Mayuzumi, ToshirŌ

Mayuzumi,ToshirŌ , eminent Japanese composer; b. Yokohama, Feb. 20, 1929; d. Kawasaki, April 10, 1997. He was a student of Ikenouchi and Ifukube at the Tokyo National Univ. of Fine Arts and Music (1945–51) and of Aubin at the Paris Cons. (1951–52). With Akutagawa and Dan, he organized the contemporary music group Ars Nova Japnica, Sannin no Kai (Group of 3). In 1959 and 1962 he won the Otaka Prize, and in 1964 the Mainichi Music Prize. His style of composition embodied sonorous elements from Japanese and other Asian traditions, modified serial techniques, and electronic sounds, all amalgamated in a remarkably effective manner.

Works

dramatic:Bugaku, ballet (1962; N.Y, March 20, 1963); The Bible, film score (1965); Kinkakuji (The Temple of the Golden Pavilion), opera (Berlin, June 23, 1976); The Kabuki, ballet (1985); incidental music; dance dramas. orch.: Serenade Fantastic (1946); Rumba Rhapsody (1948); Symphonic Mood (1950); Bacchanale (1953); Ectoplasme for Electronic Instruments, Percussion, and Strings (1954; Stockholm, June 5, 1956); Phonologie symphonique (Tokyo, May 28, 1957); Nirvana Symphony (Tokyo, April 2, 1958); Manadala Symphony (Tokyo, March 27, 1960); Music with Sculpture for Wind Orch. (Pittsburgh, June 29, 1961); Samsara, symphonic poem (Tokyo, June 12, 1962); Textures for Band (Pittsburgh, June 10, 1962); Essay in Sonorities: Mozartiana (1962; Osaka, Jan 21, 1963); Essay for Strings (1963); Fireworks for Band (Pittsburgh, June 13, 1963); Ritual Overture for Band (Pittsburgh, July 2, 1964); The Birth of Music, symphonic poem (Tokyo, Oct. 10, 1964); Xylophone Concertino (1965); Concerto for Percussion and Winds (1966); Incantation (1967); Ancient and Modern Music, symphonic poem (1969–70; Tokyo, Oct. 31, 1970); Tateyama, symphonic poem (1974); Aria in G for Violin and Orch. (1978); Capriccio for Violin and Strings (1988); Perpetuum mobile (1989); Rhapsody for the 21^st Century for Orch., Electric Piano, and Synthesizer (1991). chamber: Violin Sonata (1946); Divertimento for 10 Instruments (1948); Poem for Violin and Piano (1950); String Quartet (1952); Sextet for Flute, Clarinet, Bass Clarinet, Horn, Trumpet, and Piano (1955); Tone Pleromas 55 for 5 Saxophones, Musical Saw, and Pianos (1955); Mikrokosmos for Claviolin, Guitar, Vibraphone, Xylophone, Piano, Percussion, and Musical Saw (Karuizawa, Aug. 12, 1957); Pieces for Prepared Piano and String Quartet (1957); A hun for Japanese Flute, Kotsuzumi, and Otsuzumi (1958); Bunraku for Cello (1960); Metamusic for Violin, Saxophone, Piano, and Conductor (1961); Prelude for String Quartet (1961); Showa Tenpyo-raku for Gagaku Ensemble (1970). piano:12 Preludes (1946); Poesie (1946); Hors d’oeuvre (1947). vocal:Elegy for Soprano and Piano (1948); Sphenogmmme for Voice, Flute, Saxophone, Marimba, Piano 4-Hands, Violin, and Cello (1950; Frankfurt am Main, June 25, 1951); Wedding Song for Chorus and Orch. (1959); U-So-Ri, oratorio for Soloists, Chorus, and Orch. (Tokyo, June 12, 1959); Sange for Men’s Voices (1959); Pratidesana, Buddhist cantata for Voices (Kyoto, Sept. 5, 1963); Mori, cantata for Voices (1963); Mandala for Voice and Tape (1969); Hymn to Japan for Narrator, Chorus, and Orch. (1972); Hymn to Buddha for Chorus and Orch. (1983); The World Prayers for Chorus, Orch., and Tape (1991); Kyoto 1200: Tradition and Creation, oratorio (1994).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire