Toshiro Mayuzumi: Sphénogrammes (1950)

Toshiro Mayuzmi [黛敏郎] (1929~1997, Japan)
スフェノグラム [楔形文字]
Sphénogrammes
00:00 I. Prologue
04:50 II. Chanson javanaise
09:21 III. Slendoro
13:20 IV. Be-bap du cobra enchanté
18:49 V. Liturgie hindoue
text:
II. Chanson javanaise
hmat ka mo pra ku i Pra ma mi-yo-da-ki
a-to-ba-ya-wa pra po to--o en-wa-puto hwan to mi----i
an-be-sa--Wa Sa pel mo---o hwan-gaon doken-om-mi so-
i-m Pra ma mmi ro -- da a-ki a to ba ga-wa pra po to en wa-lu to hwan to mi i---i
an-be-sa--Wa Sa pel mo---o hwan-ga--an doken-om mi-so---
hma wa - to ka mo pra -- ku
i-m pra ma mi ro - da a ki a to ba ya
-wa pra po to em wa-lu to hwan to mi i----i
an be sa a -- wa sa pe-i mo hwan ga -- an do o om mi-so--
IV. Be-bap du cobra enchanté
e-i-au-i-awe-i a-u-wa t-u-i a-pa-pa tu-i-yo i-a u-i-a wo-i a-u-wa
e-i-au-i-awe-i a-u-wa t-u-i a-pa-pa tu-i-yo i-a u-i-a wo-i a-u-wa
e-i-au-i-awe-i a-u-wa t-u-i a-pa-pa tu-i-yo i-a u-i-a wo-i a-u-wa
Pyu wi chu i-a-u-wa -u-i-a i o-i-a ui ya -e-j-a
putu-pi i-pi ya boti- yeji yeni-- yeji-pua-ta bo wi-ea-i o-e-a
se mye i pyu-wi chu-i-a-u wa u-i-a-
e-i-au-i-awe-i a-u-wa t-u-i a-pa-pa tu-i-yo i-a u-i-a wo-i a-u-wa
e-i-a u-i a wo-i-a u-wa tu-ia-pa-pa-ta-i-yo i-a u-i-a wo-i a-u-wa
V. Liturgie hindoue
un ga ya-mi jaja le-gi vp se
un ga ya-umi-re unga ya mi-re
yu di au kla ku-a-ntusu te wa-kn-da-ki-yo
-i i ---i a-----a-----a-----ya
un ga ya-mi ja ya le-gi vo re un ga ya-mi-re-e
un ga ya-mi ja ya le-gi vo re un ga ya-mi-re-e
yu di au kla ku-a-ntu ru te ma-ku da ki yo-i i
a-----------ya---------
un ga ya-mi ja ya le-gi vo re un ga ya-mi-re-e
un ga ya-mi ja ya le-gi vo re un ga ya-mi-re-e
un ga ya-mi ja ya le-gi vo re un ga ya-mi-re-e
Emi Nishina, vocal
Hiroshi Koizumi, flute
Ryo Noda, saxophone
Yasunori Yamaguchi, marimba
Kishiko Suzumi, violin
Hakuro Mori, cello
Kayako Matsunaga, piano
Reiko Ebisuta, piano
Toshiro Mayuzumi, conducting
Recorded: 1987 (Live) at Dai-ichi Seimei Hall (former)
From NHK FM "Kurasikku No Meikyu (Labyrinth of Classical Music)"
"Sphénogrammes" (Completed in Yokohama in 1950) was selected for the 25th ISCM International Festival of Contemporary Music (Frankfurt, 1951), and was the work that brought Toshiro Mayuzumi's name worldwide recognition. The jury at that time consisted of Johan Bentzon, Nadia Boulanger, Roman Palester, Alan Rawshorne and Hans Heinz Stuckenschmidt. The previous year, his graduation work, "Divertissment pour 10 instruments," was also submitted to ISCM with the recommendation of Tomojiro Ikenouchi, but it was not selected, so this was his second attempt.
In contrast to "Divertissment," which was in a sense sophisticated, stylish, and un-Japanese, "Sphénogrammes" strongly expressed his assertion as an Asian composer, and his primitive energy and orientation toward ritual, which were close to Messiaen and Jolivet, the most advanced composers of the time, were also highly evaluated.
For Mayuzumi, this was a work from the period when he met Ifukube and expanded his musical orientation toward Asia. While Ifukube's music was based on the northern regions of Japan, Mayuzumi's music was a longing for the south, a fusion of gamelan, kecak, Southeast Asian-derived materials and folk songs, as well as jazz, contemporary music, Stravinsky, Ravel, and other composers. This exquisite balancing act of "remixing" can be heard in his subsequent creations.
Sadao Bekku wrote in his obituary for Mayuzumi, "He was a sensuous composer," and Mayuzumi's keen musical sense led him to jazz, electronic music, and temple bells. In this way, he was always in search of his own ideal sound.
by Koichi Nishi from 3SCD-0031 "Solo Exhibition of Toshiro Mayuzumi: The Road to Nirvana Symphony" booklet
[...] Now I would like you to listen to the "Sphénogrammes," from 1950. This piece was written for soprano solo voice, flute, saxophone, marimba, violin, cello, and four-handed piano. The entire work is in five movements. Let us now listen to a live recording of this work, conducted by Toshiro Mayuzumi himself at the "Spring Contemporary Music Exhibition" organized by the Japan Contemporary Music Society in 1987...
... As you can hear from the sound of the applause, the number of audience members was unfortunately very small. Despite the fact that it was a long time since the "Sphénogrammes" was performed again, the venue was a rattling place with only 3-40 or 4-50 people. The piece was played at the very end of the program, however, Mr. Mayuzumi was conducting very happily, and the ensemble, as you have just heard, was very groovy, and especially the vocalist, Emi Nishina, is a member of the "Geinoh Yamashirogumi," so she was able to handle the Asian ethnic vocals very well and fit the piece perfectly. After the performance, Mr. Mayuzumi looked so happy that he shook hands with her and hugged her... I was listening to the music while recalling those pleasant memories.
by Morihide Katayama, commentary in NHK FM "Kurasikku No Meikyu," broadcast on April 29, 2017

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The opening melody is very similar to Ravel's Bolero

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芥川共々伊福部昭の影響なんでしょうか。力のある良い曲だと思います。