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░ ░
-░░+ Toshiro Mayuzumi Mandala Symphony - Bugaku (Naxos 557693) +░░-
,▓░ ░▓,
▒░ Release Date:06-01-2006 ░▒
▒*░ ░░ Encoder:Lame v3.91 ░░ ░*▒
░░▓_ █▒ Company:Naxos ▒█ _▓░░
|▒ ▓▓ N▒▒ Genre:Classical ▒▒N ▓▓ ▒|
░░u▒▓ ░█▒ Year:2005 ▒█░ ▓▒u░░
▒▓▒ ▓░+▒ Ripper:Scherzo ▒+░▓ ▒▓▒
░▒░ ▓▓#▓▒ Supplier:Scherzo ▒▓#▓▓ ░▒░
░ ▓▒▒▒░ Songs:07 ░▒▒▒▓ ░
▒█▓░ Khz/Bitrate..44,1/ 192 ░▓█▒
▓██░ ░ ░ ░██▓
█▓▒ ▒, Track List: ,▒ ▒▓█
█ ▒▒ ▒▒ █
▓ ░▓ ▒▒░ 01 - symphonic mood - i. moderato-allegro moder [09:31] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 02 - symphonic mood - ii. vivo [09:20] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 03 - bugaku - i. lento [14:13] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 04 - bugaku - ii. moderato-un poco meno mosso-a [09:16] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 05 - mandala symphony - i. vajra-dhatu mandala [06:44] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 06 - mandala symphony - ii. garbha-dhatu mandal [11:08] ░▒▒ ▓░ ▓
▓ ░▓ ▒▒░ 07 - rumba rhapsody [08:04] ░▒▒ ▓░ ▓
░ ▒ _▒░ ░▒_ ▒ ░
▒▒ ▓▓ ▓▓ ▒▒
░▒█ ▓▒u░ Total Length : [68:16 min ░u▒▓ █▒░
░▒▒ ░ ▒▓█ █▓▒ ░ ▒▒░
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▒░░▒ ▓▓█ Description: █▓▓ ▒░░▒
▒░▒ # # ▒░▒
▒░ ▒ - New Zealand Symphony Orchestra ▒ ░▒
▒░ ▒ - Takuo Yuasa, Director ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Toshiro Mayuzumi is one of the most important ▒ ░▒
▒░ ▒ Japanese composers, enjoying an international ▒ ░▒
▒░ ▒ reputation in the period after World War II. He was ▒ ░▒
▒░ ▒ born in 1929 in Yokohama, a city that had developed ▒ ░▒
▒░ ▒ after Japanese isolationism came to an end and ▒ ░▒
▒░ ▒ therefore relatively free from Japanese traditions ▒ ░▒
▒░ ▒ and conventions. Mayuzumi's father was a ▒ ░▒
▒░ ▒ sea-captain, and Mayuzumi, was brought up in this ▒ ░▒
▒░ ▒ unique environment, which nurtured his yearning for ▒ ░▒
▒░ ▒ the exotic, including Asia, America and Europe. His ▒ ░▒
▒░ ▒ father's occupation had another influence over the ▒ ░▒
▒░ ▒ future composer in view of his absence from home ▒ ░▒
▒░ ▒ during the first eight years of the composer's life, ▒ ░▒
▒░ ▒ an absence for which he later found compensation in ▒ ░▒
▒░ ▒ the strength later apparent in his music. His family ▒ ░▒
▒░ ▒ was not specially musical, but as was common with ▒ ░▒
▒░ ▒ many rich families of the day, the family had a reed ▒ ░▒
▒░ ▒ organ. Mayuzumi started to take piano lessons in his ▒ ░▒
▒░ ▒ primary school days and composed dozens of songs and ▒ ░▒
▒░ ▒ piano pieces, consulting books on music theory. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ In 1941, Mayuzumi entered Yokohama Dai-ichi Junior ▒ ░▒
▒░ ▒ High School. In war-time, Japanese schools and ▒ ░▒
▒░ ▒ companies organized students and workers into choral ▒ ░▒
▒░ ▒ groups, wind bands, school bands and harmonica ▒ ░▒
▒░ ▒ bands, to enhance solidarity and to entertain ▒ ░▒
▒░ ▒ people. Mayuzumi belonged to the harmonica band and ▒ ░▒
▒░ ▒ the choral society at school, in addition to playing ▒ ░▒
▒░ ▒ the double bass in an amateur orchestra. Progressing ▒ ░▒
▒░ ▒ in his piano playing and aspiring to be a ▒ ░▒
▒░ ▒ professional composer, he began to study music ▒ ░▒
▒░ ▒ theory under a composer living in Yokohama, Taro ▒ ░▒
▒░ ▒ Nakamura, whose style was neo-classical, a pupil of ▒ ░▒
▒░ ▒ Kan'ichi Shimofusa who had studied with Hindemith in ▒ ░▒
▒░ ▒ Berlin. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ In the spring of 1945 Mayuzumi entered the ▒ ░▒
▒░ ▒ composition department of Tokyo Music School (Tokyo ▒ ░▒
▒░ ▒ University of Fine Arts and Music), known as the ▒ ░▒
▒░ ▒ best music institute in Japan. There his classmates ▒ ░▒
▒░ ▒ included Akio Yashiro, his life-long friend. They ▒ ░▒
▒░ ▒ began to study with Qunihico Hashimoto, chief ▒ ░▒
▒░ ▒ professor of the department, but his studies at ▒ ░▒
▒░ ▒ school were often interrupted by war-time conditions ▒ ░▒
▒░ ▒ and frequent air-raids. Hashimoto, therefore, ▒ ░▒
▒░ ▒ decided to take him into his home and continue to ▒ ░▒
▒░ ▒ give him lessons. At the time Hashimoto was one of ▒ ░▒
▒░ ▒ the central figures in Japanese music, providing ▒ ░▒
▒░ ▒ patriotic music, while privately experimenting with ▒ ░▒
▒░ ▒ unpublishable dodecaphonic music. Mayuzumi learned ▒ ░▒
▒░ ▒ for things from Hashimoto, the music of Debussy, ▒ ░▒
▒░ ▒ Ravel and Stravinsky, a certain versatility creating ▒ ░▒
▒░ ▒ an extensive range of music from progressive pieces ▒ ░▒
▒░ ▒ to pop music, how to dress and behave fashinably, ▒ ░▒
▒░ ▒ and a patriotic attitude. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Musica fashions changed in Japan during the war, ▒ ░▒
▒░ ▒ when Chinese and Indonesians pop-tunes replaced the ▒ ░▒
▒░ ▒ banned American jazz. Latin-American music escaped ▒ ░▒
▒░ ▒ prohibition, with the result that the tango and the ▒ ░▒
▒░ ▒ rumba were allowed, and the blues was barred. ▒ ░▒
▒░ ▒ Mayuzumi's yearning for exoticism was fulfilled by ▒ ░▒
▒░ ▒ Asian and Latin-American music. After the war there ▒ ░▒
▒░ ▒ were considerable changes in the Tokyo Music School. ▒ ░▒
▒░ ▒ Hashimoto, a pupil of Egon Wellesz in Vienna and an ▒ ░▒
▒░ ▒ associate of Schoenberg and Krenek, was forced to ▒ ░▒
▒░ ▒ resign. Mayuzumi and his friend Yashiro now began to ▒ ░▒
▒░ ▒ study with two new teachers, Tomojiro Ikenouchi, a ▒ ░▒
▒░ ▒ pupil of Henri Busser and Paul Fauchet at the Paris ▒ ░▒
▒░ ▒ Conservatoire, and Akira Ifukube, who was discovered ▒ ░▒
▒░ ▒ by Alexander Tcherepnin. Ikenouchi, and admirer of ▒ ░▒
▒░ ▒ Ravel and under the influence of French academism, ▒ ░▒
▒░ ▒ was then one of the finest composers and educators ▒ ░▒
▒░ ▒ in Japan. From him Mayuzumi learned techniques of ▒ ░▒
▒░ ▒ harmony and polyphony, based on the Conservatoire ▒ ░▒
▒░ ▒ tradition. ▒ ░▒
▒░ ▒ Mayuzumi's interest in Debussy and Ravel, acquire ▒ ░▒
▒░ ▒ first under Hashimoto, was deepened under Ikenouchi. ▒ ░▒
▒░ ▒ Ifukube, on the other hand, worshipped Stravinsky's ▒ ░▒
▒░ ▒ "Le sacre du printemps" and was attached to ostinato ▒ ░▒
▒░ ▒ and earthly, violent music only possible with a big ▒ ░▒
▒░ ▒ orchestra. He was also proficient in physichs and ▒ ░▒
▒░ ▒ acoustics and was an expert theorist in ▒ ░▒
▒░ ▒ orchestration. Mayuzumi's earlier interest in ▒ ░▒
▒░ ▒ Stravinsky was developed under Ifukube. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ The post-war collapse of the Japanese economy ▒ ░▒
▒░ ▒ affected the Mayuzumi family. Compelled to make ▒ ░▒
▒░ ▒ money for his schooling, Mayuzumi played the piano ▒ ░▒
▒░ ▒ in a jazz band, a form of music now in demand again, ▒ ░▒
▒░ ▒ while continuing studies with Ikenouchi and Ifukube. ▒ ░▒
▒░ ▒ Graduating in the spring of 1951, Mayuzumi and ▒ ░▒
▒░ ▒ Yashiro received a French Government scholarship and ▒ ░▒
▒░ ▒ entered Tony Aubin's class at the Paris ▒ ░▒
▒░ ▒ Conservatoire. While Yashiro loved Aubin's academic ▒ ░▒
▒░ ▒ methods, Mayuzumi returned to Japan after a year. In ▒ ░▒
▒░ ▒ Paris, however, using sounds of trains, street ▒ ░▒
▒░ ▒ noises and electronic sounds as composition ▒ ░▒
▒░ ▒ material. His interest in this led him to the belief ▒ ░▒
▒░ ▒ that music using ephemeral sounds would replace ▒ ░▒
▒░ ▒ European traditional music. He also came to know ▒ ░▒
▒░ ▒ Varèse and Messiaen before and after his arrival in ▒ ░▒
▒░ ▒ Paris. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Drawing on these diverse influences, Mayuzumi came ▒ ░▒
▒░ ▒ to hold a leading position in Japanese music, even ▒ ░▒
▒░ ▒ before his studies in Paris. In his "Divertimento ▒ ░▒
▒░ ▒ for Ten Instruments" (1948), he showed a complete ▒ ░▒
▒░ ▒ command of the neo-clasical techniques of ▒ ░▒
▒░ ▒ Stravinsky, Milhaud and Ibert, and created a kind of ▒ ░▒
▒░ ▒ stateless music, appropiate for a man from Yokohama. ▒ ░▒
▒░ ▒ In "Sphenogramme for Eight Players" (1950), he ▒ ░▒
▒░ ▒ displays exotic elements, making use of ethnic ▒ ░▒
▒░ ▒ styles from India and Indonesia, and by using ▒ ░▒
▒░ ▒ Ifukube-style ostinato in many places. The work was ▒ ░▒
▒░ ▒ given an award in the ISCM (International Society of ▒ ░▒
▒░ ▒ Contemporary Music) Festival in 1951 and was ▒ ░▒
▒░ ▒ performed in Frankfurt. In "Symphonic Mood" he ▒ ░▒
▒░ ▒ summed up the musical experiences in war-time, using ▒ ░▒
▒░ ▒ elements from Latin music and Southeast Asian music. ▒ ░▒
▒░ ▒ His skilful, powerful orchestration amazed Japanese ▒ ░▒
▒░ ▒ composers, earning him a reputation as an "enfant ▒ ░▒
▒░ ▒ terrible" of the post-war music world. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ The two orchestral works, "Bacchanal" (1954) and ▒ ░▒
▒░ ▒ "Tonepleromas '55" (1955), completed after ▒ ░▒
▒░ ▒ Mayuzumi's return from France, aim at powerful, ▒ ░▒
▒░ ▒ paternal, "pleromas" sounds, as if to combine jazz, ▒ ░▒
▒░ ▒ Latin music, Varèse and Stravinsky, by unique ▒ ░▒
▒░ ▒ instrumentation, where wind instruments are mainly ▒ ░▒
▒░ ▒ used. "Bacchanal" was performed by Leonard Bernstein ▒ ░▒
▒░ ▒ and the New York Philharmonic, and Mayuzumi believed ▒ ░▒
▒░ ▒ that his unique rhythms, harmonies and orchestration ▒ ░▒
▒░ ▒ exerted some influence on Bernstein's "West Side ▒ ░▒
▒░ ▒ Story". ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ "X-Y-Z" (1953), in which real sounds including cries ▒ ░▒
▒░ ▒ of animals and sounds of firing guns are used, is ▒ ░▒
▒░ ▒ the first-ever piece of "musique concrète" in Japan. ▒ ░▒
▒░ ▒ Mayuzumi also created the first piece of electronic ▒ ░▒
▒░ ▒ music in Japan, in the electronic music studio of ▒ ░▒
▒░ ▒ NHK, the Japanese public broadcasting station. ▒ ░▒
▒░ ▒ "Sextet for Winds and Piano" (1955) and "Mikrokosmos ▒ ░▒
▒░ ▒ for Seven Players" (1957) try to combine "pleromas" ▒ ░▒
▒░ ▒ sounds with post-Webern style, then the latest ▒ ░▒
▒░ ▒ trend. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ In 1950 Mayuzumi started to write music for films ▒ ░▒
▒░ ▒ and created some 250 works throughout his career, ▒ ░▒
▒░ ▒ his versatility enabling him to meet any popular ▒ ░▒
▒░ ▒ requirements. He wrote a number of fascinating theme ▒ ░▒
▒░ ▒ songs for film and his "pleromas" sounds, his ▒ ░▒
▒░ ▒ speciality, were especially effective in action ▒ ░▒
▒░ ▒ movies. He also composed for television, radio and ▒ ░▒
▒░ ▒ the theatre, in addition to writing jazz songs and ▒ ░▒
▒░ ▒ French chansons for record companies. Following the ▒ ░▒
▒░ ▒ examples of Hashimoto, he used the most advanced ▒ ░▒
▒░ ▒ techniques of composition, and at the same time ▒ ░▒
▒░ ▒ wrote pop music, following his teacher's example in ▒ ░▒
▒░ ▒ his music and in his life-style. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ In the mid-1950s Mayuzumi was inspired by the sounds ▒ ░▒
▒░ ▒ of bells from Buddhist temples in the ancient city ▒ ░▒
▒░ ▒ of Kyoto. When composing electronic music, he ▒ ░▒
▒░ ▒ recorded bell sounds and analysed the structures of ▒ ░▒
▒░ ▒ their complex overtones, using newly acquire ▒ ░▒
▒░ ▒ technology. He then transferred the analysed sounds ▒ ░▒
▒░ ▒ to a symphony orchestra with sextuple winds and ▒ ░▒
▒░ ▒ combined the orchestra with male chorus singing ▒ ░▒
▒░ ▒ Buddhist priests' chant-like prayer "Shomyo". ▒ ░▒
▒░ ▒ Drawing again on elements of Stravinsky, Messiaen ▒ ░▒
▒░ ▒ and Webern, he finally completed his "Nirvana ▒ ░▒
▒░ ▒ Symphony" in 1958. This was performed in Berlin and ▒ ░▒
▒░ ▒ New York, as well as in Japan, and had influence on ▒ ░▒
▒░ ▒ Takemitsu's "Solitude Sonore", seeking inspiration ▒ ░▒
▒░ ▒ in the sounds of the bell. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ After the 1960s Mayuzumi continued to explore ▒ ░▒
▒░ ▒ Japanese traditions, finding in its sources ▒ ░▒
▒░ ▒ something beyond mere exoticism. The process brought ▒ ░▒
▒░ ▒ his "Mandala Symphony" in 1960, and the symphonyc ▒ ░▒
▒░ ▒ poem "Sansara" (1962), derived from Buddhist ideas, ▒ ░▒
▒░ ▒ "Bugaku" and "Showa Tenpyoraku" (1970), inspired by ▒ ░▒
▒░ ▒ Japanese traditional imperial music "gagaku". ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ On 25th November 1970 the internationally famous ▒ ░▒
▒░ ▒ novelist Yukio Mishima, with whom Mayuzumi had often ▒ ░▒
▒░ ▒ collaborated in film, theatre and broadcast, ▒ ░▒
▒░ ▒ committed hara-kiri, having failed to engineer a ▒ ░▒
▒░ ▒ "coup d'état" against the American-imposed ▒ ░▒
▒░ ▒ constitution of 1945. Inspired by Mishima's ideas ▒ ░▒
▒░ ▒ Mayuzumi enjoyed close connections with right-wing ▒ ░▒
▒░ ▒ conservative parties and religious groups, engaging ▒ ░▒
▒░ ▒ himself in various movements to restore national ▒ ░▒
▒░ ▒ solidarity, while working as a musician. He was the ▒ ░▒
▒░ ▒ presenter of a popular weekly television music ▒ ░▒
▒░ ▒ programme from 1964 to 1997, as well as the chairman ▒ ░▒
▒░ ▒ of the Japan Federation of Composers and the ▒ ░▒
▒░ ▒ Japanese Society for Rights of Authors, Composers ▒ ░▒
▒░ ▒ and Publishers (JASRAC). He also taught at his alma ▒ ░▒
▒░ ▒ mater, with pupils including Satoshi Minami, Isao ▒ ░▒
▒░ ▒ Matsushita, Yakikazu Suzuki, Yutaka Takahashi and ▒ ░▒
▒░ ▒ Taro Iwashiro. After the 1970s Mayuzumi wrote less ▒ ░▒
▒░ ▒ than before, neglected, perhaps, by the rise of the ▒ ░▒
▒░ ▒ left-wing thinking among musicians. ▒ ░▒
▒░ ▒ In fact his two operas "Kinkakuji" (1976), based on ▒ ░▒
▒░ ▒ Mishima's novel, and "Kojiki" (1993), based on ▒ ░▒
▒░ ▒ Japanese mythology, the most important works of his ▒ ░▒
▒░ ▒ later years, were commissioned by foreign ▒ ░▒
▒░ ▒ organizations. The former was first given by the ▒ ░▒
▒░ ▒ Deutsche Oper Berlin and the latter in Linz. ▒ ░▒
▒░ ▒ Japanese premières were not easy and the latter had ▒ ░▒
▒░ ▒ its Japanese première after the composer's death. ▒ ░▒
▒░ ▒ Mayuzumi died on 10th April 1977. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ "Symphonic Mood", Mayuzumi's first orchestral work, ▒ ░▒
▒░ ▒ was completed on 1st November 1950 and was first ▒ ░▒
▒░ ▒ performed on the 16th on the same month by Hisatada ▒ ░▒
▒░ ▒ Odaka and the Nihon Symphony Orchestra (today's NHK ▒ ░▒
▒░ ▒ Symphony Orchestra). About this work the composer ▒ ░▒
▒░ ▒ wrote as follows: "In this work I tried to express ▒ ░▒
▒░ ▒ nostalgia, which is universally found in man's mind ▒ ░▒
▒░ ▒ and goes far back to man's primitive self. The music ▒ ░▒
▒░ ▒ is imbued with southern, tropical mood, as music ▒ ░▒
▒░ ▒ from those areas seems to me most appropiate to ▒ ░▒
▒░ ▒ express nostalgia. Such music is at the same time ▒ ░▒
▒░ ▒ primitive and artistic." ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ "Bugaku" is ballet music commissioned by the New ▒ ░▒
▒░ ▒ York City Ballet. It was completed on 23rd March ▒ ░▒
▒░ ▒ 1962 and has its première in New York on 20th March ▒ ░▒
▒░ ▒ 1963, choreographed by George Balanchine and ▒ ░▒
▒░ ▒ conducted by Robert Irving. The work reflects dance ▒ ░▒
▒░ ▒ music, a form of "gagaku" with its "samai" (left ▒ ░▒
▒░ ▒ dance) and "umai" (right dance), echoed in the two ▒ ░▒
▒░ ▒ parts of the composition. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ "Mandala Symphony" was completed in 1960 and on 27th ▒ ░▒
▒░ ▒ March had its première in Tokyo by Hiroyuki Iwaki ▒ ░▒
▒░ ▒ and the NHK Symphony Orchestra. Inspired by his ▒ ░▒
▒░ ▒ interest in Buddhism, the "Mandala Symphony" draws ▒ ░▒
▒░ ▒ on the doctrine of the "maha-vairocana", whish is ▒ ░▒
▒░ ▒ infinite and covers every corner of the real world, ▒ ░▒
▒░ ▒ once regarded as the world of pains. It reflects a ▒ ░▒
▒░ ▒ kind of pantheism in which the entire world is the ▒ ░▒
▒░ ▒ incarnation of "maha-vairocana". It is just that man ▒ ░▒
▒░ ▒ is too stupid to understand it. So man needs to be ▒ ░▒
▒░ ▒ prepared through ascetic life, where "mandala" plays ▒ ░▒
▒░ ▒ an important rôle. Mandala is a two-dimensional or ▒ ░▒
▒░ ▒ three-dimensional picture and depicts the truth of ▒ ░▒
▒░ ▒ "maha-vairocana". Ascetics contemplate the "mandala" ▒ ░▒
▒░ ▒ in a search for spiritual awakening. If they are ▒ ░▒
▒░ ▒ successful, they will become living Buddhas and will ▒ ░▒
▒░ ▒ have infinite powers. ▒ ░▒
▒░ ▒ In his symphony Mayuzumi tried to create an audible ▒ ░▒
▒░ ▒ instead of a visible "mandala", through which the ▒ ░▒
▒░ ▒ truth that the real world is the incarnation of ▒ ░▒
▒░ ▒ "maha-vairocana" can be perceived in nine stages, ▒ ░▒
▒░ ▒ step by step. Seen from top to bottom, it shows the ▒ ░▒
▒░ ▒ way Buddha descends to preach truth to man, and if ▒ ░▒
▒░ ▒ seen in reverse, the way man ascends to seek after ▒ ░▒
▒░ ▒ the Buddhist truth. Mayuzumi expressed these two ▒ ░▒
▒░ ▒ types of mandala by two movements, which are ▒ ░▒
▒░ ▒ integrated by using two six-note rows acquired ▒ ░▒
▒░ ▒ through analysis of the structure of the overtones ▒ ░▒
▒░ ▒ from the bell of a Buddhist temple. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ "Rumba Rhapsody" was completed on 9th April 1948. ▒ ░▒
▒░ ▒ Mayuzumi intended to use this work for his début as ▒ ░▒
▒░ ▒ an orchestral composer, but before that he decided ▒ ░▒
▒░ ▒ to make use of its main materials for another piece: ▒ ░▒
▒░ ▒ the second part of "Symphonic Mood". As a ▒ ░▒
▒░ ▒ consequence, "Rumba Rhapsody" sank into oblivion, ▒ ░▒
▒░ ▒ losing opportunities for performance. The ▒ ░▒
▒░ ▒ performance on this recording amounts to its ▒ ░▒
▒░ ▒ première. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Abridged from notes by Morihide Katayama (the ▒ ░▒
▒░ ▒ unabridged note for this release is available as a ▒ ░▒
▒░ ▒ PDF file online at http://www.naxos.com/557693bk). ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ - New Zealand Symphony Orchestra - ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Once described as a well-kept secret, the New ▒ ░▒
▒░ ▒ Zealand Symphony Orchestra has over the past few ▒ ░▒
▒░ ▒ years won international acclaim, not least through ▒ ░▒
▒░ ▒ its recordings. Within New Zealand it is recognised ▒ ░▒
▒░ ▒ as the country's leading performing arts ▒ ░▒
▒░ ▒ organisation. The orchestra gave its first public ▒ ░▒
▒░ ▒ performance in March 1947, and its first and current ▒ ░▒
▒░ ▒ Music Director, James Judd, was appointed in 1999. ▒ ░▒
▒░ ▒ The orchestra numbers ninety players and gives over ▒ ░▒
▒░ ▒ a hundred performances each year. These include ▒ ░▒
▒░ ▒ seasons of major symphonic repertoire in seven ▒ ░▒
▒░ ▒ centres and a wide range of special programmes. It ▒ ░▒
▒░ ▒ is involved in education programmes, performs ▒ ░▒
▒░ ▒ family and schools concerts, accompanies opera and ▒ ░▒
▒░ ▒ ballet productions and records for television, film, ▒ ░▒
▒░ ▒ including "The Lords of the Rings", and radio. It ▒ ░▒
▒░ ▒ commissions and performs New Zealand music and has a ▒ ░▒
▒░ ▒ long recording history, which has seen it move into ▒ ░▒
▒░ ▒ the world market and win international awards. The ▒ ░▒
▒░ ▒ orchestra also administers the NZSO National Youth ▒ ░▒
▒░ ▒ Orchestra. ▒ ░▒
▒░ ▒ Tours abroad include appearances at the Seville 1992 ▒ ░▒
▒░ ▒ Expo, the Sydney Olympic Arts Festival in 2000 and ▒ ░▒
▒░ ▒ the 2003 Asia Orchestra week in Osaka, as well as a ▒ ░▒
▒░ ▒ 2005 appearance at the BBC Proms in London, at the ▒ ░▒
▒░ ▒ Concertgebouw in Amsterdam and at the World Expo in ▒ ░▒
▒░ ▒ Aichi. Among the distinguished musicians who have ▒ ░▒
▒░ ▒ performed with the orchestra are Igor Stravinsky, ▒ ░▒
▒░ ▒ William Walton, Vladimir Ashkenazy, James Galway, ▒ ░▒
▒░ ▒ Yehudi Menuhin, Joan Sutherland, David Oistrakh, ▒ ░▒
▒░ ▒ Antal Dorati, Elisabeth Schwarzkopf, Mstislav ▒ ░▒
▒░ ▒ Rostropovich, Nigel Kennedy, Neville Marriner, André ▒ ░▒
▒░ ▒ Gavrilov, Eduardo Mata, Andrew Litton, Peter ▒ ░▒
▒░ ▒ Donohoe, Barry Douglas, Yan Pascal Tortelier, ▒ ░▒
▒░ ▒ Alexander Lazarev, János Fürst, Matthias Bamert, ▒ ░▒
▒░ ▒ Pascal Rogé, Vadim Kepin, Kiri Te Kanawa, Malvina ▒ ░▒
▒░ ▒ Major, Michael Houston, William Southgate, Hilary ▒ ░▒
▒░ ▒ Hahn, Lang Lang and Jonathan Lemalu. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ - Takuo Yuasa - ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Until August 2005 the Principal Guest Conductor of ▒ ░▒
▒░ ▒ the Ulster Orchestra in Northern Ireland, the highly ▒ ░▒
▒░ ▒ regarded Japanese conductor Takuo Yuasa regularly ▒ ░▒
▒░ ▒ performs throughout Europe and the Far East. He has ▒ ░▒
▒░ ▒ held positions as Principal Conductor of the Gumma ▒ ░▒
▒░ ▒ Symphony Orchestra in Japan, and Principal Guest ▒ ░▒
▒░ ▒ Conductor of the BBC Scottish Symphony Orchestra. He ▒ ░▒
▒░ ▒ has a most successful recording career and is an ▒ ░▒
▒░ ▒ exclusive Naxos Artist, recording for the company ▒ ░▒
▒░ ▒ with the Sydney Symphony Orchestra, New Zealand ▒ ░▒
▒░ ▒ Symphony Orchestra, National Symphony Orchestra of ▒ ░▒
▒░ ▒ Ireland and the Ulster Orchestra. He has earned many ▒ ░▒
▒░ ▒ fine reviews and particular acclaim in the "Penguin ▒ ░▒
▒░ ▒ Guide" for a wide range of repertoire, with music by ▒ ░▒
▒░ ▒ Schubert, Rimsky-Korsakov, Britten, Vieuxtemps, ▒ ░▒
▒░ ▒ Honegger, Webern, Schoenberg, Macdowell, Rawsthorne, ▒ ░▒
▒░ ▒ Macmillan, Pärt, Gorecki, Glass and Nyman, as well ▒ ░▒
▒░ ▒ as a newly emerging strand of music from Japanese ▒ ░▒
▒░ ▒ composers such as Yashiro, Moroi and Yamada. ▒ ░▒
▒░ ▒ Takuo Yuasa was born in Osaka, where he studied ▒ ░▒
▒░ ▒ piano, cello, flute and clarinet from an early age. ▒ ░▒
▒░ ▒ At eighteen he left Japan to study in the United ▒ ░▒
▒░ ▒ States at the University of Cincinnati, where he ▒ ░▒
▒░ ▒ completed a Bachelor Degree in Theory and ▒ ░▒
▒░ ▒ Composition. He later mover to Europe to study ▒ ░▒
▒░ ▒ conducting with Igor Markevitch in France, then with ▒ ░▒
▒░ ▒ Hans Swarowsky at the Hochschule in Vienna and with ▒ ░▒
▒░ ▒ Franco Ferrara in Siena before he became assistant ▒ ░▒
▒░ ▒ to Lovro von Matacic, working with him in Monte ▒ ░▒
▒░ ▒ Carlo, Milan and Vienna. Since winning a Special ▒ ░▒
▒░ ▒ Award at the Fitelberg International Conducting ▒ ░▒
▒░ ▒ Competition in Katowice, Poland, Takuo Yuasa has ▒ ░▒
▒░ ▒ frequently conducted the major orchestras there ▒ ░▒
▒░ ▒ including the Warsaw National Philharmonic and ▒ ░▒
▒░ ▒ Polish Radio National Symphony Orchestra. His career ▒ ░▒
▒░ ▒ has brought acclaimed appearances with major ▒ ░▒
▒░ ▒ orchestras throughtout Europe, Japan, Australia and ▒ ░▒
▒░ ▒ New Zealand. ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ ▒ ░▒
▒░ ▒ Recorded at the Michael Fowler Centre, Wellington, ▒ ░▒
▒░ ▒ New Zealand, 23rd-25th August 2004. ▒ ░▒
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