Matsudaira, Yoritsune

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Matsudaira, Yoritsune

Matsudaira, Yoritsune, Japanese composer, father of Yoriaki Matsudaira; b. Tokyo, May 5, 1907. He took courses in French literature at Keio Univ. and pursued private instruction in composition with Ko-matsu, and with Tansman and Tcherepnin (1935–37). In 1937 he helped organize and was co-director of the Nihon Gendai Sakkyokuka Renmei, which later became the Japanese Soc. for Contemporary Music. He served the Soc. as its secretary (1953–55) and chairman (1956–60). He was the author of Kindai waseigaku (Harmony Today; Tokyo, 1955; rev. 1969–70). Among his honors were the Weingartner Prize (1937), the ISCM Prize (1952), the Zerboni Prize (1954), and the International Composition Competition Prize of Rome (1962). In his early works, he followed neo-Classical trends. His use of gagaku with modern methods became a hallmark of his style. He first utilized 12-tone procedures in his Theme and Variations on Etenraku for Piano and Orch. in 1951. Still later he explored the use of gagaku with various other avant-garde procedures.

Works

dramatic: opera:Uji-Jujo (1998). orch:Pastorale (1935); Theme and Variations on a Folk Song from the Nanbu District for Piano and Orch. (Tokyo, Dec. 17, 1939); Theme and Variations on Etenraku for Piano and Orch. (1951); Ancient Japanese Dance (1952; Berlin, Oct. 9, 1953); Negative and Positive Figures (Tokyo, May 28, 1954); Figures sonores (1956; Zürich, June 1, 1957); U-Mai (Ancient Dance; 1957; Darmstadt, Sept. 11, 1958); Samai for Chamber Orch. (1958; Rome, June 15, 1959); Danse sacre (1959); Danse finale (1959); Dance Suite for 3 Orchs. (Donaueschingen, Oct. 18, 1959); Bugaku for Chamber Orch. (1961; Palermo, Oct. 6, 1962); 3 Movements for Piano and Orch. (1962; Stockholm, March 20, 1964); Ritual Dance and Finale (1963); 2 piano concertos: No. 1 (1964; Madrid, March 20, 1965) and No. 2 (1980); Music for 17 Performers (1967); Rotating Movements for 2 Chamber Orchs. (1971; Graz, Oct. 10, 1972); Prelude, Interlude, and Apreslude (1973); 2 Synthese for Chamber Orch. (1983). chamber: Flute Sonatina (1936); Sonatina for Flute and Clarinet (1940); Cello Sonata (1942; rev. 1947); Piano Trio (1948); 2 violin sonatas (1948, 1952); 2 string quartets (1949, 1951); Suite for Flute, Horn, and Piano (1950); Somakusha for Flute (1961; rev. 1970; also for Flute, Oboe, Harp, Percussion, Piano, and Strings); Serenade for Flute, Oboe, Percussion, and Strings (1962); Suite for 10 Instruments (1963); Concerto da camera for Harpsichord, Harp, and Instrumental Ensemble (1964); Dialogue choréographique for Wind Quintet, Harp, 2 Pianos, and Percussion (1966; Royan, April 3, 1967); Portrait for 2 Pianos and 2 Percussion (1967–68); Rhapsody on a Theme of Gagaku for Chamber Ensemble (1982); Netori et Rôëi for Cello and Ensemble (1985); Concertino for Piano and Chamber Ensemble (1988); Petite Piece for Clarinet, Piano, Marimba, and Percussion (1988); Bonguen for Shõ, Flute, Clarinet, and Percussion (1992). piano:Lullaby and Music Box (1928–31); 2 preludes (1934, 1940); 6 Pastoral Dances (1939–40); Concertante for 2 Pianos (1946); Sonatina (1948); Sonata (1949); Portrait for 2 Pianos (1967); Pieces for Children (1968); Lullabies (1969); Pieces for Children from Nursery Rhymes and Folk Songs (1969–70); Études on Japanese Melodies (1970). vocal:Folk Songs from the Nanbu District for Voice and Piano (2 sets, 1928–36; 1938); Kokin-shu for Soprano and Piano (1939–45; also for Soprano and Orch., 1950); Metamorphoses on an Old Japanese Melody (Saibara) for Soprano and Chamber Orch. (1953; Haifa, June 3, 1954); Koromogae (Love Song) for Soprano and Chamber Orch. (1954; Venice, Dec. 11, 1968); Katsura for Soprano, Guitar, Harp, Harpsichord, and Percussion (1957; rev. 1967); Jesei, a rôëi (2 Stars in Vega) for Soprano, Flute, Oboe, Harp, Piano, Vibraphone, and Percussion (1967); Kashin, a rôëi for Women’s Voices and Orch. (1969); 3 Airs du Genji Monogatari for Soprano and Japanese Instruments (1990); Requiem for Soprano and Chamber Ensemble (1992).