HARP.TV

memorandum

<< December 2019 | 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 >>

2019.09.01 Sunday

Tom and Jerry and Orchestra

 I went to a very rare concert where I enjoyed the immortal cartoon “Tom&Jerry”, with screen music and sound effect by  live orchestras and jazz bands. Sometimes watched actual images of "Tom& Jerry" on a big screen.

 "Tom and Jerry" was written by William Hanna (1910-2001) and Joseph Barbera (1911-2006), who belonged to Metro Goldwin Mayer (MGM) in the United States. 2020 is the 80th  anniversary of birth.Prior to this, "Tom&Jerry" exhibitions will be held in Tokyo and Osaka this year, and music plays will be performed in Shibuya.
 The navigator was Mr. Wataru Komada, a popular voice actor. As a voice actor, he was in charge of not only the narration in the play but also the voice of Uncle Bull.
 Commentator Chikara Uemizutaru  studied Tom&Jerry music at Tokyo University of the Arts and took his doctorate. The reason why the classic songs are used frequently in Tom&Jerry is that, like classical music, Tom&Jerry also has a desire to remain as a masterpiece in future generations.
 Composer Scott Bradley (1891-1977) was a genius because he learned both composition and orchestration by himself.
 The performance of  the Tokyo Symphony Orchestra led by the conductor Taizo Takemoto and the jazz band led by jazz drummer Kazuyoshi Kuroda was great. How did they practice such difficult works? I wanted to see the practice scene and orchestral score.
 It seems that jazz drummer must continue to hit the drums without any breaks. (How much calories will be consumed in one live ... lol.)
 CHIAKi's piano was also powerful, comical and wonderful. This was a performance that encourages people. I was also in charge of sound effects in the play using various kitchen utensils and syringe-like items.
 I saw a monitor-like object that projected the video next to the piano music stand.How did she play the piano with seeing the score, the hand and the monitor look at that time. She must have been memorized all musical scores.
 Johann Strauss's "Die Fledermaus " overture, harpist  has no turn in this work, but in "Tom &Jerry", the harp grisand was added as a sound effect in the middle of this song.
 In addition, a popular waltz such as “An der schönen, blauen Donau” often performed in New Year's Concert,was performed.The harp was placed stage left, near the front of the contrabass. At the second half harp had no turn, and a person who seemed to be stage manager was carrying harp alone during the break.
 The program was as follows.
  ・ Quiet Please! 1945
  ・ Johann Mouse 1953
  ・ Tom and Jerry in the Hollywood Bowl 1950
  ・ Special Corner: "Music of Tom and Jerry"
  ・ Saturday Evening Puss 1950
  ・ Mouse Trouble 1944
  ・ The Cat Concerto 1947


23:55 | English | - | - | |
2019.08.03 Saturday

The Sleeping Beauty (ballet)Tchaikovsky

Only songs with a harp turn. Memorandum.

・Introduction
It is thrilling to put in the arpeggio very quickly while listening to the quiet six-tuplet of  strings.
Although I thought that it would be good to replace the sound of B with a C pedal by using the C pedal as a trap, I decided to stop the adventure.

Prologue
・2. Scène dansante
Arpeggio accompaniment often found in Johann Strauss waltz. I was nervous because there were a lot of pedal changes.

・3. Pas de six
An arpeggio continues, and the last ,grissand.

・ VI. La Fée des lilas
Only Sol.

・4.Finale
At the beginning, wait for nearly 3 minutes, then the chords continues. Busy pedal changes at measures 89-91. This part seems to vary in tempo depending on the orchestra.
The atmosphere changes at bar 232, followed by 5 grissandos. The first is f, the second is p, the third and fourth are crescendo from p to mf, and the fifth is crescendo from mf. Don't make a mistake in the pedal.
The arpeggios after 270th bar will crescendo from p to fff in only 2 bars.


Acte
・8. Pas d'action- I. Adagio
Harp throat solo. This time, the pedals were set to D ♮ C ♮ B ♭ E♯F ♮ G♯A ♭, and bars 15-16 were set to a grissando.
In that case, it would be a catastrophe if you forget to be careful and change the pedal to E ♭ G ♮ before entering the 19th bar. Lol.
 You must keep playing until measure 29, but there is no turn after that.


・III. Variation d'Aurore
Glissand continues for 14 bars. From the 216th bar, if harp were out of tune, it will be very noticeable in comparison with the Vn solo, so it is safer to tune carefully the four sounds of the Ra Si Do Re until just before the actual performance.

・9. Scène finale
The chords at bars 116-117 are unexpectedly difficult. The tempo is a little difficult to grasp and there are many sounds, so it tends to be hard to play all the sounds perfectly. When the tempo is fast, it feels more difficult.
Therefore, as a safety measure, I've tried changing the pedal to C ♭ F ♭, but I stopped it in this production.
This area is the same as the suite version.
Acte I concludes with the last harmonics. The disappointment when the harmonics didn't sound is tremendous.

Acte II
・14. Scène
Arpeggio, the chords, arpeggio, the chords ...

・15. Pas d'action (Scène d'Aurore et de Désiré)
Five chords.

・Coda
There are 7 harmonics and a chord in the last.

・17. Panorama
It seems to be one of the three major harp songs in this work. Solely to playing arpeggio. 
It can be said that it is carefree in that there is no pedal change. Only p or mf appears, but they say the harp's p is mf, so I played it fortly.


・19. Entracte symphonique (Le Sommeil) et scène
Arpeggios and chords in silence,  the atmosphere of the song makes me more nervous than necessary. The sound is somewhat difficult to play.
I noticed that I had been mistaking  Ra♭ for Ra♮ of bar 18 just before the rehearsal.
Such as having to change the three pedals very quietly when entering bar 37-38.
Since measures 41-42 have a similar sound shape to measures 116-117 of song No. 9, I considered playing the pedal with B # E # as a safety measure, I stopped it because the tempo wasn't so fast.
After banging a chord at measure 141,if a gong rang, it will be the end of the turn of the harp.

After that, it will be a longer tacet.

8. Pas d'action- I. Adagio, LyraMusic Orchestra Study includes another long version of Cadenza by Walter-Kuhne. Is  
 this Ekaterina Walter-Kühne (1870-1930), I wonder?
I heard a similar Cadenza somewhere, so if I found Youtube, I would like to introduce it here.
This Orchestra Study also introduces a harp version of the No.14 of the Nutcracker, Pas de deux. If I played this version, I would feel dizzy. There is also a flower waltz Cadenza by A. Zabel, where Cadenza 10 bars are the same as the conventional type, but bars 11-17 are chords. I have never heard this version. If I played it in the next performance, many people would be surprised. But I probably play the standard version.


23:55 | English | - | - | |

▲top