Difference between revisions of "Fantasy on Japanese Woodprints, op.211 (Orchestra)"
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| + | ==World Premiere Details== | ||
| + | Written for: Yoichi Hiroaka <br/> | ||
| + | Date: 4 June 1965 <br/> | ||
| + | Soloist: Yoichi Hiroaka <br/> | ||
| + | Orchestra: Chicago Symphony Orchestra<br/> | ||
| + | Conductor: Seiji Ozawa<br/> | ||
== Program Notes == | == Program Notes == | ||
| − | + | Alan Hovhaness wrote it while studying Oriental musical styles in Japan during his career. Much of the 15-minute work contains many themes of modal Japanese music, especially the last 3 minutes. Due to the richer and fuller sound, many soloists opt to play the solo part on marimba rather than xylophone. The piece begins with a series of cadenzas for the soloist, all in free time (senza misura). Under each cadenza, violins and violas hold a soft chord containing many fourths and half-steps, and the basses and cellos are given a series of notes on which they are instructed to improvise until a cutoff. In between each cadenza, oboes and flutes play a dissonant glissando pattern all in free time until another cutoff. The concerto develops into an eerie slow adagio, with shimmering chords in the string section and ending with another cadenza. A dark section in 6/8 ensues, with the xylophonist taking over and playing an extended solo completely in 32nd notes before the orchestra comes in with another free time cadenza. The piece then launches into a march-like tempo, and the theme is completely stated by xylophone and taiko drums, with timpani playing a repeated rhythm that occurs on a different beat every time. A 6/8 dance comes back, and then a cadenza in time occurs with a flute playing the melody over the soloist. A series of loud crescendos and climaxes in free time bring the soloist into his/her final cadenza before a fast 3/4 comes in, with a fierce [[taiko]] rhythm and full orchestra buildup to the end. | |
=== Review === | === Review === | ||
This is a piano reduction with solo xylophone part of this work which was originally reviewed in P.N. Vol. IV, #4 (June, 1966), pp. 12, 16. It should prove more accessible in this form; the solo part is now 8 1/2 x ll rather than its previous oversize reproduction. However, the nature of Hovhaness' writing probably will not lend itself well to a piano reduction of the various string effects, etc., but the present form will facilitate rehearsal prior to orchestral performance and may even allow a reasonably musical solo with piano accompanied performance. - Vol. 6 No. 1, 1967<ref>[http://www.pas.org PAS.ORG]</ref> | This is a piano reduction with solo xylophone part of this work which was originally reviewed in P.N. Vol. IV, #4 (June, 1966), pp. 12, 16. It should prove more accessible in this form; the solo part is now 8 1/2 x ll rather than its previous oversize reproduction. However, the nature of Hovhaness' writing probably will not lend itself well to a piano reduction of the various string effects, etc., but the present form will facilitate rehearsal prior to orchestral performance and may even allow a reasonably musical solo with piano accompanied performance. - Vol. 6 No. 1, 1967<ref>[http://www.pas.org PAS.ORG]</ref> | ||
| − | |||
== Errata == | == Errata == | ||
Latest revision as of 01:57, 28 September 2021
General Info
Year: 1965
Duration: c. 13:50
Difficulty: (see Ratings for explanation)
Publisher: PetersCF
Cost: Score and Parts - $84.00 | Piano version - $24.75
Other Versions
With Piano
With Wind Ensemble
With Percussion Ensemble
Instrumentation
World Premiere Details
Written for: Yoichi Hiroaka
Date: 4 June 1965
Soloist: Yoichi Hiroaka
Orchestra: Chicago Symphony Orchestra
Conductor: Seiji Ozawa
Program Notes
Alan Hovhaness wrote it while studying Oriental musical styles in Japan during his career. Much of the 15-minute work contains many themes of modal Japanese music, especially the last 3 minutes. Due to the richer and fuller sound, many soloists opt to play the solo part on marimba rather than xylophone. The piece begins with a series of cadenzas for the soloist, all in free time (senza misura). Under each cadenza, violins and violas hold a soft chord containing many fourths and half-steps, and the basses and cellos are given a series of notes on which they are instructed to improvise until a cutoff. In between each cadenza, oboes and flutes play a dissonant glissando pattern all in free time until another cutoff. The concerto develops into an eerie slow adagio, with shimmering chords in the string section and ending with another cadenza. A dark section in 6/8 ensues, with the xylophonist taking over and playing an extended solo completely in 32nd notes before the orchestra comes in with another free time cadenza. The piece then launches into a march-like tempo, and the theme is completely stated by xylophone and taiko drums, with timpani playing a repeated rhythm that occurs on a different beat every time. A 6/8 dance comes back, and then a cadenza in time occurs with a flute playing the melody over the soloist. A series of loud crescendos and climaxes in free time bring the soloist into his/her final cadenza before a fast 3/4 comes in, with a fierce taiko rhythm and full orchestra buildup to the end.
Review
This is a piano reduction with solo xylophone part of this work which was originally reviewed in P.N. Vol. IV, #4 (June, 1966), pp. 12, 16. It should prove more accessible in this form; the solo part is now 8 1/2 x ll rather than its previous oversize reproduction. However, the nature of Hovhaness' writing probably will not lend itself well to a piano reduction of the various string effects, etc., but the present form will facilitate rehearsal prior to orchestral performance and may even allow a reasonably musical solo with piano accompanied performance. - Vol. 6 No. 1, 1967[1]
Errata
Awards
Commercial Discography
Recent Performances
To submit a performance please join the TEK Percussion Database
Works for Percussion by this Composer
Bacchanale, op.203a - Percussion Quintet
Dance of Black-Haired Mountain Storm (from Wind Drum), op.183a - Percussion Trio; Flute
Fantasy on Japanese Woodprints, op.211 (Orchestra) - Xylophone; Orchestra
Fantasy on Japanese Woodprints, op.211 (Wind Ensemble) - Xylophone; Wind Ensemble
Koke No Niwa (Moss Garden), op.181 - Percussion Duo; English Horn or Clarinet; Harp
Mysterious Horse before the Gate, op.205 - Percussion Quintet; Trombone
Nagooran, Saint of Oneness, op.237 - Percussion Ensemble; Double Bass or Cello
October Mountain, op.135 - Percussion Sextet
Sextet, op.108 - Percussion Quintet; Violin
Spirit Cat - Marimba; Voice - Soprano
Symphony No. 17 (Symphony for Metal Orchestra), op.203 - Percussion Quintet; Chamber Ensemble - 6 Flutes, 3 Trombones
The Burning House Overture, op.185a - Percussion Quintet; Flute
Additional Resources
References