumentation of 3 flutes, marimba and

contrabasso?

2. Did Keiko Abe commission this work or is it just dedicated to her?

1,2 について

今や世界的マリンバ奏者である安倍圭子氏が、マリンバと彼女自身の重要な出発点として

位置づけた演奏会のために、この曲の依頼があり、

(それは私自身にとっても出発の時期であったのですが)、当時はアンサンブルの作品がほと

んどなかったため、それを前提とした依頼となりました。

彼女から先ず、フルートを2 本を加えたいという提案があり、その後彼女と会って意見交換

をしました。

そこで、フルートをもう1 本私が加えることを提案し(3 本の響きが私を捉えていました)、

更にコントラバスが鳴り響くイメージが強く私を支配し、そのまま彼女に提案しました。即

座に、彼女は賛成して10 分程で決定しました。

→About1,2

For the concert that Keiko Abe who is now a worldwide marimba player placed with a marimba as

the important starting point of her own, there was a request of this music(it was time of the departure

for me) and it was with the request assuming it because there were few works of the ensemble at that

time.

First, there was the proposition that she'd like to add 2 flutes.

After the proposition, I met her and we exchanged our opinions.

Then, I proposed that I would add another flute (three sounds fascinated me) and more, the image

that a contrabass resounds ruled me strongly, I just suggested it to her.

She agreed immediately, and it was decided in approximately ten minutes.

 

3. How do you feel the translation "Morning" (Mattinata) is conveyed in the piece? Is this then a

programmatic work of sorts?

表題的なものではなく、これら 5 奏者の精神的な演奏状態を表象するものです。

日本人である私の勝手な受け取り方かもしれませんが、Aubade よりも清新な光と風を私は

感じています。

It isn't title-like, but a representation of the mental playing state of these five players.

It might be my selfish way of receiving Japanese, but I feel more fresh light and wind (brisk) than Aubade’s.

 

4. The marimba has many seemingly soloistic sections against an almost accompanimental background of flutes and basso in the first movement. Is the marimba meant to "stand out" against the other instruments in this movement?

特に意識的にそのような意図はなく、アンサンブルの在り方(楽想的な)が、そう感じさせるのかもしれません。

There is no such intention in particular consciously, and the way of the ensemble(motif, music idée)might be made to feel so.

 

5. Is there any process I might look for in the intervallic content of the marimba part? Dodecaphonics, symmetrical patterns, or others?

作曲にあたって、構成的に意図されたものは全くありません。

ただ作曲中の集中によって、無意識的に構成され関連づけられていく音や音型は存在すると思います。

それらは曲を歌い続けることによってのみ得られたもので、具体的に指摘するのは難しいのですが、音の関連性、息づかいによる対位などに感じられるかもしれません。

There is no composition intention in composing.

However, I think that the sound and the sound type which are composed unconsciously and associated are existed by concentrating in composing.

They are obtained only by continuing to sing music, and it is difficult to point out concretely, but it may be felt in relation to the sound, and the position by the breath.

 

6. Did Keiko advise you in any way in the writing of the marimba part in regards to technique or other aspects? 全くありません。

彼女は私が書いたことをすべて完璧に演奏し、初演は暗譜で行いました。

(ちなみに最後の数ページが彼女に届けられたのは演奏会2日前でした。)

No, she didn’t.

She played perfectly all that I wrote, and the premiere was memorize.

(By the way, the last few pages were delivered to her by two days before the concert.)

 

7. Is there a best means of achieving the "quasi pizzicato" in Epilogo? Are "dead strokes" a good approach? Or should the note be allowed to sustain briefly and then be muted with the fingers?

ご提案の2方法の中では、dead stroke のほうが指によるetouffé よりいいように思います。

これまで諸演奏家がどういう奏法で演奏されてきたか、特に注意を払ったことがありませんでしたが、mallet の選択とfeelingで解決していたのかもしれません。

I think the dead stroke is better than the etouffé by the finger in the two methods of the proposal.

It might have been solved by the selection of the mallet and the feeling though it had not paid attention especially how various performers had been played by the play in the past.

 

8. The three movement form is concerto-like. Is this intended?

コンチェルトの発想は全くありません。

There is no conception of the concerto at all.

 

9. What are your attractions to the marimba in the sense of why you chose it over perhaps another instrument?

どの楽器もそうかもしれませんが、特にマリンバやギターは、それ自体が内包するオーケストラ的な要素を、ダイレクトに人の手で表出するところに独特の異なった魅力があります。

Though any instruments might be so, especially, the marimba and the guitar have a peculiar, different charm to the place where it expresses the orchestral element which is enclosed by the hand of the person directly.

 

10. How is your writing or approach to the marimba different from say, Obsession?

この質問にお答えするには、Obsession の作曲経過について少し触れなくてはなりません。

1974年、レコード録音のために、マリンバ5重奏とオーケストラのための”Zenth” という作品が企画され、作曲が進められました。

この曲は、5重奏とオーケストラの協奏曲である、と同時に、5重奏、オーケストラをそれぞれ別の曲として、独立して演奏することが出来ます。

Obsessionは、その導入部分の5重奏ですが、演奏に際して、完結した曲として命名されたタイトルです。

全曲にわたって、表現の拡大、極限化、先鋭化が意図され、必然的に、表現レンジと共に演奏技法にもそれは敷衍されました。

作曲は録音日までに完成せず、演奏家の希望もあって”Obsession ”のみが録音初演され、その後、度々再演を経て独立する結果となったものです。

結局、全体計画は破棄されました。

以上のようなコンセプトにより、マリンバへのアプローチもそれまでと違ったものとなりましたが、導入部分にあたるこの曲は、そのエッセンスが提示される結果となっており、より展開される部分、および、それと対置される負への局限化、先鋭化はこの曲には含まれておりません。

To answer this question, I have to touch a little bit about composition progress of Obsession.

In 1974, the work of "Zenth" for the marimba quintet and the orchestra was planned, and the composition was advanced.

This music is a concerto of a quintet and an orchestra, and at the same time, it is possible to play the quintet and the orchestra independently as a separate tune respectively.

Obsession is the quintet of its introduction, but it is a title that was named as a complete tune when playing.

The expression was intended to expand, to limit, and to be sharpened, and it was amplifies to the performance technique with the expression range inevitably over all tracks.

The composition was not completed by the day of the recording, and there was the hope of the performer, and only "Obsession" was recorded premiere, and after that, it became an independent result through the replay often.

In the long run, a general plan was broken.

By the above concept, the approach to marimba was different from the previous one, this music which falls into the introduction part is the result that the essence is presented, and the part which expands more, and limited to the negative which is opposed, and the sharpened is not included in this music.

 

 

11. Are there any specific characteristic differences that should be adhered to within the different movements?

各楽章の性格的特色は、見ておわかりの通りですが、1楽章はdivertiment 的、2楽章はnocturn 的な、このアンサンブルの両面の表出と対比です。

3楽章はそれらが同時に出会う新しい空間で、前のとは手法的にも異なる設定がなされています。最後に1楽章が回帰しますが、マリンバはそこでChoralを重ねます。このChoralは大きな表情を伴って前面に出て演奏して下さい。

The character trait of each movement is as you can see, but the first movement is divertiment, and the second movements are nocturne-like, and the expression and the comparison of both sides of this ensemble.

The last movements are in a new space where they meet at the same time, and a different setting is made in the hand legally. The first movement returns to the end, but the marimba is piled Choral there. Please go out to the front with a big expression and play this Choral.

 

12. Are there any general comments you would like to give me as I learn and prepare the piece?

演奏して下さること、また分析的アプローチをしてくださっていることに感謝いたします。

呼吸とそれがもたらす即興、音が自らの力で導く構成、を演奏の中で見いだして下さることを期待しています。

Thank you for playing and doing an analytical approach.

I hope that you will find your breath, the improvisation that it brings, and the composition of the sound that guides you in your performance.