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January 28th
BERCEUSE DES JOURS SANS NUAGES-LA MUSIQUE DE REYNALDO HAHN
April 7th
LA CHEVRE ET LE LOUP DES ARDENNES-KOECHLIN ET SCHMITT
April 7th
A TRIBUTE TO ALEXANDRE TANSMAN
CONTENTS
January 28th of 2004 (water) 14: 15 raising the curtain
Yokohama port south inhabitants of a ward cultural center - home village hole
of sunflower
It does not have the cloud the world of the lullaby REYNALDO HAhN
of the day when Support French embassy * cultural section
Reynaldo Hahn
August 9th of 1875 the Venezuelan origin
January 28th of 1947 in France passing away (this time the concert of lucky occurrence
month deathday)
* Reference Hahn http://marcelproust.it/gallery/hahn.htm
Massnet http://www.jules-massenet.com/
LA MUSIQUE DE REYNALDO HAHN
SOUS LE PATRONAGE DU SERVICE CULTUREL DE L`AMBASSADE DE FRANCE AU
JAPON
SEPT BERCEUSES, POUR PIANO A 4 MAINS
1. BERCEUSE DES JOURS SANS NUAGES
2. BERCEUSE POUR LA VIEILLE DE NOEL
3. BERCEUSE POUR LES ENFANTS DE MARINS
4. BERCEUSE DES SOIRS D`AUTOMNE
5. " SELFIANA " and BERCEUSE CREOLE
6. BERCEUSE PENSIVE
7. BERCEUSE TENDRE
CAPRICE MELANCOLIQUE, POUR DEUX PIANOS
POUR BERCER UN CONVALESCENT, POUR DEUX PIANOS
VARIATIONS PUERILES SUR UNE MELODIE DE CARL REINECKE, POUR PIANO 4 MAINS
TROIS PRELUDES SUR DES AIRS IRLANDAIS, POUR PIANO 4 MAINS
1. THE LITTLE RED LARK 2. MY LOVES AN ARBUTUS 3. THE WILLOW TREE
LE RUBAN DENOUE-12 VALSES POUR DEUX PIANOS
1. DECRETS INDOLENTS DU HASARD 2. LES SOIRS D`ALBI
3. SOUVENIR...AVENIR... 4. DANSE DE L`AMOUR ET DU CHAGRIN
5. LE DEMI-SOMMEIL EMBAUME 6. L`ANNEAU PERDU
7. DANSE DU DOUTE ET DE L`ESPERANCE 8. LA CAGE OUVERTE
9. SOIR D`ORAGE 10 LES BAISERS 11. IL SORRISO 12. LE SEUL AMOUR
April 7th of 2004 (water) 14: 15 raising the curtain
Yokohama Konan Kumin Cultural Center Himawari no Sato hall
CHARLES KOECHLIN
* Reference http://www.klassika.info/Komponisten/Koechlin/
FLORENT SCHMITT
*参照 Schmitt
http://www.klassiekemuziekgids.net/componisten/schmitt.htm
http://www.karadar.com/Works/schmitt.html
Villa-Lobos
http://www.rdpl.red-deer.ab.ca/villa/
LA CHEVRE ET LE LOUP DES ARDENNES
CHARLES KOECHLIN ET FLORENT SCHMITT
SOUS LE PATRONAGE DU SERVICE CULTUREL DE L`AMBASSADE DE FRANCE AU
JAPON
CHARLES KOECHLIN
PETITES PIECES FACILES OP. 208 (PIANO SEUL PAR TETSU MASHIKO)
SUITE POUR DEUX PIANOS, OP. 6
1. ANDANTINO (LEGG. E NON TROPPO LENTO) 2. ANDANTINO CON MOTO
3. ANDANTINO CON MOTO QUASI ALLEGRO 4. ANDANTINO QUASI ALLEGRETTO
SUITE POUR PIANO A 4 MAINS, OP. 6
1. CANON 2. LIED 3. FEUILLET D`ALBUM 4. BERCEUSE 5. FINAL
FLORENT SCHMITT
SUR CINQ NOTES, OP.34, POUR PIANO A 4 MAINS
"ENFANTS..."OP. 94 (PIANO SEUL PAR TETSU MASHIKO)
1. ENFANTS DE CHOEUR 2. ENFANTS GATE
FEUILLETS DE VOYAGE, OP. 26 POUR PIANO A 4 MAINS
1. RETOUR A L`ENDROIT FAMILIER 2. BERCEUSE
DEUX RAPSODIES POUR DEUX PIANOS, OP. 53
1. RAPSODIE FRANCAISE 2. RAPSODIE VIENNOISE
April,7th （wednesday） １９：００ OPEN
Yokohama Konan Kumin Cultural Center Himawari no Sato hall
NOMINALLY SUPPORTED BY:
SERVICE CULTUREL DE L`AMBASSADE DE FRANCE AU JAPON
EMBASSY OF POLAND IN TOKYO
A TRIBUTE TO ALEXANDRE TANSMAN
PIANO SOLO, DUET & TWO PIANOS
MY FATHER ALEXANDRE TANSMAN AND MY MOTHER COLETTE CRAS
＜MY father and my mother met for the first time in spring 1936, on the occasion of the
final exam at the "Paris Conservatoire" of music where both were convoked to be part of
the Jury. But let my father express himself what he felt; "Sitting on my right, a young
woman should change all my life. She was the pianist Colette Cras, daughter of the
composer and Admiral Jean Cras. A delightful Italian Renaissance face...a disarming look in
her eyes full of softness and deepness, a great presence, a radiance that I never felt
before. Her figure was unforgettable and if ever a stroke of luck and love at first sight has a
sense, it was now or never. She asked me about my recent piano works and I invited her for
a tea the next day.."
From this meeting, the couple Colette-Sacha (diminutive of Alexandre for close friends) was
born. They married on December 1937. There were not only closely linked by their love
feelings, but also by music,as Colette was a brilliant pianist and had already began her
career abroad, playing often her father`s works and also her Conservatory Professor
Lazare Levy`s works. Henceforth she became the most industrious performer of her
husband`s works. Colette had studied at the Paris Conservatoire also composing, chamber
music and she was a perfect musician partner. My father wrote in connection with that; "...
wonderful pianist, she had a rare musical instinct and she remained the only critic for whose
opinion I attached importance for my music. How many changes for the better I owe to her
in my last works..."
Of course, Sacha who was also an excellent pianist, with pleasure let the performances of
his own piano works to Colette`s more clever fingers. He had to play also because of his
popularity in that period and so, he wrote several pieces for two pianos or four hands,
proposing programs where Colette could exhabit herself alone oor with him, or under his
orchestra direction.
I have plesant memories concerning the "pianist duels" between my parents: who should
have playd better (we were the judges) , sometimes classics themes with personal and
funny variations, and both, my sister and me took a lot of recreation. Other times, we
danced in the living-room on the rhythms of the "Sonatine Transatlanitique" or the "
Carnaval Suite". We listened in the evening at the radio on the music programs, so we early
could have a good music culture. Often, there were broadcasted my father`s works and we
religiously listened in family at these. But sometimes they were transmitted from far abroad
so I remember that the interferences covered the music with atrocious noises, and my
father listened, impassively, waiting for some cleare moment.＞
WRITTEN BY MARIANNE TANSMAN MARTINOZZI
ALEXANDRE TANSMAN AND JEAN CRAS
＜In the program, there is also my grand father`s work, "Two impromptus for harp", written
in 1925. Quite all his works were written on his cruiser, the "Motte-Piquet" ,where he can
dispose in his cabin of a piano.At each port, he sent his works to his wife, Isaure. Jean Cras
was born in the principal french navy port, Brest, in a large family, and if the profession of
marine was obvious for him, the practising an instrument was indespensable. So with his
sisters and brothers, his cousins, etc., chamber music took a very important part for his
future vocation. He was able to play very well piano, violin, alto and organ. As he couldn`t
frequent a music academy, the French melodies composer Henri Duparc helped him, but
early, the pupli surpassed the teacher...Jean Cras had not even a look of harmony or
received the slightest advice from teacher until the day he met Duparc in October 1901 :
Since the first minute, a bond of friendship, which never broke, joined my forces with the
favourite Cesar Frank`s disciple! Some years later, Duparc called me in his letters "the son
of my soul".
If my grand father and my father never met they have as much common viewpoints than
differences.
My grand father culdn`t frequest the music and social life because of his activities, and
my father also often away for his music tours.The first followed his acquaintances
connected to the first french century years, of composers such as Saint-Saens, Cesar
Franck, Vincent d`Indy, Henri Duparc, Messager, and above all Debussy. He was a romantic
and a melodic, inspired by his native Brittany as well as by his ships missions abroad, giving
to several works a touch of Orientalism. But the roots are surely his instinct and his
sensitive inspiration.
My father also was a melodic and for him, first of all comes a sincere inspiration. He made
his the famous Picasso`s sentence; "First I find, then I search. "Tansman had time to
frequent all the composers of his time, to travel for music objectives, and contrary to Cras,
he was interested in all the innovations. He had a strong and typical polish folklore luggage,
had studied at the Varsovian Academy of music, and if his Slavonic sensibility with it`s
rhythms never left his inspiration, he was opened to the simplification of the french music of
the "Six" ,t he russian rhythms of Stravinsky, Prokofiev, the Bartok`s percussions and
return to the folklore, the perfect construction of Hindemith, etc. but also by jazz, new
instruments, so to wander from romanticism and old classicism.
If in their style, their life, their native origins and their religion, the two composers are
different,their "credo" is the same : an entire integrity and respect of their art which they
consider both as an innate gift which has to been cultivated, but never submitted to the
fashion laws of the moment or to some compromises of unscrupulous ambition.＞
written by Marianne Tansman Martinozzi
参照：TANSMAN
http://www.tansman.lodz.pl/
http://www.usc.edu/dopc/polish_music/composeer/tansman/html
画面が開いたら『TANSMAN』と入力してください。
JEAN CRAS
http://www.musimem.com/cras.htm
DUPARC
http://www.klassika.info/Komponisten/Duparc/
PROGRAMME
NOUS JOUONS POUR MAMAN, POUR PIANO A 4 MAINS
1. NOEL 2. AIR SOLENNEL 3. REVERIE 4. AIR A BERCER 5. CHORAL 6. VALSE
LES JEUNES AU PIANO (SELECTION),POUR PIANO SEUL(PAR TETSU MASHIKO)
1er RECUEIL :MIREILLE ET LES ANIMAUX
1. MIREILLE 2. LES GRENOUILLES 3. DODO, MIREILLE
2e RECUEIL:MARIANNE DEVANT LE KIOSQUE A JOURNAUX
4. L`AUBE 5. LE FIGARO 6. SAMEDI-SOIR
SONATINE TRANSATLANTIQUE,VERSION POUR DEUX PIANOS
1. FOX-TROT 2. SPIRITUAL AND BLUES 3. CHALESTON
DEUX IMPROMPTUS,POUR PIANO SEUL (JEAN CRAS)<PAR TETSU MASHIKO>
IMPROMTU 1 - LENT IMPROMPTU 2 - ANIME
NOUS JOUONS POUR MAMAN, POUR PIANO A 4 MAINS
7. CHANSON 8. ARIETTA 9. TEMPO DI MINUETTO 10. AIR POPULAIRE
11. PETIT CONTE 12. FINAL
VISIT TO ISRAEL, POUR PIANO SEUL <PAR TETSU MASHIKO>
1. NOTTURNO 2. LE KIBBOUTZ 3. LE DESERT DU NEGUEV
4. LA MOUSQUEE DE SAINT-JEAN D`ACRE 5. DANSE POPULAIRE(HORA)
QUATRE PETITES PIECES, POUR PIANO A 4 MAINS
1. BERCEUSE 2. TEMPO DI VALSE 3. HABANERA 4. MAZURUKA
NEW CARNAVAL SUITE,POUR DEUX PIANOS
1. MARDI GRAS 2. BERCEUSE 3. MENUET 4. SONG 5. STREET(RUES)
6. SCHERZINO 7. INTERMEZZO 8. CAKEWALK
NEXT IS <LIST 4>. THANK YOU
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