Symphony No.8 mov.2

20th century classical, symphonic, primitivism, orchestral, choral, vocal, wingsoffates, Stravinsky

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Symphony No. 8 "The Irresistible"
-A five-movement symphony for orchestra, brass ensemble, medieval instrument ensemble, soprano soloist, and mixed choir-

My previous work, "Symphony No. 7," received some unusually positive comments for one of my works. (I would like to take this opportunity to thank everyone who commented.)

Though there are many aspects of the work that I'm dissatisfied with, I believe I was able to express to some extent the "beauty inherent in music itself" that I aimed for when creating it.

I originally had plans to create a series of works on a different theme immediately after completing Symphony No. 7, rather than the currently released Symphony No. 8, but due to various circumstances, Symphony No. 8 ended up being completed first.

As for the work itself, this piece attempts to express the "inexplicable negative energy" that surrounds us in the modern world, and the title "The Irresistible" reflects this.

The "musical beauty" aimed for in his previous work fades into the background here, and instead, dark sounds and dark impulses dominate the overall work.

Modal melodies and harmonies reminiscent of the Middle Ages and Renaissance dominate, reflecting the composer's historical and social perspective: "Although the modern world is said to have superficially developed into a futuristic information society, its true nature is not dramatically different from that of the European Middle Ages and the Renaissance." I'm prepared to be criticized for saying, "What a foolish thing to say in this orderly age!" But in the sense that this order is governed by the logic of power, human society has not changed at all since the Middle Ages. In exchange for some social networking and convenience in daily life, we live in the modern world feeling, or rather pretending not to feel, the enormous negative force of "we can know, but we cannot resist."

The dark, modal sounds represent such a world.

If you ask me, this is the color of the real world we live in.

1st Movement "Structure" Allegro Moderato
This movement depicts how this "irresistible" thing is formed. The motif, which begins with the strings and spreads to the brass and woodwind sections, is constructed to the exacting specifications, enveloping the entire society. The occasional, wild, powerful melodies played by the brass sections demonstrate how powerful and irresistible this power is. Compared to this power, the human power expressed by a single woodwind solo is infinitesimal.

2nd Movement "Dance of Power" Allegretto
In this movement, this power dances. Reminiscent of classical dance, the fast yet solemn dance immediately reveals its destructive power.
Everything is caught up in the dance and tossed about.
However, its power remains undiminished until the end, and the music ends.

3rd Movement "In a Foreign Land" Scherzo with Duple Time Signature
Watching from a foreign land. While this power exists in foreign lands, the music, as expressed in the woodwind solo, expresses how the culture there stubbornly resists it.

Fourth Movement, "Wounded by Fate"
From Carmina Burana.
A woman sings, "Everything is fate, there's no resisting the ever-turning wheel. Everything is inevitable."

Wounded by Fate, with tearful eyes lamenting the wounds inflicted by Fate, I have read, with truth, of the cruelty of my kindness, and of the loss of my hair, though it will likely continue, though luxuriant hair hangs from her brow. On Fate's throne, I sat, proudly adorned with a garland of colorful glory. However prosperous and blessed I once was, now I am utterly destitute, and deprived of my glory. Fate's wheel turns, and when I fall, a humbled one will be lifted up in his place. So bid thy lordship on such a lofty throne beware of destruction! For the name of Queen Hecuba can be seen beneath the axle!

5th Movement "O Fate"
From Carmina Burana
A woman sings again. This time, many voices (a chorus) join in, making the song powerful, but there is a hint of resignation and sadness.
Following a powerful orchestral prelude led by a string ostinato, the soloist begins to sing in lament, but although the singing starts out rather weak and in an exclamatory tone, it gradually blends with the voices of the crowd and becomes a loud voice that resonates throughout the world.
The music reaches a climax, and just when it seems the singer has finally poured out his feelings, the music takes on a medieval sound and ends like this.

Oh, goddess of fate!

Oh goddess of fate, like the moon, ever changing, waxing and waning. This awful life, sometimes cruel, sometimes helpful, with its fickle will, melts poverty and power like ice. Merciless and empty fate, you are as wicked and wicked as a wheel. Even security is unreliable, and you will quickly vanish it. Hidden and veiled, you pursue me. Your cruel play now leaves me with no choice but to bare my back. Even the luck of health and talent has now deserted me, leaving me to perpetual toil. So now, without a moment's delay, play your strings. May fate cast down even the mighty. Lament with me!

交響曲第8番「抗えないもの」
〜オーケストラ，ブラスアンサンブル、中世楽器アンサンブル、ソプラノ独唱と混声合唱による、5楽章の交響曲〜

前作「交響曲第7番」には、私の作品にしては珍しく好意的なコメントをいくつかいただいた。(コメントをくださった方々には、この場でお礼を申し上げます)
不満な点も数多くある作品ではあるが、制作に当たって目指した「音楽そのものの持つ美しさ」について多少は作品中で表すことができたかもしれないと思っている。
もともとは第7番の完成直後には今回公開する交響曲第8番ではなく、別のテーマによるシリーズ作品の制作を考えていたが、諸事情によりこの「交響曲第8番」の方が先に完成することとなった。

作品について述べれば、この音楽は現代に生きる我々を取り巻く「得体の知れない負のエネルギー」について表現しようと試みた作品であり、「抗えないもの」というタイトルは、そのことを表しておる。
前作で目指した「音楽美」はここでは影を潜め、変わって
暗い音響と、暗い衝動が全体を支配している。
中世・ルネサンスを思わせる旋法的な旋律と和声が支配的だが、それは「現代は表面的には近未来型の情報化社会に発展したと言われているが、その内実はヨーロッパ中世、ルネサンスの時代と大きく変わるものではない」という作曲者の歴史観、社会観が反映されたものである。「この秩序ある時代に、何をバカなこと言うのか？」という反論をいただくことは覚悟の上だが、その秩序が力の論理に支配されているという意味では、人間の社会は中世当時から何も変わっていない。いくらかのソーシャルネットや生活の利便性と引き換えに、我々は「知ることができるが、抗うことはできない」という巨大な負の力を感じつつ、あるいは敢えて感じないふりをしつつ現代を生きている。
暗い色彩を帯びた旋法的な音はそのような世界を表している。
私に言わせれば、我々の生きている現実の世界は，こんな色をしているのだ。

第1楽章「構造」　アレグロ・モデラート
その「抗えないもの」がどのようにして成り立っているかを表している。冒頭に弦楽が奏し、金管から木管に広がっていく動機は，それが寸分違わず組み立てられ、社会全体を覆っていることを表す。時折、金管が奏する野生味を帯びた強い旋律はその力が如何に強く，抗いがたいものかを表している。この力の前では、1本の木管のソロが表す人間の力は極めて小さなものでしかない。

第2楽章「力の踊り」アレグレット
この楽章では、その力が舞い踊る。古典舞踊を思わせる速く，しかし重々しさを伴う踊りは始まってすぐにその破壊的な力を示す。
あらゆるものがその踊りに巻き込まれ、翻弄されてゆく。
しかし、最後までその力は衰えず、音楽は終わる。

第3楽章「異国にて」2拍子を含むスケルツォ
異国よりその様子を眺める。異国にもその力は存在するが、木管のソロに表されるその文化が頑強にその力に
対抗している様を音楽は表現している。

第4楽章「運命の女神に傷つけられて」 アンダンテ　ソプラノ独唱

カルミナ・ブラーナより。
ある女性が歌う。すべては運命だ，絶えず
回り続けるその車輪に抗うことはできない。すべては仕方がないことだと。

第5楽章「おお、運命の女神よ」　アレグロ　ソプラノ独唱，合唱

カルミナ・ブラーナより
ふたたびある女性が歌う。今度は大勢の声(合唱)が加わり力強い歌だが、どことなく諦観と哀しみを秘めている。
弦のオスティナートに導かれた、強さに満ちたオーケストラの前奏に引き続いて独唱が嘆きの声をあげ、歌い始めるが、始めはあまり元気がなく詠嘆調のその歌も群衆の声と和して次第に世界に響くような大きな声となっていく。
音楽はさらに高潮し、思いの丈を吐き出し終わったと思われるところで、音楽は中世の響きとなってそのまま終わる。

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[Symphony,Composed under the influence of composers such as Stravinsky, Bartök,Carl Orff, Hindemith, and Hans Zimmer, as well as Primitivism,New Objectivity, and Barbarism. The music blends intensity with subtle hints of the Renaissance and the Middle Ages.this music is a contemporary work. It possesses a tragic intensity that seems to tear apart the subtle classical tones. Some listeners may perceive the music here as a certain violence. And that's fine. If music reflects human emotions and human activities, then it's impossible for only peaceful and beautiful music to exist.] ======================================================== Symphony No. 8 "The Irresistible" -A five-movement symphony for orchestra, brass ensemble, medieval instrument ensemble, soprano soloist, and mixed choir- My previous work, "Symphony No. 7," received some unusually positive comments for one of my works. (I would like to take this opportunity to thank everyone who commented.) Though there are many aspects of the work that I'm dissatisfied with, I believe I was able to express to some extent the "beauty inherent in music itself" that I aimed for when creating it. I originally had plans to create a series of works on a different theme immediately after completing Symphony No. 7, rather than the currently released Symphony No. 8, but due to various circumstances, Symphony No. 8 ended up being completed first. As for the work itself, this piece attempts to express the "inexplicable negative energy" that surrounds us in the modern world, and the title "The Irresistible" reflects this. The "musical beauty" aimed for in his previous work fades into the background here, and instead, dark sounds and dark impulses dominate the overall work. Modal melodies and harmonies reminiscent of the Middle Ages and Renaissance dominate, reflecting the composer's historical and social perspective: "Although the modern world is said to have superficially developed into a futuristic information society, its true nature is not dramatically different from that of the European Middle Ages and the Renaissance." I'm prepared to be criticized for saying, "What a foolish thing to say in this orderly age!" But in the sense that this order is governed by the logic of power, human society has not changed at all since the Middle Ages. In exchange for some social networking and convenience in daily life, we live in the modern world feeling, or rather pretending not to feel, the enormous negative force of "we can know, but we cannot resist." The dark, modal sounds represent such a world. If you ask me, this is the color of the real world we live in. 1st Movement "Structure" Allegro Moderato This movement depicts how this "irresistible" thing is formed. The motif, which begins with the strings and spreads to the brass and woodwind sections, is constructed to the exacting specifications, enveloping the entire society. The occasional, wild, powerful melodies played by the brass sections demonstrate how powerful and irresistible this power is. Compared to this power, the human power expressed by a single woodwind solo is infinitesimal. 2nd Movement "Dance of Power" Allegretto In this movement, this power dances. Reminiscent of classical dance, the fast yet solemn dance immediately reveals its destructive power. Everything is caught up in the dance and tossed about. However, its power remains undiminished until the end, and the music ends. 3rd Movement "In a Foreign Land" Scherzo with Duple Time Signature Watching from a foreign land. While this power exists in foreign lands, the music, as expressed in the woodwind solo, expresses how the culture there stubbornly resists it. Fourth Movement, "Wounded by Fate" From Carmina Burana. A woman sings, "Everything is fate, there's no resisting the ever-turning wheel. Everything is inevitable." Wounded by Fate, with tearful eyes lamenting the wounds inflicted by Fate, I have read, with truth, of the cruelty of my kindness, and of the loss of my hair, though it will likely continue, though luxuriant hair hangs from her brow. On Fate's throne, I sat, proudly adorned with a garland of colorful glory. However prosperous and blessed I once was, now I am utterly destitute, and deprived of my glory. Fate's wheel turns, and when I fall, a humbled one will be lifted up in his place. So bid thy lordship on such a lofty throne beware of destruction! For the name of Queen Hecuba can be seen beneath the axle! 5th Movement "O Fate" From Carmina Burana A woman sings again. This time, many voices (a chorus) join in, making the song powerful, but there is a hint of resignation and sadness. Following a powerful orchestral prelude led by a string ostinato, the soloist begins to sing in lament, but although the singing starts out rather weak and in an exclamatory tone, it gradually blends with the voices of the crowd and becomes a loud voice that resonates throughout the world. The music reaches a climax, and just when it seems the singer has finally poured out his feelings, the music takes on a medieval sound and ends like this. Oh, goddess of fate! Oh goddess of fate, like the moon, ever changing, waxing and waning. This awful life, sometimes cruel, sometimes helpful, with its fickle will, melts poverty and power like ice. Merciless and empty fate, you are as wicked and wicked as a wheel. Even security is unreliable, and you will quickly vanish it. Hidden and veiled, you pursue me. Your cruel play now leaves me with no choice but to bare my back. Even the luck of health and talent has now deserted me, leaving me to perpetual toil. So now, without a moment's delay, play your strings. May fate cast down even the mighty. Lament with me! 交響曲第8番「抗えないもの」〜オーケストラ，ブラスアンサンブル、中世楽器アンサンブル、ソプラノ独唱と混声合唱による、5楽章の交響曲〜前作「交響曲第7番」には、私の作品にしては珍しく好意的なコメントをいくつかいただいた。(コメントをくださった方々には、この場でお礼を申し上げます) 不満な点も数多くある作品ではあるが、制作に当たって目指した「音楽そのものの持つ美しさ」について多少は作品中で表すことができたかもしれないと思っている。もともとは第7番の完成直後には今回公開する交響曲第8番ではなく、別のテーマによるシリーズ作品の制作を考えていたが、諸事情によりこの「交響曲第8番」の方が先に完成することとなった。作品について述べれば、この音楽は現代に生きる我々を取り巻く「得体の知れない負のエネルギー」について表現しようと試みた作品であり、「抗えないもの」というタイトルは、そのことを表しておる。前作で目指した「音楽美」はここでは影を潜め、変わって暗い音響と、暗い衝動が全体を支配している。中世・ルネサンスを思わせる旋法的な旋律と和声が支配的だが、それは「現代は表面的には近未来型の情報化社会に発展したと言われているが、その内実はヨーロッパ中世、ルネサンスの時代と大きく変わるものではない」という作曲者の歴史観、社会観が反映されたものである。「この秩序ある時代に、何をバカなこと言うのか？」という反論をいただくことは覚悟の上だが、その秩序が力の論理に支配されているという意味では、人間の社会は中世当時から何も変わっていない。いくらかのソーシャルネットや生活の利便性と引き換えに、我々は「知ることができるが、抗うことはできない」という巨大な負の力を感じつつ、あるいは敢えて感じないふりをしつつ現代を生きている。暗い色彩を帯びた旋法的な音はそのような世界を表している。私に言わせれば、我々の生きている現実の世界は，こんな色をしているのだ。第1楽章「構造」　アレグロ・モデラートその「抗えないもの」がどのようにして成り立っているかを表している。冒頭に弦楽が奏し、金管から木管に広がっていく動機は，それが寸分違わず組み立てられ、社会全体を覆っていることを表す。時折、金管が奏する野生味を帯びた強い旋律はその力が如何に強く，抗いがたいものかを表している。この力の前では、1本の木管のソロが表す人間の力は極めて小さなものでしかない。第2楽章「力の踊り」アレグレットこの楽章では、その力が舞い踊る。古典舞踊を思わせる速く，しかし重々しさを伴う踊りは始まってすぐにその破壊的な力を示す。あらゆるものがその踊りに巻き込まれ、翻弄されてゆく。しかし、最後までその力は衰えず、音楽は終わる。第3楽章「異国にて」2拍子を含むスケルツォ異国よりその様子を眺める。異国にもその力は存在するが、木管のソロに表されるその文化が頑強にその力に対抗している様を音楽は表現している。第4楽章「運命の女神に傷つけられて」アンダンテ　ソプラノ独唱カルミナ・ブラーナより。ある女性が歌う。すべては運命だ，絶えず回り続けるその車輪に抗うことはできない。すべては仕方がないことだと。第5楽章「おお、運命の女神よ」　アレグロ　ソプラノ独唱，合唱カルミナ・ブラーナよりふたたびある女性が歌う。今度は大勢の声(合唱)が加わり力強い歌だが、どことなく諦観と哀しみを秘めている。弦のオスティナートに導かれた、強さに満ちたオーケストラの前奏に引き続いて独唱が嘆きの声をあげ、歌い始めるが、始めはあまり元気がなく詠嘆調のその歌も群衆の声と和して次第に世界に響くような大きな声となっていく。音楽はさらに高潮し、思いの丈を吐き出し終わったと思われるところで、音楽は中世の響きとなってそのまま終わる。

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