Akutagawa Yasushi (1925-1989; 芥川也寸志) was a Japanese composer and conductor - and the son of the famous author Akutagawa Ryunosuke. It is said that his love of music originated in a Stravinsky record left by his father (who died by his own hand in 1927). Akutagawa Yasushi was born in Tokyo and studied with Ifukube Akira and Hashimoto Kunihiko at the Tokyo Conservatory of Music (now Geidai). He graduated in 1949.
In 1953, as a young composer Akutagawa formed a group, the Sannin no kai ("The Group of Three"), with Mayuzumi Toshiro and Dan Ikuma. Their main activity was the organizing of concerts. They were united ideologically by the belief that not everything in the prewar period was to be rejected and that any newly evolving style should try to find links with ideas from the past, such as Hayasaka's Pan-Asianism. In this way, these three became in fact pursuers of the prewar nationalistic style - we could call them "neo-nationalists.".
In 1953, as a young composer Akutagawa formed a group, the Sannin no kai ("The Group of Three"), with Mayuzumi Toshiro and Dan Ikuma. Their main activity was the organizing of concerts. They were united ideologically by the belief that not everything in the prewar period was to be rejected and that any newly evolving style should try to find links with ideas from the past, such as Hayasaka's Pan-Asianism. In this way, these three became in fact pursuers of the prewar nationalistic style - we could call them "neo-nationalists.".
Akutagawa was interested in Soviet music, and in 1954 he took the drastic step of traveling to the Soviet Union to meet Dmitri Shostakovich, Aram Khachaturian and Dmitri Kabalevsky - although Japan at that time had no diplomatic relationship with the S.U. He also had his own works performed and published in the S.U. The return trip to Japan was via China and Hong Kong.
That Akutagawa was influenced by Shostakovitch appears for example from his Music for Symphony Orchestra (1950). Other influences were Stravinsky, Prokofiev and Ifukube.
As a conductor Akutagawa was active in introducing composers as Shostakovitch to Japan. He only seldom played his own compositions. As an educator, he devoted himself to train an amateur orchestra, Shin Kokyo Gakudan ("The New Symphony Orchestra"), which he established in 1956. He also served as Chairman of the Japanese Society for Rights of Authors, Composers and Publishers.
In 1957 he visited Europe and India. A visit to the Ellora Caves led to his composing the Ellora Symphony (1958).
From 1977-1984 Akutagawa presented a musical program "Ongaku no Hiroba" ("Musical Square") on NHK TV together with Kuroyanagi Tetsuko.
Almost one year after Akutagawa died, in 1990, the Akutagawa composition award was established in his memory.
Akutagawa's compositions are mostly festive and optimistic. He was not only a symphonic composer, but also wrote vocal and instrumental works. Akutagawa was also active as a writer on music.
Some of his best works:
That Akutagawa was influenced by Shostakovitch appears for example from his Music for Symphony Orchestra (1950). Other influences were Stravinsky, Prokofiev and Ifukube.
As a conductor Akutagawa was active in introducing composers as Shostakovitch to Japan. He only seldom played his own compositions. As an educator, he devoted himself to train an amateur orchestra, Shin Kokyo Gakudan ("The New Symphony Orchestra"), which he established in 1956. He also served as Chairman of the Japanese Society for Rights of Authors, Composers and Publishers.
In 1957 he visited Europe and India. A visit to the Ellora Caves led to his composing the Ellora Symphony (1958).
From 1977-1984 Akutagawa presented a musical program "Ongaku no Hiroba" ("Musical Square") on NHK TV together with Kuroyanagi Tetsuko.
Almost one year after Akutagawa died, in 1990, the Akutagawa composition award was established in his memory.
Akutagawa's compositions are mostly festive and optimistic. He was not only a symphonic composer, but also wrote vocal and instrumental works. Akutagawa was also active as a writer on music.
Some of his best works:
- Trinita sinfonica for orchestra (1948)
Strong early work, very rhythmic (Akutagawa had learned from Ifukube's use of ostinato's). Three parts: Capriccio (allegro) - Ninnerella (andante) - Finale (allegro vivace). - Musica per orchestra sinfonica (Music for Symphony Orchestra) (1950)
His breakthrough work, won NHK prize. Two parts: Andantino (ABA) and Allegro (Rondo), played without pause. - Triptyque for string orchestra (1953)
Performed in New York's Carnegie Hall under conductor Kurt Wöss, the permanent conductor of the NHK Symphony Orchestra, who had requested the piece for a performance in the United States. Three parts: allegro - Berceuse (andante) - presto. The title of the piece was taken from Alexander Tansmann's "Triptych" (composed in 1930), which the composer loved to listen to. It has many similarities with Trinita sinfonica composed in 1948. The second and third movements of this piece are adapted from the third and second movements of Akutagawa's String Quartet (1948), which was discarded after the first performance. The Triptyque is still one of the composer's most popular works. - Prima sinfonia (Symphony No.1) (1954/55)
Throughout the entire work, one can sense the influence of Soviet music, such as Shostakovitch and Prokofiev (especially "Symphony No. 5"), to which the composer was devoted (Akutagawa himself stated as much). In addition, unlike his earlier works, the overall atmosphere of this piece is heavy, with its frequent use of chromatic progressions, because it reflects the state of the world at the time of its composition, and Akutagawa himself has said that he originally titled the piece "Symphonic Lament." After the premiere in 1954, the composer entered the Soviet Union, which at that time did not have diplomatic relations with Japan, via Eastern Europe, where he had exchanges with major composers such as Shostakovitch, Kabalevsky, and Khachaturian. To be honest, I feel this symphony is rather derivative and bombastic - I prefer the three works listed above, they impress me as more authentic! - Ellora Symphony (1958)
Primitivistic symphony in the style of Ifukube's Sinfonia Tapkaara. Structured as a sequence of 15 segments. One of Akutagawa's most "experimental" works. Written after visiting the Ellora Caves in India, the music was inspired by the erotic wall paintings and echoes the architectural structure of these caves. There is no main motif nor is there a formal structure of development, but there are moments in which the music is effective and vividly descriptive. This is again a much better work than the Sinfonia Primo! - Back Mirror (Kuroi kagami), later renamed Orpheus from Hiroshima (1960), opera on a text by Oe Kenzaburo (in 1967 reworked for television). It is a symbolic fantasy about a young man, who suffers from facial scars received in the Hiroshima atomic blast. He finds a chance for a better life in a fantasy world, but later decides to have his scars removed in an operation that may mean life or death.
- Concerto ostinato for violoncello and orchestra (1969)
As a rather somber and Angst-ridden work, an exception among Akutagawa's compositions, but better than second-rate Shostakovitch!
Akutagawa also wrote film music, for example for Kinugasa's Gate of Hell, Ichikawa's Nobi and Yukinojohenge, etc. Interesting in this respect is also his Ballad on a Theme of Godzilla for orchestra (1988), which was dedicated to Godzilla-composer and mentor Ifukube.
Akutagawa also composed "Little Bird Song" and other children's songs. In addition, he has composed school songs for many schools, "Sekai no Koibito (Lovers of the World)" for Nissan Motor Company, and other commercial songs and company songs for organizations.
Characteristics of Akutagawa's music:
Akutagawa also composed "Little Bird Song" and other children's songs. In addition, he has composed school songs for many schools, "Sekai no Koibito (Lovers of the World)" for Nissan Motor Company, and other commercial songs and company songs for organizations.
Characteristics of Akutagawa's music:
- Akutagawa was a student of Ifukube and absorbed his teacher's stylistic traits: rhythmic and melodic ostinati, a colorful use of the most sonorous families of the orchestra and a form that moves from one climax to the next.
- His music is always tonal and melodious, and rather conservative, but also lively and powerful.
- Much of his music can also be called cinematic and even a bit operetta-like. However, from 1955 on, his music becomes darker.
Japanese Music: Akutagawa Yasushi - Hayasaka Fumio - Ifukube Akira - Matsudaira Yoritsune - Mayazumi Toshiro - Miyoshi Akira - Moroi Saburo - Takemitsu Toru - Yamada Kosaku - Yashiro Akio
Classical Music