Akira Ifukube: Toccata for Guitar (1970) / Yoh Nishimura
Akira Ifukube [伊福部昭] (1914~2006)
Toccata per Chitarra
ギターのためのトッカータ
Yoh Nishimura, guitar
Recorded: Mar 26 & April 9, 1985 at St. Gregorian House, Betty 2nd Studio
This piece was written in 1970 and, like “Cantilena Ballabile,“ was also premiered by Yasuo Abe. The “toccata,“ which was widely used in the Baroque period, comes from the Italian word “toccare“ (to touch), and refers to an improvised form played as a kind of finger familiarization before playing a full-scale piece such as a fugue. Most of them are fluid, with a lot of arpeggios in a fast tempo, and they gradually came to be written as independent pieces as well.
In this “Toccata per Chitarra,“ a series of descending arpeggios of four sixteenth notes is flowing, and a simple folk melody is spun on the first beat of each note. This kind of sequence of notes is common in the campanella technique on the guitar. Although the piece is in a very free three-part form, it is also a kind of “perpetuum mobile,“ with the same pattern of notes going on forever.
by Ryoichi Yokomizo from FOCD-9088 “Akira Ifukube: Works for Guitar and Lute“ booklet
The administrator: “The next one is the Aria Concertata di Kugo, isn’t it?“
Tomonori Horii: “That’s right. There are only three guitar pieces, but they were written in succession from the late 1960s. [* Cantilena Ballabile (1967), Aria Concertata (1969) & Toccata (1970)]
There’s a reason for that. Ifukube was writing “Orchestration“ [* a 1,000-page book on theory] at that time, and he was looking at orchestral scores so much for reference material that he became bored and didn’t want to write orchestral music anymore, so he wrote simple guitar music.“
from a round-table discussion, part 10 between Tomonori Horii and the administrator of the website “Ato-no-matsuri (Post Festival)“:
1970年の作で、これも「蹈歌」と同じく阿部保夫によって初演された。バロック期に多く用いられた“トッカータ”は、イタリア語の“Toccare”(触れる)という言葉に発しており、フーガなど本格的な楽曲を演奏する前に、いわば指馴らしのような形で弾かれる即興的な形を指している。多くは速いテンポのアルペジオを多用した流動的なもので、次第に独立した楽曲としても書かれるようになった。
この「ギターのためのトッカータ」も16分音符4連の下降アルペジオが流れるように連続し、それぞれの第1拍で民族旋法に基く単純な旋律が紡がれていく形をとっている。こうした音型の連らなりは、ギターに於けるカンパネラ奏法としてよく見られるものである。ごく自由な3部形式をとっているが、どこまでも同じような音型が続くこの曲は、一種の“無窮動”でもある。
(横溝亮一、FOCD-9088『伊福部昭 ギター・リュート作品集』解説書より)
管理人「次が箜篌歌ですね」
堀井友徳「そうです。その次がトッカータで、ギター曲はこの3曲しかありませんが、60年代の後半から連続して書かれています。[※踏歌(1967) 箜篌歌(1969) トッカータ(1970)]
それには訳があって、この時期、伊福部先生は管絃楽法を書いていましたので、資料参照のためあまりにオーケストラのスコアを見ている内に食傷ぎみになり、オーケストラの曲を書きたくなくなって、シンプルなギター曲を書いたのです」
(Webサイト『後の祭』、堀井友徳と管理人による座談会 第10回「伊福部ギター作品、ソナタ、鞆の音、自作新作など」より
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