Matsudaira, Yoriaki, Japanese composer, son of Yoritsune Matsudaira; b. Tokyo, March 27, 1931. He studied biology at the Tokyo Metropolitan Univ. (1948–57); as a composer, he was autodidact. In 1958 he became a teacher of physics and biology at Rikkyo Univ. in Tokyo. He was also active with the composing collective Group 20.5, which he founded to promote contemporary music. In his output, Matsudaira has followed an avant- garde path in which he has utilized serialism, aleatory, tape, and electronics. He publ, the book Conpyuta to ongaku (Computers in Music; Tokyo, 1972).
dramatic:Sara, opera (Tokyo, Nov. 12, 1960); Ishikawa no iratsume, dance drama (Tokyo, July 1964). orch.: Configuration for Chamber Orch. (1961–63; Tokyo, March 29, 1967); The Symphony for Chamber Orch. (1971); Messages for Wind Orch. and Tape (1972); Kurtosis I (1982); Revolution for Piano and Orch. (1991); Helices (1995); Remembrance for Piano and Orch. (1996); Miceli for Chamber Orch. (1998). chamber: Variations for Piano Trio (Tokyo, Nov. 15, 1957); Speed Co-Efficient for Flute, Piano, and Keyboard Percussion (1958); Orbits I- III for Flute, Clarinet, and Piano (1960); Variations on a Noh Theme for Flute, Clarinet, 3 Percussion, Piano, Violin, Viola, and Cello (1960; in collaboration with others); Co-Action I & II for Cello and Piano (1962); Parallax for Flute, Oboe, Clarinet, Bassoon, and Saxophone (1963); Rhymes for Severino Gazzelloni for Flute (1965–66; Venice, Sept. 10, 1966); Distributions for String Quartet and Ring Modulator (1966–67; Tokyo, March 16, 1968); Alternations for Trumpet, Piano, Double Bass, Drums, and Ring Modulator (1967); Gradations for Violin, Viola, and Oscillator (1971); Trichromatic Form for Harp (1973); Transient ’74 for Guitar, Organ, Harp, and Percussion (1974); Simulation for Tuba (1974); Coherency for Ark for Flute, Clarinet, Percussion, Harp, and Keyboard (1976); Brilliancy for Flute and Piano (1978); Extension for Percussion Ensemble (1981); Scroll for Bass Clarinet (1984); Reunion for 2 Violins (1986); Declaration for Trumpet and Piano (1987); Palindrome for Violin and Piano (1987); Requiem saecularum VI and VIII for Horn, 2 Trumpets, 2 Trombones, and Percussion (1988); Engraving I and II for Flute and Piano (1989); Metathesis for Accordion (1990); Domain for String Quartet (1991); Response for Double Bass and Oboe (1992); Dialogue for Violin and Harpsichord (1993); Co-existence for Piano and Gamelan Instrument (1993); Blessing for Bassoon and Piano (1995); Transliteration for Viola (1996); Sparkle for Flute, 2 Violins, Piano, and Toy Piano (1997); Theme and Variations for Flute, Mandolin, Clarinet, Violin, Viola, and Cello (1997); Grating for Guitar (1998). piano:Instruction (1961); Allotropy (1970); Erixatone for Electric Piano (1979) Kurtosis II for 2 Pianos (1982); Perspective (1988); Gala (1990); Recollection (1990); Multistrata (1990); Morphogenesis MI (1991–93); Michelangelo’s Pup (1993); To You from. ..(1994); List for Inoue Satako (1997); Memoriamfor Kuniharu Akiyama (1997). vocal:What’s Next? for Soprano and 2 Noisemakers (1967–71; Graz, Oct. 12, 1972); Wand Waves for Narrator and Tape (1970); Substitution for Soprano and Piano (1972). other:Transient ’64 for Tape (1964); Assemblages for Tape (1968); Why Not? for 4 to 5 Operators and Live Electronics (1970); Where Now? for 3 Dancers and Ensemble (1973); Shift for Dance and Tape (1976); Monuments for Soprano, Flute, Trombone, Cello, and Electronics (1977); Albedo for Soprano, Viola, and Piano (1979–80); Semiology for John Dowland for Soprano and Tape (1991); Card Game for Soprano (1995).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire