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湯浅 譲二 1929 Yuasa, Joji

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  • 解説:須藤 英子 (2815文字)

  • 更新日:2018年4月24日
  • Born in Fukushima in 1929, Jōji Yuasa became acquainted with art in his childhood and started composing by himself. He was influenced by his father who was a doctor and loved music. Although Yuasa went to Keio University School of Medicine in Tokyo, with the aim of becoming a surgeon, he dropped out of the University after he began to become familiar with various contemporary music forms. He participated in the avant-garde artist group ‘experimental workshop’ with Tōru Takemitsu, Kuniharu Akiyama and others. In 1951, he started devoting himself to composition.

    Yuasa’s early works were influenced by Messiaen, Bartók, Jolivet and others. His creations came out of Western avant-garde music, such as twelvetone music and music of indeterminacy. In this period, He wrote piano pieces such as “Cosmos Haptic” (1957) aiming at returning to the origin of Western techniques and “Projection Esemplastic” (1961) written in graphical score.

    Starting in mid-1960s, Yuasa’s interest in electronic music deepend and he expanded the range of sound materials for Japanese musical instruments and voices. In addition, he devised his own idea of   making music “spatial and temporal transition of acoustic energy”, gradually building up his position as a composer. In the 1970s, “Chronoplastic for orchestra” (1972) won the Otaka Prize for the first time as an avant-garde work, and he got worldwide reputation. In the same year, he composed “On The Keyboard” for the piano (1972), aiming for a new resonance for piano with only transcendental skill, and without manually playing the piano strings.

    From 1981 to 1994, Yuasa worked as a professor at the University of California, San Diego (UCSD). Here he was sure the theory of “music as acoustic energy.” In this environment, he felt he could seriously concentrate on just music. In “Cosmos Haptic II Transfiguration” (1986), he saw the piano as a huge sounding body and created a transition of its sound. In “Piano Concertino” (1994), he realized the fusion of piano and orchestral sounds, while using the method of twelve-tone music.

    In addition to these works, his other works include pieces for orchestral music, chamber music, choral music, electronic music, computer music and film music. His quiet and rich, unique music is widely played internationally. Besides working as a professor of UCSD and Nihon University, he served as a guest professor of Tokyo College of Music and other places. Currently he is a professor emeritus of UCSD, an honorary member of the International Contemporary Music Association (ISCM). Among the awards he has received are the Jury’s Special Award at the Berlin Film Festival, the Kyoto Music Grand Prize, the Medal with Purple Ribbon, the Japan Art Academy Prize (1999), the Order of the Rising Sun, Gold Rays with Rosette and others.

    執筆者: 須藤 英子
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    作品(24)

    ピアノ協奏曲(管弦楽とピアノ) (1)

    管弦楽付き作品 (1)

    ピアノ独奏曲 (4)

    曲集・小品集 (1)

    二つのパストラール 二つのパストラール

    作曲年:1952  総演奏時間:4分50秒 

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    セレナード (1)

    性格小品 (2)

    内触覚的宇宙 内触覚的宇宙

    作曲年:1957  総演奏時間:6分30秒 

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    オン・ザ・キーボード オン・ザ・キーボード

    作曲年:1972  総演奏時間:7分00秒 

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    種々の作品 (13)

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    藍より青く 藍より青く

    総演奏時間:2分10秒 

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    わたりどり わたりどり

    総演奏時間:2分40秒 

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    レナの子守歌 レナの子守歌

    総演奏時間:2分00秒 

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    おやすみなさい おやすみなさい

    総演奏時間:4分40秒 

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    総演奏時間:2分20秒 

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    じゃあね じゃあね

    総演奏時間:2分10秒 

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    徳川慶喜 徳川慶喜

    総演奏時間:2分40秒 

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    サブリミナル・ヘイ・J サブリミナル・ヘイ・J

    作曲年:1990  総演奏時間:4分00秒 

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    メロディーズ メロディーズ

    作曲年:1997  総演奏時間:8分00秒 

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    動画(0)

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    楽譜(0)

    動画(0)

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    ピアノ合奏曲 (1)

    室内楽 (1)

    室内楽 (3)

    内触覚的宇宙 4 内触覚的宇宙 4

    作曲年:1997  総演奏時間:10分00秒 

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    動画(0)

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    冬の日・芭蕉讃 冬の日・芭蕉讃

    作曲年:1981  総演奏時間:18分00秒 

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    その他 (1)

    種々の作品 (2)

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    雪は降る 雪は降る

    作曲年:1972  総演奏時間:10分00秒 

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