Fantasy on Osaka Folk Tunes
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Flute I-II (both double Piccolo)
Oboe I-II (II doubles English Horn)
B-flat Soprano Clarinet I-II-III
E-flat Alto Clarinet
B-flat Bass Clarinet
E-flat Alto Saxophone
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Cornet I-II-III
B-flat Trumpet I-II-III
Horn in F I-II-III-IV
Percussion (at least 2 players), including:
- Anvils (originally Chan-Chiki/Surigane)
- Bass Drum
- Sleigh Bells (originally Kagura-Suzu)
- Snare Drum (or Shime-Daiko)
- Suspended Cymbal
- Wood Blocks
None discovered thus far.
Fantasy on Osaka Folk Tunes was written in 1955 and was first performed on 28th May 1956 by Asahina and the Kansai Symphony, to be heard soon after in Berlin with Asahina and the Vienna Tonkünstler Orchestra. It proved to be a great success, and Asahina conducted it many times both in Japan and in Europe. The piece was revised in 1970 and was arranged for wind ensemble in 1974, becoming popular among amateur bands all over Japan.
The work begins with an Andante introduction, with materials from Kagura (Shintoist music for solemn rituals) and Goeika (Buddhist prayers). In the following Allegro three main themes appear successively. The first is based on a buoyant rhythm Danjiri-Bayashi, which is used for Tenjin-Matsuri, the summer festival held by the TenmaTenjin Shrine. Tenjin-Matsuri is the biggest festival in Osaka, a symbol of its identity, even quoted in Kabuki. Danjiri is a big wooden cart covered with various religious decorations, carrying several people playing traditional instruments. The cart is dragged around the town during the festival. In Tenjin-Matsuri, many chanchikis (gongs) are attached to the cart, played with sticks made of antlers. For his piece, Ohguri employs chanchikis and the characteristic rhythm.
The second theme, introduced by a flute and an English horn, sounds like a geisha song. The third one quotes the melody of accompanying music for Shishi-Mai (lion dance) danced in the summer festival of Ikukunitama Shrine in the southern part of Osaka, the melody played by the piccolo. Shishi-Mai was introduced into Japan from China in ancient times. The lion is considered as a being to exorcise evil spirits. After the three themes appear, the music calms down for a while, but it becomes wilder again, using the thematic materials, ending with music that evokes the hot, glaring summer in Osaka.
- Program Note by Morihide Kataya for liner notes of Naxos CD Hiroshi Ohguri
- Tennessee: VI
- Virginia: VI
To submit a performance please join The Wind Repertory Project
- Osakan Philharmonic Winds (Osaka, Japan) (Tomo Matsuo, conductor) - 21 December 2019 (2019 Midwest Clinic)
Works for Winds by This Composer
- Burlesque for Band (1976)
- Dedication to the Late Father, A (1973)
- Fantasy on Osaka Folk Tunes (1955/1974)
- Mask Fantasy (1981)
- Myth for Symphonic Band, A (1973)
- Pikatakamu and Okikurumi (1976)
- Rhapsody (1966)
- Ohguri, H. (1989). Fantasy on Osaka Folk Tunes [score]. Concert Works Unlimited: Delaware Water Gap, Penn.