SOLO AND ENSEMBLE CONCERTMAE ZENKE ORVIS MUSIC AUDITORIUM JULY 8, 1968 8:00 P.M.

SOLO AND ENSEMBLE CONCERT

Monday, July 8

Program

Mae Zenke Orvis Music Auditorium 8:00 P.M.

Joji Yuasa

Yoshiro Irino

INTERMISSION

Joji Yuasa

Bulent Arel

Projection Esemplastic forPiano (1961)First Performance in the United States

Partita for Wind Quintet (1962)Preludio-AllegrettoVariazioni-AdagioSonatina-AllegrettoFughetta-Un poco sostenutoPostludio-Allegretto

First Performance in the United States

Icon (electronic tape with whitenoise source) (1967)First Performance in the United States

Music for String Quartetand Tape (1962)First Performance in Hawaii

Peter Coraggio, piano

Jean Harling, fluteJames Alexander, oboe

Henry Miyamura, clarinetLinda Hoes, horn

Floyd Uchima, bassoon

Emily Pride, violinBetty Deeg, violin

William Bailey, violaAllen Trubitt, cello

GUEST COMPOSERS

YOSHIRO IRINO was born in Vladivostok in 1921. While completing a degree in eco­nomics at Tokyo University, he studied composition with Saburo Moroi.Following service with the Bank of Tokyo, he joined the faculty of Toho-GakuenSchool of Music in 1955, where he is presently a professor of composition and chiefof the administrative department. In Japan, his compositions have won the MainichiPrize (1948, 1949, 1950, 1954) and the Odaka Prize (1958, 1959); in Europe, his workshave won pr.izes in Germany, Italy, and Austria. In 1963 he was commissioned by theKoussevitsky Foundation to compose an orchestral work. Mr. Irino is active as amember of the jury of the Mainichi Music Concours, auditor of JASRAC (American Societyof Composers, Authors and Publishers in Japan), vice-chairman of the Japan Federationof Composers, and a committee member of the Japanese Society for ContemporaryMusic (Japanese Section of the International Society for Contemporary Music).

BULENT AREL was born in Istanbul, Turkey, in 1919. Majoring in composition andconducting, he was graduated from the Ankara State Conservatory, where he laterbecame a teacher of harmony and twentieth-century music techniques. During thisperiod, he also served as program director of Ankara State Radio. He is presentlyassociated with the Princeton--Columbia Electronic Music Center, where he worked asa recipient of a Rockefeller Research Grant in electronic music. Mr. Arel also teacheselectronic music and composition at Yale University and was responsible for establish­ing the Yale Electronic Music Studio. His works have been heard in Turkey, Germany,Belgium, and the United States; commissions have been received from Ankara StateConservatory, the New Haven Symphony, and the Mimi Garrard Dance Theatre.

JOJI YUASA was born in Koriyama, Japan, in 1929. He began work on a degree inmedicine at Keio University in 1949 but left before completing it to take up the privatestudy of music. In 1952, as a member of the Experimental Workshop C'Jikken Kobo"),he began work as a composer. He supports himself as a free-lance composer workingwith film makers and through the NHK Broadcasting Company. His stereophonicdrama scores have won first prizes in the 1966 and 1967 "ltalia Prize" competitions,and he has been awarded numerous commissions for serious composition. His parti­cipation in the 1968 Hawaii festival marks the beginning of a six-month visit in theUnited States under the auspices of the Japan Society in New York.

F,ESTIVAL MUSIC COMMITTEE

Peter CoraggioMarian KerrNeil McKayArmand RussellBarbara SmithAllen TrubittFloyd UchimaRaymond VaughtRichard VineRalph WinklerCarl Wolz

PROGRAM NOTES

PROJECTION ESEMPLASTIC FOR PIANO was composed for Yuji Takahashi's second piano recital in February1962 in Tokyo. It comprises 12 graphic figures that can be played in any order. Tempos and dynamic levelsare freely chosen by the performer. In view of this indeterminacy, the performer should take special care inplanning the form of the work. A distinction should be made between the effect of keyboard sounds (whichseem close, in the foreground) and the contrasting timbres that come from playing inside the piano. Theseshould seem to come from a greater distance ... lY.

• • •

PARTITA FOR WIND QUINTET was commissioned in 1962 by the Aulos Quintet, a group of young players fromthe NHK Symphony Orchestra in Tokyo. It is composed on a twelve-tone row and conceived to include differentforms from classic styles such as variations, sonatine and fughetta. The first and last movements, Preludio andPostludio have somewhat the character of the marches in a serenade. Variations begins quietly without specialrhythmic features and then, by and by, the music moves on. Sonatine has two themes contrasting each other: thefirst is risoluto but slightly scherzando, and the second is meno mosso and somewhat songlike. Fughetta also hastwo themes, at first proposed separately and then combined. Although these forms are seriously constructed,the character of the music is a kind of Ludus Tonalis ... Y.1.

• • •

I regard ICON as a response to the question, "What is music?" With each work, I try to answer this questionfreshly. A common feature of Noh drama, haiku poetry, and the tea ceremony, if I see them rightly, is theirconcern with the relationship between man and his surroundings (nature, the universe). My outlook on musicis conditioned by these Japanese traditions which have led me to feel, for example, that temporal organizationis the most important element of music, more significant than the sounds themselves.

ICON was produced at the NHK Electronic Music Studio in Tokyo during the period eptember 1966 to March1967. The world premiere performance was heard in Tokyo in November 1967 during the Cross Talk Concertswhich featured contemporary works by Japanese and Western composers. The title means, according to HerbertRead, an image produced from the "materia primordialis" in our subconscious minds. As far as the sphere ofart is concerned, I agree that image precedes idea, and I have tried in this work to produce an aural icon. Forthis reason the piece employs, on the surface, a clear and forceful outline, one that can be apprehended easilyand directly.

"White noise" (a total sound spectrum including all "colored noise"). This approach, which I use, involves thereduction of a total spectrum and is directly opposed to that which produces electronic music by means ofaddition-combining individual elements (sine waves, square waves, etc.) to produce composite tones ... lY.

• • •

MUSIC FOR STRING QUARTET AND TAPE, in which the composer sought to expand the sound palette of a stringquartet, was originally titled Music for String Quartet and Electronic Signal Generator. Composed in Ankara in1958, this work was premiered in the same year at the National Library Auditorium in Ankara. During the firs~

performance the composer. was seated in a central place among the auditors. The equipment which he con­trolled consisted of an audio amplifier and a home-made sine wave generator designed by the composer andbuilt in collaboration with some engineers. The string players were encircled on an arch around the loud­speaker which faced the audience. To surprise the audience, the loudspeaker was completely hidden under atable cloth.

The tape part which will be heard in the present performance was ealized four years later, in 1962, by thecomposer at the Columbia-Princeton Electronic Music Center. The first New York performance of the piece inthis form (with electronic sounds) took place at the McMillin Academic Theatre at Columbia University in May,1963, with the present title ... B.A.

This performance is made possible through a grant from the Music Performance Trust Funds of the RecordingIndustry with the cooperation of the Musician's Association of Hawaii, local 677.