Yamada, Kōsaku : Geishun
Work Overview
Instrumentation:Piano Solo
Genre:Various works
Total Playing Time:1 min 50 sec
Copyright:Public Domain
Commentary (2)
Author : Imazeki, Shiori
Last Updated: April 13, 2018
[Open]
Author : Imazeki, Shiori
For three years, from January 1914 until his move to England in 1917, Kosaku Yamada actively worked as a pioneer of Western music in Japan, establishing orchestras and performing his own piano works at 'Yamada Abends'. In his private life, he married Ikuko Nagai in 1915 (though the marriage was not officially registered), but they later broke up. In November 1916, he married his childhood friend Kikuo Murakami (Isoyo Kawai). He led a fulfilling life, with his eldest daughter Misa being born in April of the following year.
Geshun (Welcoming Spring), composed in December 1916, was originally conceived as the tenth piece of Petit Poème 'A Page from a Diary'. However, the composer deleted the words 'No. 10', and the current tenth piece, Joya (New Year's Eve), was newly composed. Although no record of the composer's own premiere remains, Geshun is included in his self-selected piano collection 'Oto no Nagare' (Flow of Sound), published by Oliver Ditson Company in Boston. The entire piece is very short, consisting of only 24 measures. The beginning of the piece is marked by significant changes in meter, the appearance of fragmentary motifs, and frequent double stops. However, the melody in the right hand that appears from measure 9 onwards is written in a traditional Japanese pentatonic scale, making it very melodic and adding nuance to the piece.
Author : Sugiura, Nanako
Last Updated: February 8, 2024
[Open]
Author : Sugiura, Nanako
Although a short piece of 24 measures, it is a work that incorporates many of Yamada's unique idioms. This is not limited to this piece, but various expressive possibilities open up depending on how one interprets the fermatas and rests on the bar lines. For example, the fermata at the end of measure 10 can be imagined as a gesture of suddenly stopping the progress depicted by the sixteenth notes in measure 10 and looking back. Furthermore, the half rests written on both sides in measure 13 also indicate the cessation of the sixteenth-note movement in measure 12, and likely contain a breath that prepares for the abrupt conclusion awaiting from the third beat. The melody in the right hand appearing from measure 9 onwards resembles the melody from the middle section of "Genji Gakuchō" chapter, and there is likely a joy in freely singing the tranquil and elegant melody of the Japanese scale. Additionally, the chromatic scale in thirds from measure 15 also appears in Genji Gakuchō's "The Festival of the Cherry Blossoms" chapter, and there is likely a joy in freely singing the tranquil and elegant melody of the Japanese scale. Additionally, the chromatic scale in thirds from measure 15 also appears in Genji Gakuchō's "The Safflower" chapter, creating a comical effect. Using the meticulously marked hairpin crescendos and decrescendos, it would be good to perform it with a scherzando atmosphere.