[DOWNLOAD] Memory, Prayer and Revival for Higashi Nihon

Program Notes:
In the wake of the Great East Japan Earthquake in 2011, many lives were lost and Japan was enveloped in profound sorrow.
As a composer, I wanted to contribute anyway I could, and through music, I became involved in efforts to support the recovery. In the summer of 2017, during the National Cultural Festival for High Schools in Miyagi, I was honored with the opportunity to compose a piece commissioned by a private joint band.
The first section of the piece portrays the shock of the moment when everything was lost to the earthquake and tsunami - silence, rage, and sorrow.
The middle section features the sound of prayer bells, a chorale, and the rising sun glittering over the ocean surface, expressing the journey toward recovery.
The finale, filled with the energy of a vibrant festival, symbolizes a hopeful future of unity and fruitful lives, and is concluded with music influenced by traditional Japanese sounds.At the premiere, I was deeply moved and brought to tears by the heartfelt performance created by more than 100 musicians playing as one.
I will never forget how this sincere message resonated with everyone through the power of music.

Performance Notes:
Throughout the piece, I have incorporated the "driving rhythms" that I value in my compositions. These require a high level of breath support and control.
In the early stages of practice, it is recommended that all members practice rhythms and phrasing using finger taps or hand motions, breath, and vocalization. This will help unify breathing depth and speed, articulation, and expressions like accents and staccatos.
Introduction: Clearly articulate each note to convey the "shock."
Rehearsal Letters A-L: Focus on expressing the conflicting "negative emotions" and glimpses of "hope" and "expectation."
One-quarter time signature Measure 5 of G: Take care, as the tempo can easily falter.
Chimes from measure 6 of K to L: pay close attention to your breathing and the motion of your arms when practicing the chimes. Aim to express the imagery of a bell marking the passage of time or a sacred prayer bell.
Glockenspiel and crotales from L to M: Suspend detached bars with a fishing line or ultra-thin nylon strap and strike them with a mallet, holding them in one hand and striking them with a mallet in the other. Distribute performers throughout the stage, including wind players, for enhanced effect. If you have multiple wind chimes, you can distribute them similarly. Aim for a spatial, three-dimensional sound.
R to T: This section was inspired by the introduction of the Yuriage Taiko drums. As the music gradually intensifies, study how to shape the tempo and flow of energy.
From section R onward, traditional Japanese instruments take center stage. If possible, please prepare actual Japanese instruments for the performance. If that's not feasible due to logistical reasons, choose alternative instruments that align with the character of the piece.
Sleigh bells in U: If you have kagura suzu (ritual bells used by shrine maidens), you are welcome to use them instead.
Measure 1 of Z: Although all players rest, this is not a G.P. (Grand Pause). Maintain a sense of tension and space at a tempo of approx. a qtr. note equals 160.
Tuba and baritone saxophone: These parts contain divisi. If you don't have enough players, experiment with different low voice combinations to achieve a rich, resonant sound.
Percussion parts: Originally written with over 10 percussion parts for the premiere, the published version reduces this to six (with an optional seventh). As a result, some players may need to play two instruments simultaneously. If this proves difficult due to instrument setup or skill, enlist wind players to assist with certain percussion parts. The same applies for time needed to switch or move between instruments.
Ending: Two versions are provided. The version with ritardando is the one used in the premiere; the other is a version without ritardando, where the percussion drives forward to the end. I like both, so please choose the one that best suits your performance.

(Hiroaki Kataoka)