Gloriosa ("Gururiyoza")

From Wind Repertory Project
Yasuhide Ito

Yasuhide Ito


Subtitle: Symphonic Poem for Band


General Info

Year: 1990 / 2013
Duration: c. 18:30
Difficulty: VI (see Ratings for explanation)
Publisher: Bravo Music
Cost: Score and Parts (print) - JP¥32,000; (digital) - JP¥32,000   |   Score Only (print) - JP¥3,000


Movements

1. Oratio – 7:30
2. Cantus – 4:30
3. Dies Festus – 6:15


Instrumentation

Full Score
Flute I-II (II doubling C Piccolo and Ryuteki Flute)
Oboe
Bassoon
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III (all div.)
B-flat Bass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III
Horn in F I-II-III-IV
Trombone I-II-III
Euphonium (div.)
Tuba (div.)
String Bass
Timpani
Percussion I-II-III, including:

  • Bass Drum
  • Chimes
  • Glockenspiel
  • Rachet
  • Sleigh Bells
  • Snare Drum
  • Suspended Cymbal
  • Tam-tam
  • Tom-toms (3)
  • Triangle
  • Vibraphone
  • Xylophone

Players chanting


Errata

None discovered thus far.


Program Notes

In the beginning of the Edo era (1603~1867) of Japan, the original melodies of many chants that Kirishitan (Christians) had sung were getting distorted, and their texts were also corrupted as the Tokugawa Shogunate Government banned Christianity. For example, the Latin word "gloriosa" changed to "gururiyoza."

The first movement, Oratio, is composed on the theme of a Gregorian chant and consists of 13 variations in the form of a chaconne. The second movement, Cantus, is based on the Chant of Saint Juan which had been sung by the Kirishitan, and Dies Festus, the third movement, is based on a transformed melody of the folksong Nagasaki Bura-Bura Bushi.

This piece, commissioned by The Sasebo Band of Japan Maritime Self-Defense Force (Nagasaki prefecture), was written in 1990.

- Program Note by composer


Gloriosa is a symphonic poem for band in three song-like movements: Oratio, Cantus and Dies Festus. This stirring and powerful homage to early Christianity in Japan during the Edo Period profoundly and eloquently states the case of cross-cultural conflict and resolution. Roman Catholic missionary Francisco Xavier introduced Christianity in the southern region of Kyushu during the 1550s; subsequently a variety of Western music arrived in Japan as well. The piece is inspired by the songs of the Kakure-Kirishitan (Crypto-Christians) of Kyushu who continued to practice their faith secretly by disguising songs so that Gregorian-like melodies and lyrics were “Japanized.” For example, the Latin word “Gloriosa” was changed to “Gururiyoza.” This adaptation of liturgy for survival inspired Ito to write a fusion of Gregorian chant and Japanese folk music to display the most sophisticated counterpoint yet found in any Japanese composition for wind orchestra. The composer states,

“Nagasaki district in Kyushu region continued to accept foreign culture even during the seclusion period, as Japan’s only window to the outer world. After the proscription of Christianity, the faith was preserved and handed down in secret in the Nagasaki and Shimabara areas of Kyushu region. My interest was piqued by the way in which the Latin words of Gregorian chants were gradually ‘Japanized’ during the 200 years of hidden practice of the Christian faith. That music forms the basis of Gloriosa. The Gregorian chant Gloriosa begins with the words ‘O gloriosa domina excelsa super sidera que te creavit provide lactasti sacro ubere.’ The first movement, Oratio, opens with bells sounding the hymn’s initial phrases. The movement as a whole evokes the fervent prayers and suffering of the Crypto-Christians. The second movement, Cantus, showcases a brilliant blend of Gregorian chant and Japanese elements by opening with a solo passage for the ryuteki, a type of flute. The theme is based on San Juan-sama no Uta (The Song of Saint John), a 17th-century song commemorating the Great Martyrdom of Nagasaki where a number of Kyushu Christians were killed in 1622. The third and final movement, Dies Festus, takes as its theme the Nagasaki folk song Nagasaki Bura Bura Bushi.

- Program Notes by Jennifer Daffinee for the 2016 Texas All-State Concert Band concert program, 13 February 2016


I. Oratio. The Gregorian chant Gloriosa begins with the words, “O gloriosa Domina excelsa super sidera que te creavit provide lactasti sacro ubere.” The first movement, Oratio, opens with bells sounding the hymn’s initial phrases. The movement as a whole evokes the fervent prayers and suffering of the Crypto-Christians.

II. Cantus. The second movement, Cantus, showcases a brilliant blend of Gregorian chant and Japanese elements by opening with a solo passage for the ryuteki, a type of flute. The theme is based on San Juan-sama no Uta (The Song of Saint John), a 17th-century song commemorating the “Great Martyrdom of Nagasaki” where a number of Kyushu Christians were killed in 1622.

II. Dies Festus. The third and final movement, Dies Festus, takes as its theme the Nagasaki folk song Nagasaki Bura Bura Bushi, where many Crypto-Christians lived.

Gloriosa, fusing Gregorian chant and Japanese folk music, displays the most sophisticated counterpoint yet found in any Japanese composition for wind orchestra.

- Program Note from State University of New York, Potsdam, Symphonic Band concert program, 13 April 2017


Media


State Ratings

  • Alabama: Class AA
  • Louisiana: V
  • Minnesota: Category I
  • MusicFest Canada: B600 (any movement)


Performances

To submit a performance please join The Wind Repertory Project

  • Joint Armed Forces Band (Washington, D.C.) (Timothy J. Holtan, conductor) - 8 March 2024 (89th Annual ABA National Convention)
  • Australian Wind Symphony (Canberra) (Geoff Grey, conductor) - 23 September 2023
  • University of North Carolina at Charlotte Wind Ensemble (Hunter Kopczynski, conductor) – 24 March 2023
  • University of Toronto (Ont., Can.) Wind Symphony (Pratik Gandhi, conductor) – 31 March 2023
  • Cincinnati (Ohio) Wind Band (Jim Daughters, conductor) - 4 March 2023
  • University of Miami (Coral Gables) Frost Symphonic Winds (Jack Hontz, conductor) - 7 December 2022
  • University of California, Los Angeles, (UCLA) Wind Ensemble (Travis J. Cross, conductor) – 2 March 2022
  • Association of Texas Small School Bands (ATSSB) Symphonic Band (Emily Threinen, conductor) – 12 February 2022 (2022 TMEA Conference, San Antonio)
  • University of North Carolina, Greensboro, Symphonic Band (Kevin M. Geraldi, conductor) – 22 November 2021
  • Marquette University (Milwaukee, Wisc.) Wind Ensemble (Erik N. Janners, conductor) – 23 February 2020
  • Valdosta (Ga.) State University Wind Ensemble (Benjamin Harper, conductor) – 18 February 2020
  • Northwestern University (Evanston, Ill.) Symphonic Band (Shawn Vondran, conductor) – 7 February 2020
  • Emory University (Druid Hills, Ga.) Wind Ensemble (Tyler Ehrlich, conductor) – 23 November 2019
  • Boston (Mass.) Conservatory Wind Ensemble (Matthew Marsit, conductor) – 17 October 2019
  • University of Arkansas (Fayetteville) Wind Symphony (Ben Lorenzo, conductor) – 16 October 2019
  • Foothill Symphonic Winds (Palo Alto, Calif.) (Roy Stahle, conductor) – 9 June 2019
  • United States Marine Band (Washington, D.C.) (Jason K. Fettig, conductor) – 17 May 2019 (Hamamatsu, Japan)
  • West Chester University (Penn.) Wind Ensemble (Andrew Yozviak, conductor) – 31 March 2019
  • Arkansas Tech University (Russellville) Symphonic Band (Jim Daughters, conductor) – 7 March 2019
  • University of Miami (Coral Gables) Frost Symphonic Winds (Steven Moore, conductor) – 29 November 2018
  • Strasbourg Conservatory of Music (Strasbourg, France), Orchestre à vents (Miguel Etchegoncelay, conductor) - 30 April 2016


Works for Winds by This Composer


Resources

  • Gloriosa (Ito). Wikipedia. Accessed 22 July 2023
  • Ito, Y. (1990). Gloriosa: Symphonic Poem for Band [score]. Ongaku No Tomo Sha Corp: Tokyo.
  • Miles, Richard B., and Larry Blocher. 2002. Teaching Music Through Performance in Band. Volume 4. Chicago: GIA Publications. pp. 656-663.