Narita, Tamezou : Hamabe no uta
Work Overview
Commentary (2)
Author : Yano, Haruka
Last Updated: April 19, 2018
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Author : Yano, Haruka
A children's song (shōka) with lyrics by Kokei Hayashi and music by Tamezō Narita. The initial poem was published not under the title "Hamabe no Uta" (Song of the Seashore) in Taishō 2 (1913), but as "Hamabe" (Seashore) in the Tokyo Music School Alumni Association's poetry collection. It was accompanied by the note "Trial work for composition," suggesting that students other than Narita, who was studying composition under Kōsaku Yamada at the time, might also have composed music for this poem. The composition period is presumed to be around Taishō 4–5 (c. 1915–1916). In Taishō 7 (1918), it was published by Senoo Gakufu as "Hamabe no Uta" with cover design by Yumeji Takehisa, a popular painter at the time. However, it is presumed from the autograph score that the title revision was not made by Narita himself. The original landscape depicted in the poem is believed to be the Shōnan coast, where Hayashi spent his childhood.
Author : Nagai, Shinnosuke
Last Updated: April 19, 2018
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Author : Nagai, Shinnosuke
This song was set to music in 1916 by Tamizo Narita, who was completely unknown at the time, based on a poem by Kokkei Hayashi (1875-1947). The poem, titled 'Hamabe' (Seashore), was published in Ongaku (Music), a magazine of the Tokyo Academy of Music. It is said that Narita sent the score as a love letter to Masako Kuratsuji, his junior at the music academy.
Hayashi's poem was originally written with four stanzas, but when it was published, the publisher arbitrarily combined the third and fourth stanzas. Furthermore, it has become customary for the lyrics published in textbooks and other materials today to include only up to the second stanza.
Accompanied by a piano accompaniment that continuously plays a figuration depicting incoming and outgoing waves, an undulating and expansive melody is sung. The first stanza describes a person walking on the morning beach, while the second stanza depicts the same person lost in thought while walking on the evening beach. The passage of time and the changing emotions within the poem are depicted by the vocal melody and the piano part's figuration, which gradually alter their harmony and movement.
It has been noted that there is a similarity to the melody of Johann Strauss II's waltz Künstlerleben (Artist's Life). While it is unclear whether Narita specifically had this melody in mind, he was a student at the Tokyo Academy of Music at the time and was taught by Kosaku Yamada (1886-1965), who had just returned from Germany. Therefore, it is certain that he was influenced to some extent by German and Austrian music.
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