Maibataraki II
| [Genres] | Anderes |
Maibataraki II spielt auf den folgenden Alben
| Album | Künstler | |
 | Perspectives of New Music | |
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Maibatamki II was commissioned by Michiko Akao and was completed in February of 1987. I am quite happy to have finally had an opportunity to write a piece for Noh flute (no-kan) and especially for such an outstanding performer as Michiko Akao. I had wished to compose for this particular instrument for a long time. Although quite primitive as an instrument, the Noh flute has a unique character which has been refined through its role in the long history of the Noh theater. As a Japanese, I closely identify with the idea of extending our tradition. One way of doing so is by taking advantage of the intrinsic nature of our traditional instruments. I perceive our musical tradition in terms of structure and mental attitudes-i.e., the way of thinking rather than more superficial aspects such as pentatonic scales. My point of view, however, is not meant to ignore certain concrete Japanese musical formulae. I conceive of traditional figures such as grace notes as essential musical information in Japanese music because, unlike Western music, there is no harmonic structure and timbre per se plays an integral, not ornamental role. Consequently, I have fucused greater attention on the gestural grace notes and characteristic structural formation. Although originally composed for the Noh flute, Maibataraki II can also be performed on the alto flute. -Joji Yuasa The no-kan is a vital instrument of the musical ensemble which accompanies the classical No theater. Developed from the seven-holed ryuteki (dragon flute) of the Gagaku orchestra it differs in its basic construction and in the bore of the span between the mouthpiece and the first finger hole. This throat section of the no-kan has a smaller diameter than that of the ryuteki, allowing the player to produce higher-pitched sounds and scales. In some versions of the no-kan, the bamboo has been split lengthwise into narrow strips which are then turned so that the hard outer surface of the bamboo is on the inside of the flute. This inner surface is lacquered in red, whereas black is used on the outside. The unusual tonal qualities produced by the no-kan are said to have the power to call back the spirits of the dead. See also Joji Yuasa's article "Music as a Reflection of a Composer's Cosmology," Perspectives of New Music 27, no.2 (Summer 1989). | ||