著者
熊沢 彩子
出版者
日本音楽学会
雑誌
音楽学 (ISSN:00302597)
巻号頁・発行日
vol.58, no.1, pp.15-29, 2012-10-15 (Released:2017-04-03)

Etenraku, arranged for orchestra by the two brothers Naomaro and Hidemaro KONOYE, was one of the most frequently performed Japanese orchestral pieces in the world before World War II. The aim of this study is to investigate the musical arrangement of Etenraku and performances conducted by Hidemaro during the 1930s and 1940s. Two noteworthy differences are found from a comparison of Naomaro's manuscript (Manuscript version), possibly completed before 1930, and the Ryuginsha published version (Ryuginsha version) edited by Hidemaro in 1935. First, in the Manuscript version, the original gagaku instruments are replaced by similar types of orchestral instruments, while the Ryuginsha version does not always adhere to the original instruments and pursues a variety of tone colors. Second, the ending of the Manuscript version is based on the original piece with its typical ending gagaku phrase, whereas the Ryuginsha version shortens the original ending phrase and adds extra notes to finish the piece. According to Hidemaro this alteration was intended to appeal to the musical taste of European audiences. A survey of Hidemaro's performances in Europe reveals that Etenraku was often mentioned with relation to the nobleness of Hidemaro's pedigree and the long-established tradition of the original piece, rather than providing an evaluation of the music or performances themselves. In addition, by examining the handwritten notes in the orchestral parts used by Hidemaro, the author identifies exact performance locations during the 1930s and 1940s, demonstrating that Etenraku was performed mostly in Germany and surrounding countries. Through these analyses the author concludes that the KONOYE brothers transcribed Etenraku for orchestra with a strong concern about the reaction from Western audiences, and points out that its performances in Europe were possibly related to the political and diplomatic situation of Japan at that time.

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↓はこの曲についての論文ですが、スコアにどの楽器が書かれているか上から順に列挙している部分があります。これを読む限りでは、ご指摘のパートは存在しないことになります。(この曲にはコントラバスは編成に含まれていません) https://www.jstage.jst.go.jp/article/ongakugaku/58/1/58_KJ000089575... 動画に映っているス ...

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J-STAGE Articles - 近衞直麿・秀麿による《越天楽》の管弦楽編曲と1930~40年代における演奏 https://t.co/zHOXMEVOIC

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