解説：仲辻 真帆 (1170文字)
更新日：2018年4月21日
解説：仲辻 真帆 (1170文字)
母方の大叔父・金子堅太郎は、明治初期に渡米して法学を修め、大日本帝国憲法の起草者の 一人である。父方の祖父・團琢磨は岩倉具視らと渡米し、日本の炭鉱開発事業や三井財閥の礎 を固めたが、血盟団事件（5・15事件）で凶弾に倒れた。また、父は美術史家で参議院議員も務 めた團伊能である。
1924（大正13）年4月7日、東京に生まれた團伊玖磨は、幼年期を原宿で過ごす。太田黒元雄の『西洋音楽史』を読み、作曲の志を立てた。7歳の頃からピアノを学び始め、青山学院中学部2年生のときにはピアノ曲や歌曲を作曲している。1942年、東京音楽学校（現在の東 京藝術大学音楽学部）に入学し、同校教員の下總皖一、橋本國彦、細川碧らに師事するとともに、 学外で山田耕筰の薫陶も受けた。太平洋戦争が激化していた1944年に、陸軍戸山学校軍楽隊に入隊し、小太鼓の演奏や吹奏楽編曲を担当した。1945年に復学して東京音楽学校を卒業。 戦争により作曲技術の修得に不足を感じた團 は、諸井三郎のもとで対位法や楽曲分析を学ぶ。1946年以後、作曲コンクールへの入選を重ね、 1947年の《花の街》や1952年の《夕鶴》で 作曲家としての地盤を確立した。1952年には初めて映画音楽の作曲を手がけ、以来120本に及ぶ作品を書く。1953年に芥川也寸志、黛敏郎と「3人の会」を結成し、自作のオーケストラ作品を積極的に発表していった。1959年、天皇（当時は皇太子）、皇后両陛下のご成婚の際には《祝典行進曲》を、1993年の皇太子殿下、 雅子妃殿下のご成婚時には《新祝典行進曲》を作曲した。
日中文化交流協会の会長を務めるなど、中国との文化交流にも寄与。ベストドレッサー賞に選ばれた作曲家でもある。多角的な活動をした團伊玖磨は、2001（平成13）年5月17日、中国で不帰の客となった。
團の作品には、《交響曲》（第1～6番）、《2つの抒情詩》、《5つの断章》、 《6つの子供の歌》、 《ノヴェレッテ》、《ぞうさん》、《やぎさんゆうびん》などがある。特に声楽曲において、山田耕筰の作曲方法を念頭に置きながら、日本語の扱いに留意して創作にあたった。また、オペラの作曲者としての活躍が顕著であったことも、 團の特徴の一つである。木下順二の台本による 《夕鶴》は、團の音楽とともに日本のオペラ史に大きな影響を与えた。《建・TAKERU》は新国立劇場のこけら落としとして上演された。山田耕筰の未完のオペラ《香妃》のオーケストレーションなども手がけている。
文筆活動にも積極的に取り組み、『アサヒグラフ』誌で36年間にわたり連載された随筆は、『パイプのけむり』シリーズとして刊行された。 團にとって文章を書くことは、「時を彫り付ける作業」であり、「音符の列のネガティヴな投影が生むもの」であった。
About composer : 仲辻 真帆
(3903 文字)
更新日：2018年4月21日
[開く]
About composer : 仲辻 真帆 (3903 文字)
Ikuma Dan’s uncle on his mother’s side was Kentarō Kaneko who had studied law, visited the United States of America in the early years of the Meiji era, and who was one of the persons who drafted the first Japanese constitution. Ikuma’s grandfather on his father’s side was Takuma Dan, who went to the United States of America with Tomomi Iwakura and laid the foundation for the Japanese coal mining industry and the Mitsui combine, but eventually was killed in the so-called ‘Ketsumei-dan’ affair. His father, Inō Dan, was an art historian and a member of the House of the Councilors.
Ikuma Dan was born in Tokyo on April 7 in 1924 and spent his early days in Harajuku. He was determined to become a composer when he read the book, ‘Seiyō Ongaku-shi (History of Western Music)’, written by Motoo Ōtaguro. Dan began to learn the piano at the age of 7 and he composed some piano works and songs during his time as a second-year student in the middle class at Aoyama Gakuin. From 1942, Dan studied composition with Kanichi Shimofusa, Kunihiko Hashimoto, and Midori Hosokawa at Tokyo Ongaku Gakkō (Tokyo Academy of Music, now the Faculty of Music of Tokyo University of the Arts), but he was also trained by Kōsaku Yamada outside the academy. Dan joined a military band at Toyama School in 1944, at the time when the Pacific War had intensified, and he played the snare drum as well as made arrangements for brass band there.
He was readmitted to the Tokyo Ongaku Gakkō in 1945 and graduated the same year. In order to fill what Dan felt as a lack of acquired compositional techniques, Dan began to study counterpoint and music analysis under Saburō Moroi. After 1946, Dan won many prizes and with the pieces “Hana no Machi (Town of the Flowers)”, composed in 1947, and “Yūzurū (Evening Crane)”, which was premiered in 1952, he established his foundation as a composer.
Dan’s first film music was completed in 1952, and he subsequently wrote more than 120 scores for films. In the year of 1953, Dan organized ‘San-nin no kai (Group of the Three)’ with Yasushi Akutagawa and Toshirō Mayuzumi, and he presented his orchestra works with great enthusiasm. Dan composed “Shukuten Kōshin-kyoku (March for Celebration)” in 1959 when the Emperor of Japan (the Crown Prince at the time), Akihito, got married with his future empress, Michiko, and he composed “Shin Shukuten Kōshin-kyoku (New March for Celebration)” when the current Crown Prince, Naruhito, married Crown Princess Masako in 1993.
Dan moreover contributed to the cultural exchange between China and Japan through his work as the chairman of a Japan-China cultural exchange association. He has also been awarded the ‘Best Dressed Award’ among composers. Dan, who lived a many-sided life, passed away in China on May 17, 2001.
The works composed by Dan include “Symphony” (from the first to the sixth), “Futatsu no Jojishi (2 Epics)”, “Itsutsu no Danshō (5 Fragments)”, “Muttsu no Kodomo no Uta (6 Children’s Songs)”, “Novelette”, “Zō-san (Mrs. Elephant)”, “Yagi-san Yūbin (Mr. Goat, Mail)” and more. He composed vocal music, paying particular attention to the treatment of the Japanese language and with Kōsaku Yamada’s way of composition in mind. One of the special features of Dan was also his activity as an opera composer. “Yūzuru”, based on a libretto written by Junji Kinoshita, influenced the Japanese opera history greatly. In addition to this, “Takeru” was put on the stage for the opening of the New National Theater. Dan moreover undertook the work of orchestrating “Kōhi”, an incomplete opera composed by Kōsaku Yamada.
Dan was also active as a writer of essays on music. In particular, “Paipu no Kemuri (Pipe Smoke)” is popular which has been published serially in “Asahi Graph” for more than 36 years. Writing for Dan was, in his own words, a work which “carved time” and “a practice which gives birth to the negative shadows of tones”.
