Flowing lines, Impressionistic, beautifully pianistic.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

Strongly polyphonic, full of elaborate canonic devices and subtle thematic development, rich melodic invention.
Passacaglia: not a true passacaglia, but has a strong central pattern that is used throughout; piano part develops into a quasi-toccata; six variations on the 'theme'.
Cadenza: the piano is most effectively used in this movement, a multiple cadenza that employs sharp percussive writing, melodic passages in octaves, and intense polyharmonies; each instrument solos the 'theme' rhapsodically.
Fugue: a triple fugue on three subjects that has built-in toccata-like episodes.
A strong spirit of classicism permeates this entire work. Strongly polyphonic, full of elaborate canonic devices and subtle thematic development, rich melodic invention.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

For piano and string quartet, with a twelve-tone row by Wolfgang Kammerlander.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

Syncopated harmonic seconds, octotonic, secco style, melody in lower register, chromatic thirds and octaves, contrasting ideas and moods in all movements, traditional forms, bitonal. Finale contains fugal textures and figuration in alternating hands, ppp closing. Neoclassic Hindemithian style.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

Masterly writing from the technical viewpoint and also intellectually interesting. Skillful use of the tone color of all instruments. Worth reviving.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

A one movement work of six thematically linked sections. Sparse textures in all parts, nebulous clusters, much octave writing for the piano.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

[1]: pianist must hold down pedal throughout the movement; short ornamental figures in upper register.
[2]: mainly p arpeggio figuration mixed with short chromatic crescendo-decrescendo sections.
[3]: clusters, short chromatic runs, clusters return.
[4]: clusters in alternating hands.
[5]: long pandiatonic chordal lines in the piano part.
　
Very little drama but interest is sustained by sheer continuity and evocative sonorities.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

　このピアノ五重奏曲に「架橋」というタイトルをつけたのは、一つにはこの曲を作曲した時期が2000年から2001年、 つまり20世紀から21世紀にかけてであったことによるが、これは私の創作に対する心構えや態度の投影でもある。 それは、今私たちはこれまで異質だと思われていた多くの対比的なものを、共存させたり、 一体化させてゆくことが問われている時代に直面しているからである。
　それらはたとえば、自然と人工であったり、技術と身体であったり、時間と空間であったり、物質と情報であったりするわけで、 もはやこれらをかつてのように、単に無関係、あるいは相反するものとして位置づけるだけでは済まされなくなってきているといえるだろう。 この五重奏曲はそのような意識のもとで、架橋の持つ複合的意味の問いかけを背景としている。
　曲は20世紀を送るように静かな序奏で始まり、そのあと短いトランジションを経て、未知で不確定な領域へ踏み入ってゆく。

(from booklet notes of fontec/FOCD3497)

[1]: broken chordal figuration; malody is taken over by the piano in full-octave chords; fully worked-out development; un peu plus lent coda; pp closing.
[2]: 5/4; piano provides much syncopation; freely chromatic; strong ff closing.
[3]: lightly flowing, sustained lines, rich harmonies.
[4]: three laters of sound in the piano opening, broken figuration in alternating hands, sustained mid-section, brilliant closing.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

For piano, string quartet, and double bass (optional). Chromatic, chordal, left hans over.right, parallel chords. Concludes on quartal harmony.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

The piano part is atonal in this cacophonic takeoff on Halloween and April Fools' Day jokes. It may be repeated three or four times; the last time a drum can be added to the general confusion, to be played "as fast as possible without disabling any player or instrument".

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

A set of three musical biblical narratives.
　
[1]: broken chordal figuration; sustained section; at meas. 14 piano has melodic idea supported with mild dissonant chords; syncopation; chordal f# closing.
[2]: melodic; expressive; parallel chords; sixteenth-tone figuration; syncopated chords; ppp dolcissimo ending; large span required.
[3]: rhythmic and furious chordal opening; staccato broken octaves contrasted with long pedalled sonorities; flowing octaves in parts; climactic stepitoso ending.
　
Tends toward seriousmess and meditation. Colorful writing even if it sounds a little tame to today's audiences.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

ピアニストのニコライ・ペトロフからオファーを受けて作曲されたこの曲は、 2000年８月１日にカナダのオタワでマルク＝アンドレ・アムランとアクセルロッド四重奏団が演奏したことで一躍有名になり、 ロシアでは2001年１月13日にペトロフとショスタコーヴィチ四重奏団が演奏。カプースチンの復権を担う重要な作品として評価されている。 ドラマティックに始まりピアノが演奏するテーマ(0'30"〜)が展開されていく第１楽章(Allegro)、 速いテンポのワルツである第２楽章(Presto)、ピアノと弦楽の対話で構成される第３楽章(Lento)、 ハード・バップ風の開放的な第４楽章(Allegro non troppo)。 多様なジャズのセンスを含むテクニックを必要とするピアノのリードに、弦楽四重奏が反応するという“演奏者を選ぶ”作品かもしれない。

(from booklet notes of Triton/DICC=26067)

First movement: striking themes achieve a powerful climax; piano used contrapuntally.
Second movement: slow; eloquent; derives its appeal form the slow rise of a beautiful melodic idea; resounding combination of instruments in vertical lines gives it life.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

Mildly comtemporary with strong melodic writing. Sweeping arpeggi, sturdy chords, quartal and quintal harmonies, octotonic, syncopated melodies, alternating hand patterns, feroce conclusion. Large span required.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

Serial atonal, pointillistic, expressionistic, concludes with same six bars that opened the work. Second movement has varied tempi and moods. Chords, chromatic figuration and arpeggi, repeated motes, varied tempi in last movement, unresolved final chords.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

[2]: 9 variations on Korngold's "Lieder Des Abschieds" op.14
　
Extraverted writing that constantly moves the pianist over the keyboard. Accidentals are plentiful, a la Reger.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

[1]: chromatic; shifting meters; punctuated chords; quartal harmony.
[2]: octotonic; trills embedded in unwinding chrmatic figures; works to a broad climax; large span required.
[3]: fleeting, brilliant, syncopation, repeated chords, reiterated patterns.
[4]: quiet expressive opening builds and drops back; varied treatment of the passacaglia idea, including changed tempi, shifted meters, scalar intrusions, martellato figures in alternationg hands, augmentation; fff conclusion in C.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

[1]: freely chromatic, changing meters, varied figuration.
[2]: octaves in alternating hands, chordal punctuation. Large span required.
[3]: piano has melodic and chordal treatment; animated section gives piano more rhythmic thrust; alternating perfect and diminished fufths close the movement.
[4]: octaves, repeated chords, skipping left hand, dramatic conclusion.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

One large movement, varied tempi, chromatic coloration, large arpeggiated chords, open-fifth sonorities, four octaves apart, glissandi.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

どの楽章も暗澹とした曲想。和声の使い方などはほどんど現代曲で、それが一層この曲の雰囲気を鬱蒼とさせている。 短い楽章ばかりで計１０分というのは、演奏会のプログラミング上では面白い扱いが出来そうなので、 もう少し曲想が親しみやすいものだといいのだが。。。

フランク・マルタン・・・1890年、スイスのジュネーヴに生まれた。ジュネーヴでラウバーに師事し、1923年からパリに３年間を過ごし、 帰国後はピアノ及びハーブシコード奏者として活躍するかたわら、作曲、評論、教授という多方面にわたってその分野を広げていった。 主な作品としては、「魔薬の酒」を含む４つのオラトリオ、シェイクスピアの戯曲に取材したオペラ「テンペスト」、 マルタンの名を国際的にひろめた傑作「ハーブとハーブシコード、ピアノと２群の弦楽のための小協奏交響曲」などがある。 なお、マルタンは12音技法を用いるが、それは彼自身の言葉によれば、より多様な、豊かな旋律を求めるがための手段としてであり、 12音のセリーに以た無調的な旋律が出てきても、マルタンにあっては、調性的な安定感からくる清らかで明るい気分の表現ということは忘れられることがない。 つまり、マルタンは、12音を巧みに噛みくだいて自分の音楽の表現のために活用した作曲家である。
　

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　超掘り出し物。最初に聴いたときに、あまりの大発見に思わず膝を叩いてしまった。 こんなに魅力ある作品が、無名なのは誠に残念である。
　
　全般的にフランス物のタッチで、どの楽章もフォーレの２曲を凌ぐかのような美しさだが、 特に第３楽章の美しさは筆舌に尽くしがたいものがある。 また、どの楽器もその魅力を存分に引き出して用いられている上に、 各楽器間のアンサンブルも良く練られており、色彩感溢れる作品となっている。

(T.Yanaka)

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この作品は古典的な形式を備えている。主題展開の鮮やかさや、繊細で陰影に富んだ音色にマルタンの特長がみられる。 各楽器の使い方もこなれており、半音階で進む旋律線、オスティナートのような反復音型、 やわらかで美しい表情の豊かさといった要素がこの作品の価値を一層高めている。

This piece is marked by classical form, finely development themes, and a predilection for delicately shaded sonorities. Idiomatic writing for all the instruments, chromatic melodies, ostinato-like patterns, and a rich mellow expressiveness make this a highly deserving work. The piano writing is a pleasure throughout.

(from "The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press, p.477)

　

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　Martin worked in all genres, proclaiming a lifelong allegiance to richness of harmony and warmth of sound. These qualities lend a romantic focus to a musical style that is frequently lyric, often contrapuntal and consistently clear in structure.
　The intense yet songful Andante con moto opens with a cello melody sharply profiled by the descending octave of its first interval and given a brooding insistence by its repeated-note accompaniment. A more relaxed lyricism, heard first in the piano part under an angular figuration and apzzicato accompaniment, marks the B section of this ABA movement; the return of the first melody is subdued and poignant before the forceful final cadence.
　The second movement is a Rondo based on a piquant tune introduced by the piano. Its returns are at times fragmentary and, like the episodes, vary in character from gentle to dramatic.
　A mystical Adagio begins with a rising arpeggio in duple rhythm over steady triplets of violin and cello and a quietly throbbing piano accompaniment. Violin and viola in duet are given the long phrases of a cantible theme which returns after an impassioned middle section for unaccompanied strings.
　Another Rondo concludes the Quintet with lively, angilar motives percolating throughout. The episodes offer a wide array of expressions and instrumental combinations, and the movement as a whole thrusts forward rhythmically and dynamically until its surprisingly hushed final memebt.

(from booklet notes of PREMIERE/PRCD1032)

　

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　Frank Martin composed this Piano Quintet in Zurich, in 1919, twenty years before he discovered his mature style. At this period he was trying to break away from the late romantic functional harmony under Ravel's influence and to achieve a 'modal', purely diatonic diction. The Piano Quintet discloses clearly the various intermediate levels in the gradual transformation process. It srarts with a generous, expansive cello solo accompanied by the other three strings. The piano joins in only gradually and remains, for the most part, in the background; as a discrete accentuation of colour or as a rhythmic backdrop. The heady transports of sound of the previous works (1st Violin Sonata and 'Les Dithyrambes') have vanished, the expressive but more sharply defined line is dominant. This execution is coloured by minor tones and the emergence of dissonances shifting successively by a semitone so that they never appear harsh.
　Ravel's influence is most tangible in the minuet. The minuet, which is, by definition, a ceremonical measure, is reised to a higher plane of artistry analogous to Ravel's handling of his Sonatine.
　In the slow movement, which comes third, we are confronted by a quite exceptional conjunction. Without falling into plagiarism, Frank Martin draws audibly on an arioso from Bacj's St. Mathew Passion: 'Ach Golgatha, unsel'ges Golgatha'. The St. MAthew Passion made a most profound impression on him as a ten year old and from then on Bach's influence was supreme. However, the atmosphere of this movement has nothing of that hrart rending, mysterious agony but is completely introverted and amalencholy. The mourning is also discarded, relegated to mere remembrance, and a central passage for strings even soars in brilliant, luminous colours.
　The last movement commences in the guise of a fugue in the most carefree mood of a folk song. It bubbles with inspiration and incorporates a Savoyard gypsy-like folk melody at the centre. However different the various elements are, they merge in a single convincing unity and have retained all their freshness to today.

(from booklet notes of JECKLIN/JD 646-2)

[1]: octotonic, parallel chords, chromatic, scalar, varied use of triplets.
[2]: scales; more sustained writing; large span required.
[3]: changing meters; repeated octaves and notes; duplets into triple meter; alternating hands.
[4]: chromatic chords alternate with scales; brilliant closing; good octave technique required.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

[1]: infectious; injects jass into an old hymn tune "The Son of Man Goes Forth to War"; highly chromatic.
[2]: great serenity; staccato p repeated sixteenth-note chords.
[3]: lively scherzo, much octotonic writing.
[4]: opens with strings alone; in the Allegro the piano uses hand alternation and broken octaves.
　
Engaging writing throughout.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

　この作品は1961年すら62にかけて作曲、62年に東京で初演されたものである。
　それまで長い時間をかけて作曲していた「交響曲」を一時中断して作曲したもので、 従来のヨーロッパの室内アンサンブル的な発想にとらわれることを極力避け、 線と響きの変化や葛藤によって新たな音楽をつくり出すことを意図しました。
　３つの楽章から出来ているが、従来の３つの楽章という意味ではなく、全曲通してひとつのフォルムを持つことを追求した。
　冒頭、第１ヴァイオリンによって示されるＧｉｓからＤ迄の間を行き来する音型が１，３楽章に一貫して鳴りつづき、 最後はその音型の逆行によって終る。
　２，３楽章はつづけて演奏される。
　この作品は草月ホールで行われた日本作曲家シリーズの三善晃個展に招待されて書いたもので三善晃氏に献呈されている。

(松村禎三)

(from booklet notes of Camerata/28CM-617)

　黛敏郎(1929〜)がラモーの室内楽団の「現代音楽を聴く会」シリーズのために作曲、1957年10月11日に初演された作品。
　初演のプログラムに、かれは詩のような作曲者のことばをのせている。そのなかで、かれは
　　　＜音＞を蘇生させ　ふたたび音楽を生きものとしよう
　　　その息づきを　そのにおいを
　　　ふたたび僕らの＜小宇宙＞に取り戻そう
と書いている。そして最後に
　　　弱々しく仄かであればあるほど
　　　＜音＞の息づきとにおいとは
　　　ぼくらに生命を感じさせ
　　　永遠へとみちびいてくれるのだ
と結んでいる。
　この作品はケージの創始したプリペアド・ピアノの音色に触発されて作曲された。 ここでは、ピアノの内部弦７本に消ゴム、中音域の弦２本にねじ、高音域の弦６本にボルトが挿入されて、 ピアノの音色を変質してしまっている。 このプリペアド・ピアノが、16分音符や32分音符の速いリズム・パターンを奏していく。 それは鐘のような、また連鎖するガムランの打楽器のようなひびきをくりひろげていく。 そうしたピアノの連鎖上のリズム音型に対して、弦楽四重奏はスルタストの短かいグリッサンドや、 フラジオレットの特色ある断片的な呪文の音たちを奏して交錯していく。 それはまったく異質な要素の対比であり、交感である。 ピアノ・パートを鉱物的な世界だとすれば、もういっぽうは肉感的な浮遊する世界だ。 こうした各楽器の微妙な音色の変化を追い、固定化されることのない流動するフォルムが展開されていくのが、 この作品である。

(from booklet notes of DENON/COCO78459)

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Materials required for preparation include pieces of rubber, a bolt, and a screw. Imaginative sonorities; uses variation of serial technique; neo-Impressionistic; makes unique use of blending piano sounds with strings, especially in the repeated notes of the piano. A cadenza for prepared piano is included. Prepared and unaltered tones mixed. Mayuzumi is regarded as the Messiaen of Japan.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

Strong contemporary treatment of all instruments.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

Rachmaninoff influence is present in this strong idiomatic and articulate writing for the piano. It is an effective work, very playable, and it would be rewarding for performers who like their music to sound as though it were written in a comfortable and familiar style of the 1920s. Plenty to challenge the pianist.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

Difficult writing in Migot's unique style. Unusual harmonic shifts brought about by continuous superimposed melodic lines; moves over keyboard; flexible tempi; sudden dynamic changes permeated with a certain archaic flavor; architectural forms. All add up to an unusual work.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

Melodically orinted but the themes are sometimes fragmented and juxtaposed amid much figuration. It is easiest to hear the themes and lines in the third movement. Small fragments build larger structures; homophonic and contrapuntal elements. Some polytonality, octotonic, quartal harmonies, parallel chords. Large span required.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)

The opening movement is in large scale sonata format, i.e. the materials are laid out entirely in classical format: a rhythmic first theme, a more melodic second theme, a terse and brilliant development, an expected recapitulation, and an extended coda. In the second movement, the long series of complex harmonic chords is actually a harmonization of the chorale melody, but with another melody substituted. This movement is in three large sections. The second section emphasizes pizzicato and multi-rhythms, with occasional melodic lines peeking through the texture. The piano plays certain notes of the chorale, but not in its entirety --- to give a hint of the melody in this section. Than the third section states the melody clearly in the tenor range of the piano, the movement concluding with a veiled and subdued coda. Listen for the low F sharp on the Bosendorfer Imperial. The last movement uses the famous Resurrection chorale tune, "Christ the Lord Is Risen Today", for a series of fifteen variations. The harmonic background of the tune occurs in C for variations one through five, in E for variations six through eight, A flat for variations nine through eleven, with C returning for variations twelve through fifteen. Some of the more intriguing ones would be Variation Four, written in the manner of Ives, and Variation Six, written in the manner os Messiaen. Number eight is a perpetual canon in four voices.

(Anthony Newman)

(from booklet notes of NEPORT CLASSIC/NCD 60032)

ここでいう園（庭）は、私の視野にある山野、樹々、鳥たち‥‥の全体である。 それは夜の光 ―― 月、星々の ―― と、そして朝の光に包まれ、その時々に光や樹や鳥たちの精霊の交感の場となるのである。
曲は続けて演奏される２章からなり、音の残像・余韻、人工（Artifical）の余韻、架空の倍音などが織りなす空間に「光」を捉えたいと願った。
（第３回北とぴあ国際音楽祭委嘱作品）

(ＣＤライナーノート「作品について‥‥新実徳英」)

(ＣＤライナーノート「曲目解説‥‥野平一郎」)

(ＣＤライナーノート「曲目解説‥‥野平一郎」)

単一楽章の現代曲。ピアノは打楽器的な用法が多い。各楽器のソロのような部分も少なくなく、 アンサンブルとしての聴かせ所はあまり見られない。

[2]: based on an old Bohemian song from the 15th century
　
Colorful writing with Bohemian folksong influence in a Brahms idiom.

("The Piano in Chamber Ensemble" by Maurice Hinson, Indiana University Press)