Yamada, Kōsaku : Frühlingstraum
Work Overview
Instrumentation:Piano Solo
Genre:Various works
Total Playing Time:4 min 50 sec
Copyright:Public Domain
Commentary (2)
Author : Sugiura, Nanako
Last Updated: April 14, 2024
[Open]
Author : Sugiura, Nanako
Commentary
Composed in 1934.
Many of Kosaku Yamada's piano pieces were composed during his youth. With 12 pieces in 1917 as the most prolific year, followed by 8 pieces in 1916, the period between his return from studying in Berlin in 1914 and his move to New York in 1917 marks the peak of his piano compositions. On the other hand, Shunmu (Spring Dream) was composed in 1934, when Yamada was 48 years old. This was after the composition of his representative songs such as Akatombo (Red Dragonfly) and Kono Michi (This Road) . The autograph score of Shunmu contains words that appear to be instructions for a dancer, which is unique among Yamada's piano pieces. After studying in Berlin, Yamada fused two distinct art genres, dance and music, to create a new genre called "dance poem." Shunmu is likely a work within this lineage.
[Words believed to be instructions for the dancer written in the autograph score]
- b.2-6: "A spring field. A young man alone under a cherry tree, collapsing while holding the kimono sleeve of a departed person."
- b.15-16: "Butterflies entangle. Chasing them."
- b.26: "A voice seems to come from afar, rushing towards the voice."
- b.27: "With disappointment and slight anger," "With a feeling of helplessness."
- b.28-30: "Throwing and stepping on wildflowers."
- b.31: "Sulking and returning."
- b.32-33: "Noticing the kimono sleeve."
- b.38-40: "Strongly embracing the kimono sleeve, as if pleading with a living person, standing and dancing."
Author : Sugiura, Nanako
Last Updated: April 14, 2024
[Open]
Author : Sugiura, Nanako
Performance Tips
Langsam (slowly)
From the beginning for five measures, various words are added: einsam (lonely), etwas eilend (somewhat hurrying), wieder ruhig (again calmly), and leidend aber sehr langsam (suffering but very slowly). From these notations, it is clear that Yamada demands not only variations in tempo but also shifts in emotional states from the performer. For example, at measure 9, 'etwas eilend' (somewhat hurrying), and at the following measure 10 with the same melodic shape, 'etwas beschleunigend' (slightly accelerating) – even with similar accelerando elements, it is crucial for the performer to perceive the difference in nuance and articulate them with sensitivity.
From measure 27, the expression is one of 'disappointment' and 'helplessness.' Express a sense of exhaustion by relaxing and avoiding a harsh sound. While the left hand has an accompaniment pattern like a trudging walk, the right hand features rapid movements such as 32nd notes, septuplets, and ornaments. It would be beneficial to link this with the image of movement derived from the phrase 'throwing or trampling on plants.'
In this way, by relying on the words Yamada left in the score and fully aligning with the movements and emotional states, the performance will likely become vivid and expressive.
Regarding pedaling, there are minimal indications, but pedals are certainly necessary even where not indicated. Each performer should explore how to blend the sounds and experiment with various possibilities. Furthermore, the fermatas above bar lines, which Yamada frequently uses in other pieces, might sometimes result in silence, or the preceding sound might be sustained. What is important, I believe, is the flow of time. Consider what kind of time will be etched (whether it stops abruptly or if the previous moment continues).