Recent Events (August/November) (For More Details Click Each Line) Back
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The 402nd Monthly
Concert on 8 December 2008
The 401st Monthly
Concert on 14 November 2008
Duette with Taiji TAKATA and his teacher
Christine SCHORNSHEIM
Shin-ichiro Nakano Recital on 28 Oct 2008
(*)A 2'30" video clip of this BS2 TV programme can be viewed at http://www.digital-sensation.
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Shukugawa Church Bazaar on 19 Oct 2008
Musical Feast of Mozart & Beethoven
Works on 13 Oct 2008
Telemann Salon Concert Vol.15 on 12 Oct 2008
Baroque
Music Tour on FM Cocolo Reconvenes on 3 Oct 2008
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Hideki MORIMOTO Flute Recital on 3 Oct 2008
TIJ on NHK TV BS2 “Classic Club” on 8 and 22
Sep 2008 (*)
Performing
Tour to South Korea 18~24 August 2008
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The 402ND Monthly Concert: 8 December 2008 New
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he 402nd
Monthly Concert was held under the baton of Takeharu NOBUHARA with
Shin-ichiro NAKANO, harpsichord, Hideki MORIMOTO and Kayoko DEGUCHI, flute,
Tsuyoshi MATSUMOTO, oboe and Telemann Ensemble comprising Yoong Kwang
KANG and Yuichi NAKAYAMA, 1st violin, Fumiko OTANI and Sakuno ASAI, 2nd violin,
Ayaka MITA, viola, Takeshi SODA, violincello, and Masanori HASHIMOTO,
contrabass. NOBUHARA clarified the reason for his choice, for this performance,
of modern
musical instruments (pitch A at 442Hz), which are better suited for the
acoustic contour of the Osaka Club Hall,
as compared to the Shukugawa
Catholic Church, which is ideal for performance by the classical
instruments with pitch A at 430 Hz. This is the First of the Table Music (Tafel
Musik Teil 1) by Georg Philipp Telemann (1681-1767), or music to be
performed at a banquet or dinner as follows:
I.
Overture für 2 Quelfiöten, streicher und b.c. E-mall
II. Quartett für
Quelfiöte, Oboe, violine, Violoncello und b.s. G-dur
III. Konzert für Quelfiöte solo violine solo, streicher und b.c. A-dur
IV. Trio für 2 violinen und b.c. Es-dur
V. Solo für Quelfiöte und b.c. H-moll
VI. Conclusion für 2
Quelfiöten, streicher und b.c. E-moll
Apart from the exquisite acoustic harmony by and among the conductor and the musicians, exuberance of co-enjoyment or co-approval was evident between the performing artists the enthusiastic audience that packed the Osaka Club Hall. (ky)
■PROGRAMME NOTE: SAWATANI Natsuki, Music
Critic, (translation
by ky)
<Is Table Music an Effluent Stream?>
Ladies and
gentlemen clad in elegant attires smack their appreciative lips for the nectar
and the delicacies being served amidst the mellow melody that reach their ears…
It is difficult to see in our minds this kind of sight in current Japan but one
can readily guesstimate that the music represents what we now call BGM. Tafel
Musik can be likened to a saucy spice that excites the tastes of wine, meal
and conversation.
Let’s go back to
the Court in the 17th century in Dresden, the capital of the Freistaat Sachsen of
the Federal Republic, where a written record gives an outline of the Court
dinner table. The Court then served as the residence of the dukes and electors
of Saxony. “Behind each picture in the hall is provided a space for the musical
performance. In the event where meal is served in this space, performing
artists can also locate themselves in a downstairs room where the doors are
closed so that the musical sounds merrily pass through the air-duct.
Alternatively, performing artists are hidden in an attic space in which event
the music emanates from 32 different spots.”
Indeed, we tend to
question why one needs to go that far for just a piece of BGM. Behind the
expression, “just a piece of BGM”, is hidden a misunderstanding of the people today.
Music heard at a banquet may sound an inconsequential matter to us who are used
to go to the concert hall for listening to the music. However, Tafel Musik
served as one of the mainstream genres of music in Europe of the baroque time.
The three essential elements of utility for music were distinctively laid down
in a paragraph of the agreement (1656) signed by Vincenzo Albrici, in
acceptance of the appointment as co-Kapellmeister (with the castrato
Giovanni Andrea Bontempi) in Dresden to the Crown Prince of Saxony. These were:
“Kapellmeister (Bandmaster) should faithfully serve the Crown Prince
with any music as ordered, be it for church, banquet or theatre.” This
demonstrates that the banquet music in these days enjoyed a far greater
importance than today’s BGM. Thus, it was only natural that an extra attention
was paid to equip the banquet hall with proper acoustics, since it served as a
vessel for the banquet music performance. The musicians were expected to put
all they had on “the banquet music”.
Down in the 18th
century, there was a gradual shift to public performance, and a spread of the
notion of “music for the sake of music”. In the 19th century, the very
existence of music serving as BGM, or an “opportunity-music”, became the target
of criticism. Thus, it could be said that the banquet music in 3 volumes (Tafel
Musik in 3 Teile) by Georg Philipp Telemann served as the last and final
brilliance of Tafel Musik.
<Superb Wardrobe of Baroque Music>
Describing a colourful
seafood bowl as “The Jewel Box of the Sea” is indeed an appropriate expression.
It is an understatement to describe thisTafel Musik in 3 Teile is by
Telemann as “The Superb Wardrobe of Baroque Music”.
On the other hand,
to the performing artists and to the hosts, as well, thisTafel Musik in 3
Teile must have served also as “The Superb Wardrobe of Baroque Music”.
There are following underlying reasons to liken thisTafel Musik in 3 Teile
to “The Superb Wardrobe of Baroque Music” that makes it possible to extract the
maximum effect with the minimum available resources: Each of the 3 volumes
comprises 6 music pieces for Overture,
Quartett,
Konzert, Trio, Solo and Conclusion and yet each of the total 18 music pieces
has a different set of formation for the musical instruments. There is no
duplication whatsoever. Nevertheless, the chamber music orchestras in the 18th
century were able to perform the entire 18 music pieces with the minimum
orchestral formation. Let’s attempt to reproduce such minimum orchestral
formation.
1st violin x 3, 2nd violin x
2, viola x 2, cello x 2, contrabass x 2, flute x 2, oboe x 2 (one of whom
alternates recorder), bassoon x 1, horn x 2, trumpet x 1 (normally not a
regular band member but a freelancer or attached to the Bureau of Imperial
Mews) and keyboard x 1 making the total of 19 or so. In terms of the scale of
the orchestral formation, it would have been more or less that of Bückeburg Court
Orchestra served by Johann Christoph Friedrich Bach, the fifth son of the Great
Bach, and Esterházy Family
Orchestra in which Joseph Haydn was appointed Konzertmeister. The orchestral
formation is also adequate in size for amateur performing artists to assemble.
Furthermore,
Telemann facilitates the orchestral formation by certain expedient measure.
“Quartet in D-moll in Teil 2” is one of such examples. The formation comprising
recorder x 1, flute x 2 and b.c. is made flexible with a notation on the music score that
recorder may be replaced by bassoon or cello. It is also noteworthy that the
recorder part is written on the treble staff in French style, which means that
the pitch G begins from the bottom of the five lines of the treble staff
(instead of the usual second line from the bottom). In effect, the same G
(treble) Clef reading can be applied to the bass instruments. This measure
facilitates shifting of musical instruments from one to another. This measure,
albeit small, shows Telemann‘s attention to details.
<Baroque Music Parlour>
The sounds from “Tafel Musik” are indeed rich
in any of the three Teile, being materialised by the minimum voice. The
simile of the Superb Wardrobe does apply in this respect as well. Quartett for
example develops step-by-step dialogues of the four voices, as if closest
friends are arguing candidly over one thing or another. If the number is six,
doubtless it would be much noisier, and if two, it might resemble the
whispering of lovers.
It is interesting to note that the sight of the
banquet music seems to illustrate the banquet table. It is in this contrivance
that the true value of Telemann reveals itself to the listeners.
©Telemann Institute Japan/SAWATANI
Natsuki/ky
The
401st Monthly Concert: 14 November 2008 New
The Fetters of
being the Eldest Son:
The Fledgling of the
Second Son:
The Fifth Son
Acting as Clamp for Brothers:
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Monthly Concert was held with Taiji
TAKATA and his mentor Christine
SCHORNSHEIM in Osaka at the usual Osaka Club Hall in the hub of Osaka
before the full audience. The five selected works from the Bach Family
comprised the Programme,
one of which, “Sonata C-dur für Kalavier zu vier Händen” was played in duette
by TT and CS, while CS played the rest of the Programme. The intimate
atmosphere allowed a close telepathic interchange between the players and the
audience. From the beginning to the end, CS never ceased to move the audience
with her exquisite touch at the keyboards, her musical sense and her warm
personality that exuded from herself. CS ended the Programme by playing two
additional pieces in response to the never-ending enthusiastic applause. (ky)
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■PROGRAMME NOTE: SAWATANI Natsuki, Music Critic, (translation by ky)
Father and Son(s):
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relationship
between father and son at times attracts public attention, from succession of
the Imperial Throne, to various forms of art such as gagaku
imperial-court-music, noh dance, and cha-no-yu tea ceremony. On
the other hand, others are allowed a choice of their own course of life without
having to follow the back of their fathers. The second son of certain
politician has chosen independence to turn himself into an actor, away from the
usual practice of succeeding his father’s ground. The life including the filial
relationship is all the more interesting because of the ambivalent
possibilities.
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The Great Bach was, with his first and second wives,
gifted with 20 children in all, out of whom 4 daughters and 6 sons grew up to
the adulthood. Of six sons, the third son suddenly passed away at 24, and the
fourth suffered from a severe physical handicap. Today, 4 sons are known as
descendents of Bach, namely, Wilhelm Friedman, the eldest, Carl
Philipp Emanuel, the second, Johann Christoph Friedrich, the fifth
and Johann Christian, the sixth. They were all given birth in the
first half of the 18th century and returned to the heaven in the latter half
of the 18th century. They all ran through the 18th century, which is
recognized as the era of great turmoil and trepidation. While they apparently
followed the back of their father, some of them attempted to challenge their
great father, who, however, had been behind the time already. Let’s now take
a look at the musical styles of their works between the Great Bach and
distances that exist by and among his sons The Fetters of being the Eldest Son:
In 1710, Wilhelm Friedman was born in Weimar, where
his father worked. The height of expectation the father harboured for his
eldest son was quite unprecedented. This is well revealed by a number of
études composed by Great |
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Bach, titled, “A Collection Of Small
Klavier Musical Pieces for Wilhelm Friedman”. This collection written when the eldest son was 9 years old
is abound with various notations in detail, including key name, clef, modifier,
etc. However, thorough education so given by Great Bach proved to be of no
avail in the end, since the time had changed already. “Fantasie e-moll Fk 21”
on the Programme
was created when the eldest son worked in Dresden. This musical piece clearly
retained the influence of his father, which however was already out of mode.
Although the eldest son faithfully followed the footsteps of his father, the
taste of the time for music had already been a few steps ahead.
The Fledgling of the Second Son:
In 1714, the second son, Carl Philipp
Emanuel was born also in Weimar. Possibly because the second son enjoyed a
little more latitude than his eldest brother for whom the father’s attention
was focused, CPE made a step forward to next generation in his style of music composition.
“Württenbergische Sonaten” was released in 1744 when he was player of the first
harpsichord at the Berlin Court. While the release of his father’s “Goldberg
Variations” preceded by two years, the comparison of these two works composed
in the contemporary period makes a substantial difference in styles. The
technical skill and the esthetic style in the father’s “Goldberg Variations”
are totally buried down while all possible means to vent emotions are fully
activated, chracterised by a sudden suspension of the flow of the music, novel
chordal notes, etc.
The Rebounding Sixth Son:
One could safely assume that Johann
Christian, the sixth son born in 1735, had the least contact with his father.
He was born when his father was 50 years old and by the time he reached 15, his
father had passed away. Thereafter, under the care of the second son, JC
studied in Italy where he converted himself to Catholic, while he performed in
Milan and London. His past career hardly represented any relation to the Bach family.
His music in the then latest style served as the model for the young Mozart.
JC’s “Sonate D-dür op.5 Nr.2” (of the year 1766) has a high characteristics of
lieder played by the right hand, while the merit lies in its simple bass
pattern. His work has surpassed not only the works of his father but those of
CPE as well in style, having a resonance of the classical school.
The Fifth Son Acting as Clamp for Brothers:
Born in 1732, Johann Christoph
Friedrich, the 5th son, he gained his place of employment at Bückeburg Court at
his young age of 18, thanks to the arrangement made by the second son, CPE, who
discerned the impending last moment of the Great Bach. The association of JCF
with CPE, his brother under different mother, continued thereafter as revealed
in the pre-classical school of the early period. JCF maintained a close
relationship with his immediate younger brother Johann Christian. JFC placed a
deep trust with JC as exemplified in his bringing his son to JC in London for
his son to receive the musical lesson from JC. “Sonata C-dur für Kalavier zu
vier Händen” in the Programme
was created by JCF himself, prompted by the latest music he came to touch with
when he visited with his younger brother. Both in practical life and in music,
JCF played the role of the clamp for the second and the sixth son of J.S. Bach.
The Great Father:
It is viewed that “Englische Suite”,
undisputedly the masterpiece of J.S. Bach, was composed in the time of Weimar,
if one judges from the materials now available dating back to 1712 or
thereabout. If then, this Suite was composed just when his eldest and second
son were born. This highly motivated work combines the style of the Italian
Concertos with the Organ Style of the Northern Germany. The positive stance of
J.S. Bach in his youthful days seeps through this work. It could be that this
music piece was J.S. Bach’s proud message to the coming children.
by SAWATANI
Natsuki in Gotha, the place noted in connection with J.S. Bach.
©Telemann Institute Japan/SAWATANI
Natsuki/ky