Teizo Matsumura

At age 20, Matsumura began his formal research privately being a pupil of Yasuji Kiyose. He was hampered from participating in a university due to a personal disease, but nevertheless continued to review with Ikenouchi and Akira Ifukube. He shortly received identification as an achieved composer through earning both the initial prize on the 1955 NHK Manichi Music Competition as well as the 24th Concours of Japan (1955) for his orchestral piece Joso to kyosoteki areguro (Launch and Allegro concertante). In 1957, Matsumura became a member of Ikenouchi’s Shinshin Kai group. That same calendar year he constructed another orchestral function, Achime, which, like a lot of Matsumura’s music, uses updated variations of Impressionist harmonies, wealthy and dense orchestrations with interesting timbral combinations, and incredibly effective expressive gestures. This is accompanied by the Cryptogramme for orchestra (1958), the Music for String Quartet and Pianoforte (1962), his Symphony (1965), the poetic musical play Bonno no fue (Flute of wicked passions/or, The Devil’s Interest Flute, 1966) which provides traditional Japanese equipment (the flutes ryuteki and nohkan) to a Traditional western orchestra, and his Prelude for Orchestra (1968) which gained the 17th Otaka Award in the entire year of its structure. In 1969, he constructed further orchestral functions which reveal a progressively developing intensiveness of feeling: the Poem No. 1, Apseras, Deux Berceuses ? la Grece, Shikyoku (Poem), and Sorei kito (Totem Ritual). The compositions from the 1970s started with Apseras no niwa (The Courtroom of Apseras, 1971), Poem II for orchestra (1972), Two Poems with the Prince of Karu (1973), as well as the Piano Concerto No. 1 (1972) which won both Fukuyama Award as well as the Arts Celebration Excellence award in 1973. Matsumura’s Piano Concerto No. 2 (1978), champion of both 27th Otaka Award (1978) as well as the Suntory Award (1979), uses traditional (while not specifically “flashy” or theoretically challenging) patterns from the Western piano concerto to create a genuine and moving declaration. As the 1st movement starts, a thick dramatic trilling underscores a commendable brass theme having a single violin like a tragic commentor, and we are led right into a sort of flashback on the mysterious history. There is absolutely no particular program however the emotion from the music can be amazing. In 1978, Matsumura made up the convincing Akatsuki no Janka (Hymn to Aurora) for chorus, and in 1979, the Poème put Shinobue et Biwa for traditional Japanese tools, as well as the Drifting Reed. The 1980s noticed another burst of innovative activity using the Dream (1980), a Poème put Alto Saxophone et Biwa (1980) with uncommon timbral and gestural mixtures, the environment of Prayer (1984), as well as the expansive Concerto put Violoncelle et Orchestre (1984), THE INDIVIDUAL Waters (A Lyric Tragedy) (1985), Piano Trio (1987), Pneuma for Strings (1987), as well as the Offrande Orchestrale (1989). His later on work contains Chinmoku (1994).