Composer Hisatada Otaka was a central figure in the Japanese music world of the early Showa period, active as both composer and conductor. Born in Tokyo, Japan, in 1911, Otaka left Seijo High School and went on to study in Vienna, first for one year at the age of twenty, and then again for four years beginning at the age of twenty-three, where he studied composition and conducting. After returning to Japan, he was appointed principal conductor of the Japan Symphony Orchestra (predecessor of today's NHK Symphony Orchestra) and went on to conduct the country's leading orchestras. In the difficult years following World War II, he played a guiding role in the revival of Japan's musical industry through both his composing and conducting activities. He died of overwork in 1951 at the age of only thirty-nine. His major works include Rhapsody for Piano and Orchestra, Symphonie Nr. 1, and, among his chamber works, Japanese Suite (NIHON KUMIKYOKU). The Otaka Prize for Composition was established in honor of his achievements.
This Concerto for Flute & Wind Ensemble is regarded as one of Otaka's representative works and is widely performed in Japan. He wrote the piece in 1948 at the request of Tadashi Mori, a flutist who was also active as a conductor. Originally composed for small chamber ensemble accompaniment (Op. 30), it was premiered with Mori as soloist and the composer conducting. Around 1951 Otaka began revising the work for full orchestra (Op. 30b) on advice from Masao Yoshida, flautist of the Japan Symphony Orchestra. However, as Otaka's illness had already worsened by that time, he passed away, leaving only the final few measures unfinished. These remaining passages were completed by his student Hikaru Hayashi, and the completed work was premiered at a memorial concert by the Japan Symphony Orchestra, with Masao Yoshida as flute soloist and Kazuo Yamada conducting.
This wind band arrangement was commissioned by the Wind Band of Saitama University and is based on the full orchestral version (Op. 30b). It premiered on December 19, 2004, at Saitama Kaikan, during the Wind Band of Saitama University's 40th annual concert, with Eisuke Takezawa as flute soloist and Akihiro Komine conducting.
I. Allegro con spirito
Following an impressive introductory passage that seems to descend over a major seventh chord, an elegant first theme based on a pentatonic scale emerged. This leads to a broad and lyrical second theme that evokes a tranquil, pastoral landscape. In the central section, motifs derived from both themes occasionally appear as the music unfolds. Afterwards, the introduction, first theme, and second theme are restated in turn, bringing the movement to a brilliant close.
II. Lento
This movement is written in a symmetrical five-part form (A-B-C-B-A). Guided by piano arpeggios, it opens with an Oriental-flavored melody (A). This is followed by a striking, exotic-sounding melody sung expressively over accompaniment by clarinet and percussion (col legno strings in the original version) (B). In the central section (C), soloist and accompaniment engage in an ornate dialogue, building to a passionate climax.
III. Molto vivace
The final movement is derived from the first theme, featuring rapid, energetic staccato passages in the solo flute, and a bright second theme incorporating passages in 7/8 meter. The themes are presented alternately by soloist and accompaniment, with the solo part undergoing virtuosic variations and development. Ultimately the opening theme of the first movement returns in the full ensemble, bringing the entire work to a brilliant conclusion.
Instrumentation
This arrangement is for the number of performers indicated in the instrumentation list. As the work is a concerto, it is preferred to not increase the number of accompanying players unnecessarily. Compared to an orchestra, the wind band produces a greater volume of sound, and without sufficient care it can easily overpower the solo part. Careful attention should therefore be paid to balance, taking into account the acoustics of the performance venue. Depending on the circumstances, better results may be achieved by omitting some of the doubled parts indicated in the score.
In the instrumentation list, parts marked with an asterisk (*) are optional. In passages where these parts carry independent musical material, cue notes have been provided in other parts so that they may be omitted if necessary.
Regarding the Solo Part
Between the original orchestral version on which this wind band arrangement is based and the piano accompaniment version that is most commonly used (arranged by Atsutada Otaka and edited by Shinya Koide), there are differences in articulation, melodic figures, tempo indications, and other details.
After careful consideration, the present wind band arrangement adopts, in principle, the notation of the piano accompaniment version for the solo flute part. However, in some passages, using the piano version as is would result in inconsistencies with the accompaniment parts or discrepancies in tempo changes. In such cases, elements from the orchestral version have been partially incorporated. For this reason, when performing this arrangement, it is strongly recommended that the soloist use the solo part included in this publication.
If the soloist chooses to use the solo part from the piano accompaniment edition, rehearsals should proceed with the understanding that there are some differences between that part and the score of this arrangement. In such cases, rehearsal marks will also not correspond; therefore, it is advisable to conduct rehearsals referring to measure numbers.
(Keiichi Kurokawa)
