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Ishii, Kan
(b Tokyo, 30 March 1921). Japanese composer, brother of Maki Ishii. A son of Bac Ishii, one of the leading Japanese ballet dancers, he was educated to become a composer of ballet music, opera and orchestral works. He studied the piano at the Musashino School of Music (1939–43), served in the navy during the war and then worked as a pianist in his father’s company. His Prelude for orchestra won first prize in the 1949 Mainichi Music Contest and his ballet Kami to bayādere, choreographed by his father, was first performed in Tokyo the next year. After further studies with Orff in Munich (1952–4) he took a professorship at the Tōhō Gakuen School of Music (1954–66). He won a prize at the 1958 government-sponsored Art Festival for the Symphonia Ainu, which embodied his new interest in nationalist primitivism, and his ballet Marimo was in 1966 performed to great acclaim in several cities of the USSR. Also in that year he was appointed professor of composition at the Aichi Prefectural Arts University, Nagoya. He has also served as head of the Japan Composers’ Federation (1964–70) and president of the All-Japan Chorus League. Returning to Tokyo in 1986, he became a professor at Shōwa Music College. His music is highly emotional in quality and shows the strong influence of Orff.
WORKS
(selective list)
Principal publisher: Ongaku-no-Tomo Sha
stage Operas -
Ningyo to akai rōsoku [The Mermaid and the Red Candle] (1, after M. Ogawa), 1961; Tokyo, Asahi Shinbun Hall, Nov 1961
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Kaguya-hime [Princess Kaguya] (1, Akaya Sōno), 1963; NHK TV, Nov 1963
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En no Gyōja (3, Shikō Tsubouchi, after Shōyō Tsubouchi), 1963; Tokyo, Metropolitan Festival Hall, 20 March 1965
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Kesa to Moritō [Kesa and Moritō] (3, Y. Yamanouchi, after Heike monogatari and Genpei seisuiki), 1968; Tokyo, Metropolitan Festival Hall, 20 Nov 1968
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Onna wa suteki [Women are Wonderful] (comic op, 1, Yamanouchi); Tokyo, Iino Hall, 27 Oct 1978
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Aojishi [Blue Lion] (operetta, 2, K. Hoshino, after a folktale), Komagane, City Hall, 3 Nov 1989
| Ballets -
Kami to bayādere [The God and the Bayadère], Tokyo, 1950; Ketsueki [Blood], 1951; Ningen tanjō [Birth of a Human Being], 1954; Reijō Jurī [Julie], 1955; Shakuntala, 1961; Marimo, Tokyo, 1962; Biruma no tategoto [The Harp of Burma], 1963; Haniwa, 1963; Hakai [Sin against Buddha], 1965
| other works -
Orch: Prelude, 1949; Yama [Mountain], 1953; Matsuri no rizumu ni yoru buyō kumikyoku [Dance Suite on Festival Rhythm], 1967
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Vocal: Kareki to taiyō no uta [Song of the Withered Tree and the Sun], chorus, 1955; Aoi ashi to rindō no hanashi [The Story of Green Reeds and Autumn Bellflowers], chorus, 1961; Otokonoko ga umareta [A Boy is Born], chorus, 1964; Asu eno ashioto [Footsteps to Tomorrow] (cant), S, 1972; folksong settings, 1958–62; Ōinaru Akita (Great Akita), S, chorus, org, orch, 1974
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Chbr and solo inst: Pf Sonata, 1948; Music for 8 Perc, 1970; Music for Hp Ens, 1971
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Many other stage works and film scores
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MASAKATA KANAZAWA
Ishii, Maki
(b Tokyo, 28 May 1936). Japanese composer, brother of Kan Ishii. During the years 1952–8 he studied composition privately with Ifukube and Ikenouchi and conducting with Watanabe. He attended the Berlin Hochschule für Musik (1958–61) as a pupil of Blacher and Rufer. After his return to Tokyo in 1962 he became active as a composer and as an organizer of concerts of new music; he also worked frequently in the NHK electronic music studios after 1965. He took part in the planning of the Japanisch-deutsches Festival für Neue Musik (1967–72), and was invited to participate in the Berliner Künstlerprogramm (1969) with a grant from the Deutscher Akademischer Austauschdienst. He is active as a composer, conductor and organizer in Japan, Europe, the USA and China. His works have been featured in events including the Festival d'Automne in Paris (1978), the Berliner Festwochen (1981), the Eté Japonais in Geneva (1983) and exhibitions devoted to his music in Tokyo (1989) and The Hague (1992). His works show an awareness of contemporary Western techniques and skilful coordination of sound and silence. In several cases Ishii has synthesised traditional Japanese and Western elements, but in Sō-gū II the interaction is achieved in a more straightforward manner by the simultaneous playing of Dipol for Western orchestra and Shi-kyō: Musik für Gagaku. His prizes include the German Critics' Prize (1988), the Kyoto Music Grand Prix (1990) and an Emmy award (1995).
WORKS
(selective list)
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Stage: Szene, dancer, 9 insts, 1962; Samsara (ballet, after F. Kafka: Die Verwandlung), tape, 1968; Yukionna (ballet), tape, 1971; Scene of Violet, dancers, insts, lighting, elecs, 1975; Kaguyahime (Die nachtglänzende Prinzessin) (ballet), 8 Jap. drums, 8 perc, 3 gagaku players, 1985; Bonshō no koe (Die Stimme der Tempelglocken) (ballet, from The Tale of the Heike), orch, 1997
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Orch: 7 Pieces, chbr orch, 1960; Komplikation, 4 ens, cond., 1962; Expressionen, str, 1967; Klavierstück, pf, perc, 1968; Kyō-ō, pf, orch, tape, 1968; Kyō-sō, 6 perc, orch, 1969; La-sen I, fl, ob, hp, pf, 3 perc, tape, 1969; Dipol, 1971; Sō-gū II, gagaku ens, orch, 1971; Polaritäten (biwa, hp, orch)/(biwa, hp, shakuhachi, fl, orch)/(shakuhachi, fl, orch), 1973; Jo, 1975; Mono-prism, Jap. perc, orch, 1976; Lost Sounds III, vn conc., 1978; Afro-Conc., perc, orch, 1982; Gioh, sym. poem, yokobue, orch, 1984; Fuyūsuru kaze [Floating Wind], sym. linked works, 1992; Ryūgen no toki e: [Towards Time Dragondeep], sym. ballade, Music for the Imaginary Ballet of Urashimatarō 1994; Hiten shōka (Ode to the Hiten-Hovering of Celestial Forms), niko, orch, 1995
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Chbr and solo inst: Prelude and Variations, fl, cl, bn, hn, pf qt, perc, 1959; 4 Bagatelles, vn, pf, 1961; Aphorismen, pf qt, perc, 1963; Charaktere, fl, ob, vn, gui, pf, 1965; Hamon, vn, chbr ens, tape, 1965; Japanische Suite, fl, gui, str trio, perc, 1965; La-sen II, vc, 1970; Shi-kyō: Musik für Gagaku, gagaku ens, 1970; Sō-gū I, shakuhachi, pf, 1970; Sen-ten, perc, tape, 1971; Nucleus, biwa, hp, shakuhachi, fl, 1973; Anime Amare, hp, tape, 1974; Monochrome, perc, 1976; Black Intention I, rec, 1977; 13 drums, 1 perc, 1985; Str Qt ‘West – Gold – Autumn’, 1992; Jinkan yume no gotoshi [Life is but a Dream], recitation, ryūteki, koto, mar, db, 4 perc, 1997
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Vocal: Galgenlieder (C. Morgenstern), 1964; Voices – Violet, gidayū ens, sho, perc, 1977; Kaeru no shōmyō (Buddistische Gesänge der Frösche), 1984
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Principal publishers: Moeck, Ongaku-no-Tomo Sha
| BIBLIOGRAPHY
KdG (W. Burde)
Tokyo Concerts, ed.: Sakkyokuka no koten '89: Ishii Maki [An exhibition of a composer '89: Ishii] (Tokyo, 1989)
C. Ishii-Meinecke, ed.: Nishi no hibiki – higashi no hibiki: Ishii Maki no ognaku/Westlicher Klang – Östlicher Klang: die Musik Maki Ishiis (Celle and Tokyo, 1997)
K. Hori, ed.: Nihon no sakkyoku nijusseiki [Japanese compositions in the 20th century] (Tokyo, 1999)
MASAKATA KANAZAWA/TATSUHIKO ITOH
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