Hirai, Kozaburo : Narayama（Mount Nara）
Work Overview
Genre：Various works
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Commentary (2)
Author : Nakatsuji, Maho
Last Updated: April 20, 2018
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Author : Nakatsuji, Maho
《Narayama》 (Hirajōzan) is a solo song composed by Kozaburo Hirai, set to two tanka poems by Shihoko Kitami, who reflected on the ancient capital of Nara. Composed in 1935, 《Narayama》 is considered part of a trilogy along with 《Kai no Sawa》 and 《Kujūkuri-hama》.
《Narayama》, particularly renowned among Kozaburo Hirai's works, is notable for its dignified lyrics and poignant vocal delivery, but it is also noteworthy that the piano accompaniment plays a very important role.
The composer wished for attention to be paid to the rhythmic pattern consisting of a sixteenth rest, a sixteenth note, and a dotted eighth note, which characterizes this work. Furthermore, he requested that the melody played by the left hand in the interlude be brought out, and that the final arpeggio be played slowly.
Regarding the accompaniment pattern that continues from the prelude, many explanations suggest it "imitates the koto" (e.g., Japanese Song Collection 2, published by Zen-On Music Company Ltd. in 2005). However, some vocalists who received singing instruction from Kozaburo Hirai testify that the composer stated this accompaniment was more suitable for the violin. In any case, when performing the piano accompaniment, it is best to focus on how to elicit effective expression from the piano itself, without being constrained by the timbres of other instruments.
Author : Nakatsuji, Maho
Last Updated: April 20, 2018
[Open]
Author : Nakatsuji, Maho
“Narayama” is a piece for solo voice and piano that Kozaburo Hirai composed with two Japanese poems written by Shihoko Kitami which recall the ancient metropolis of Nara.
“Narayama (Mount Nara)” was composed in 1935 and it forms one part of a trilogy together with “Kai no Sawa (Swamp in Kai)” and “Kujūkurihama”. “Narayama” represents one of the most famous pieces of Hirai. It contains lyrics in a lofty style and a poignant sense of singing, but the piano accompaniment takes on a very important role in the piece as well.
Hirai hoped to focus the attention on the rhythm consisting of a sixteenth rest, a sixteenth note and a dotted eight note which characterizes the piece. In addition to this, he asks the pianist to let people listen to the melody of the left-hand part and play the last arpeggios slowly.
The explanation that the tonal pattern continuing from the prelude is imitating a koto is often seen (as in, for example, “Japanese Song Collection vol. 2” published in 2005 by Zen-On Music Publishing Company). However, some singers who received vocal instructions from Hirai testify that Hirai himself remarked that the accompaniment was suitable for a violin. Whether this is true or not, the best way to perform the piano part is probably not to be caught up in thoughts on tone colors of other instruments, but rather to focus on how one may draw out an effective expression.
