Yamamoto, Masakazu : Suite "For Piano"
Work Overview
Instrumentation：Piano Solo
Genre：suite
Total Playing Time：10 min 00 sec
Commentary (1)
Author : Yamamoto, Masakazu
Last Updated: January 1, 2010
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Author : Yamamoto, Masakazu
This suite consists of three short pieces, but it maintains overall coherence as motifs from the first and second pieces are recalled in the third. Of course, each piece can also be performed independently.
1. Prelude
It has a two-part structure, with the latter half being a condensed version of the former. The content is somewhat fragmented, but the image of "rain" consistently dominates the piece. It embodies a sense of reverence, expressing gratitude for the life-giving rain that blesses various living creatures. This work received the New Composition Award at the 28th PTNA Piano Competition. It was adopted as a required piece for Grade E in 2004 and published by To-on Kikaku Co., Ltd. in February 2004.
2. Dreaminess
It has a two-part structure. In the first half, a simple melody is sung over a waltz-like accompaniment in an AABA form. The latter half progresses towards a climax with a somewhat anxious musical idea, incorporating triplet-like rhythms and sudden dynamic changes. Upon reaching its peak, it slowly decays with descending figures, and as it approaches an almost inaudible volume in the lowest register, a bell-like sound, imitating the opening theme, rings out. The piece concludes, leaving an impression of emptiness while fragmentarily recalling the opening section.
3. Silhouette
The piece begins with a fugato based on a chromatic theme centered on dotted rhythms. It soon builds to a climax but quickly contracts, transitioning quietly. At Meno mosso, it presents a calm atmosphere, recalling the theme of the second piece (Dreaminess), but then abruptly enters an Animato section, breaking the silence. Here, the opening theme is developed in a canonic style, and a rapid build-up occurs with virtuosic passages of sixteenth notes, leading to the theme of the first piece (Prelude) being grandly sung twice with thick chords. It gradually subsides, but then the opening theme is slowly recalled with rapid arpeggios rising from the bass, and the arpeggios ascend as if rushing through, bringing the piece to a close.
