Miyoshi, Akira : Chaînes: Préludes pour piano
Work Overview
Instrumentation：Piano Solo
Genre：pieces
Total Playing Time：17 min 14 sec
Copyright：Under Copyright Protection
Commentary (2)
Author : Maruyama, Yoko
Last Updated: April 24, 2018
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Author : Maruyama, Yoko
A commissioned work by NHK, written for Reiko Honsho, who performed its premiere. "Chaînes" means "chains," and according to Miyoshi, it seems to signify the "causality of structure" that binds the entire work, and the "internal cause of creation" that constantly constrains the composer himself.
According to Miyoshi's own explanation, the entire prelude consists of three parts, and the prelude section belongs to four categories. Furthermore, each is said to possess "chains of return, synthesis, and correspondence." The four "small chains (Chaînettes)" can be performed individually, and Chaînette IV incorporates an anagram of "CHAÎNES." It is interesting that this anagram is not a common sequence of motif pitches, but rather a combination of motifs and pedal tones.
From the composer's detailed explanation as described above, it can be inferred that he was extremely careful in his creation and meticulously elaborated the internal structure of the work. The detailed performance instructions noted in the score might also be an expression of this intention.
Reference: Miyoshi, Akira. Enpō yori Mu e (From Afar to Nothingness). Tokyo: Hakusuisha, 2002, p. 149.
Author : Maruyama, Yoko
Last Updated: April 25, 2018
[Open]
Author : Maruyama, Yoko
A commissioned work by Japan Broadcasting Corporation (NHK) written for Reiko Honsyo, the soloist of the premiere of the composer’s piano concerto. “Chaînes”, or “chains” in English, means, according to Miyoshi, “the structural causality” binding the whole and the internal cause always binding the composer himself.
Miyoshi explained the work as follows: the whole prelude consists of three parts belonging to four categories. Each has “the chain of return, synthesis and correspondence”. The four “chaînettes” can be performed separately. Chaînettes IV contains the anagram of ‘CHAÎNES’. It is interesting that this anagram consists not of the typical tone-series of a motive, but instead the combination of the motive and the note at the pedal point.
Such a detailed description by the composer himself indicates that he elaborated the structure in great detail, as well as with much care. The close performance markings may represent Miyoshi’s thoughtful and serious attitude in composing the work.