573457bk Fukuda2:570034bk Hasse 23/10/15 9:37 PM Page 4

Toshio Hosokawa studied composition with Isang Yun in Thus we hear instances of microtonal intonation with the
Berlin (1976-82) and in Freiburg (1983-6) with Klaus Huber string being inflected to create unexpected colours. The
and Brian Fernyhough. From the 1980s onwards he has composer also employs delicate harmonics to suggest the
been awarded a number of prestigious composition prizes ethereal effects of moonlight. In the second half of the piece
including the Otaka Prize (1987) and the 39th Suntory Music repeated scale fragments are to be played ʻfreely, like the
Award (2007). Hosokawa has served as composer-in- murmur of a streamʼ.
residence at the Tokyo Symphony Orchestra since 1998
and in 2004 became guest professor at Tokyo College of
Dream Path uses sequences of isolated chords very
slowly arpeggiated, with occasional harmonics, to build up an Japanese
Music. He was elected as a member of the Academy of Arts, atmosphere of dreaming and sleeping, perhaps bringing to
Berlin in 2001.
His works include orchestral, chamber, and vocal music,
mind the gentle intensity of Brittenʼs Nocturnal after John
Dowland.
Guitar Music • 2
as well as film scores, solo instrumental pieces and Finally we have settings of two Japanese songs,
compositions for Japanese instruments. In 2007, Hosakawa Komoriuta (Lullaby) and Sakura (Cherry Blossom). Both Toru
wrote a new concerto, Voyage IX, Awakening, for guitar and songs were dedicated to the Finnish guitarist, Markus
strings, with percussion.
Serenade (2003) was commissioned by the Finnish
Hochuli, who gave the first performance at the Takefu
International Music Festival, Japan in 2004. Once more
TAKEMITSU
Broadcasting Corporation and Timo Korhonen, the dedicatee
who gave the first performance at Musica Nova Helsinki on
traditional aesthetic aspects of the music of Japan are
brought into the sphere of the classical guitar with subtlety Hiroshi
7th March 2003. (In the original score normal tuning is used.
But Shin-ichi Fukuda has, with the composerʼs permission,
introduced his own tuning (E-A-D flat-G-e) for this recording.)
and perfect appropriateness.

Graham Wade
HARA
The first movement, In the Moonlight, owes much to
concepts of traditional Japanese music, including the
Grateful acknowledgement is due to Maestro Shin-ichi Fukuda
for invaluable information, advice, and comments and to Daniel Akira
echoing sonorities of plucked chordophones such as the
biwa and shamisen (types of lute), and the koto (long zither).
Quinnʼs dissertation, Guitar Music by Japanese Composers
(May, 2003). MIYOSHI
Shin-ichi Fukuda Shin-ichiro
Born in 1955 in Osaka, Shin-ichi Fukuda started playing the classical guitar at the age of eleven under Tatsuya Saitoh
(1942-2006). In 1977 he moved to Paris and continued his music training at the Ecole Normale de la Musique, under Alberto
Ponce, continuing his studies at the Accademia Chigiana in Siena with a scholarship, under Oscar Ghiglia during 1980-
IKEBE
1984. After his diplomas in Paris and Siena, Fukuda was awarded many important competition prizes, including First Prize
in the 23rd Paris International Guitar Competition, organized by Radio France. Since then, for more than thirty years, he Toshio
has pursued a brilliant concert carrier as a leading guitarist, performing solo recitals, concertos with orchestra, and
chamber music in major cities around the world. Fukuda is also a highly gifted and enthusiastic teacher and has trained
many pupils who have gone on to gain the highest honours; these include the young Japanese guitarists, Kaori Muraji,
HOSOKAWA
Daisuke Suzuki and Yasuji Ohagi, among others. He is a guest professor at Shanghai Conservatory (China), Osaka College C
of Music and Hiroshimaʼs Elisabeth University of Music and the Showa Music University. The distinguished Cuban
composer Leo Brouwer dedicated to him his Concerto de Requiem – In memoriam Takemitsu II for guitar and orchestra.
Fukuda was awarded the Japanese government 2011 Art Encouragement Music Prize and has more than eighty recordings
to his credit.
Shin-ichi M

Shin-ichi Fukuda wishes to extend special thanks to Mr Masaki Sakurai of Kohno Guitar Manufucturing, Mr Yoshi Hayashi
Fukuda Y
of String Instrument Expert Co, Ltd. and Mr Bernard Maillot of Savarez.
K
8.573457 4
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Japanese Guitar Music • 2 of immediate sadness, the recalling of happy memories, and at the Tokyo National University of Fine Arts and Music,
then back to the present sorrow, the established structure of obtaining a masterʼs degree in 1971 and is a professor at
Toru Takemitsu (1930–1996): A Song of Early Spring (original song by Akira Nakada, 1886–1931) a funeral piece. the Tokyo College of Music. Throughout his career he has
Hiroshi Hara (1933–2002): Canto funèbre Akira Miyoshi, born in Tokyo, had piano and composition been the recipient of many honours and awards including
Akira Miyoshi (1933–2013): Epitase • Cinq Poèmes pour la guitare lessons from an early age, and on entering primary school the Purple Ribbon Medal. The Yokohama Cultural Prize,
studied the violin with Kozaburo Hirai. In 1951 he entered International Emmy Awards, and the 38th and 47th Otaka
Shin-ichiro Ikebe (b. 1943): A Guitar Bears and She Keeps Hoping • Theme of Katja the Department of French Literature at Tokyo University. As Prize.
Toshio Hosokawa (b. 1955): Serenade • Two Japanese Folk Songs a student he was awarded First Prize in the 22nd Japan A Guitar Bears and She Keeps Hoping was the result of
Music Competition in 1953 for Sonata and won several other visits to the site of the concentration camps at Auschwitz and
Japan has for decades enjoyed a flourishing culture of the intensity by concentrated sound clusters and fragments with awards at this time. Miyoshi went to France in 1955 to study Terezin. In Terezin the composer discovered a handmade
classical guitar including excellent performers, composers pauses of silence in between the phrases. The guitar is the composition at the Conservatoire National Supérieur de violin which brought home to him how even in unimaginably
for the instrument, and makers of guitars, as well as leading ideal instrument for such a blend of quietness and sonority. Musique, Paris, studying with Henri Challan and Raymond cruel situations people long for music. This work was
periodicals and publishers willing to invest in compositions. Akira Nakada, composer and organist, was for several Gallois Montblanc. He was strongly influenced during these commissioned by Tokorozawa Civic Cultural Centre MUSE
Many westerners are aware of the achievements of Toru years professor of theory at the Tokyo Music School, the years by the work of Henri Dutillieux. and first performed by Daisuke Suzuki in December 2007.
Takemitsu, one of the worldʼs leading twentieth-century countryʼs first academy (founded 1887), renowned for its Following his return to Tokyo in 1957, he continued The work begins marked ʻslow, tempo rubatoʼ, with a
composers for guitar. But this selection by Shin-ichi Fukuda, teaching of compositional styles in Western music. Nakada studies at Tokyo University, graduating in 1960. In the next reflective, emotional episode which gives way to a middle
one of Japanʼs most eminent concert guitarists, reveals the composed a number of songs but A Song of Early Spring few years he composed symphonic and orchestral works, section, a little faster (tempo rubato). The composition returns
amazing flair for the instrument demonstrated by other has acquired a truly international popularity. songs and choral music. From 1974 to 1995 he was president to its first tempo with a brief recapitulation of some of the
distinguished composers. Toru Takemitsu (1930-1996) arranged this theme for of Toho Gakuen University, becoming a member of the opening theme. But this progresses into a dramatic section
Modern Japanese history originated in the Meiji guitar for his anthology of 12 Songs for Guitar (published Japanese Academy of Arts in 1999, the same year as he with repeated pedal notes and accompanying fragments of
Restoration of 1868, when a constitutional monarchy was 1977). Takemitsuʼs unique harmonic ingenuity enriched presented his first opera. In November 2001, Akira Miyoshi melody. The texture steadily becomes more complex with
founded after centuries of feudalism. Western influences Nakadaʼs exquisite melody with a truly contemporary setting. was honoured with the Cultural Merits Award. passages of two part harmony in quasi-fugal style. The coda
became welcome and in this context interest in the guitar Hiroshi Hara graduated in 1957 from Tokyo University of Epitase, dedicated to Mikio Hoshido (1947-1996), who includes elements of the opening theme though constantly
gradually increased. The pioneering guitarists were Morishige the Arts (formed in 1949 by the merger of the Tokyo School gave the first performance in 1975, was the companion to a moving away from it after a few phrases. A panoply of loud
Takei (1890-1949), Yoshie Okawara (1903-1935), and of Fine Arts and the Tokyo Music School). Moving to France composition for guitar duo entitled Protase, meaning triplet chords concludes the work.
Takayuki Oguri (1909-1944), who composed their own music in 1961, Hara studied at the Conservatoire National Supérieur continuation (Epitase being ʻcontinuation with changeʼ). In The music for the film Spy Sorge, directed by Masahiro
and gave recitals. Their work was helped by Segoviaʼs de Musique, Paris, returning to Japan in 1964. Between 1990 his dissertation, Guitar Music by Japanese Composers Shinoda, was composed in 2003, the solo guitar being
concert tours of Japan from 1929. and 1998 he was professor at Nagasaki National University. (Indiana University, 2003), Daniel Quinn comments that in entrusted with two pieces, an arrangement of LʼInternationale,
After the Second World War the classical guitar gained In 1968 the Seikei University Guitar Society requested Epitase ʻchange is symbolic for crisisʼ, and emphasises the and the original composition Theme of Katja for Sorgeʼs tragic
ever more popularity from the 1950s onwards. The great Hiroshi Hara to write a trio for them, and it was at this point sheer compactness of Miyoshiʼs style with its eleven tempo wife, Katja. The guitar part in the film was played by Daisuke
luthier, Masaru Kohno (1926-1998) established an that the composerʼs involvement in guitar composition began. changes on the first page alone ranging from molto vivo to Suzuki, a former pupil of Shin-ichi Fukuda.
international reputation and was rewarded with huge He did not play the guitar but as the commission was for a lento. Harmonically the work creates ingenious chordal The film is about Richard Sorge, a Soviet spy during the
demand for his guitars while Akinobu Matsuda (b. 1933) trio Hara undertook the work, writing in a monophonic style sonorities due to the tuning of the lowest string of the guitar Second World War, working undercover in Germany and
studied with Segovia and gave recitals in Europe. From the using the guitar for both melody and harmony. The piece to E flat (instead of the customary E). Japan. In September 1941 he informed the Soviet military
1960s guitarists such as Julian Bream, John Williams, and was premiered as a Suite with four movements, Canto Cinq poèmes pour la guitare, written some ten years that Japan did not intend to attack Russia thus enabling the
Narciso Yepes regularly performed in Tokyo and other funèbre being the third movement. The following year In 1969 later than Epitase, are in a very different style, providing Soviet Union to transfer tanks and aircraft to the German
leading cities. Canto funèbre was published as a solo work arranged by lyrical melodies influenced by the French school. The five front during the battle for Moscow. A month later Sorge was
This recording reveals the sheer variety of the guitar in the the composer, dedicated to Seiko Obara (1969). pieces are based on the original Haiku pattern of Japanese arrested by the Japanese for espionage, tortured, and
creativity of Japanese composers. Some compositions Hiroshi Hara described the composition as a song in three verse with each phrase synchronized to the Haiku syllabic eventually executed in November 1944.
represent one way or another the principles of Ma, an parts sung as a funeral prayer. The first part is in B minor, measure of 5-7-5. Theme of Katja opens with a poignant theme, played
everyday word from Japanese indicating space and time. followed by a middle episode in D major, developing into A Shin-ichiro Ikebe, born in Mito City, Japan, has written with great freedom and expressiveness. After this statement
Composers within Japanese culture instinctively use silence major for the ending. During the recapitulation ʻthe motion scores for many films as well as a considerable output of of the melody a slightly faster episode in gentle arpeggios is
between sounds to communicate a sense of structure and stops as if one is jerked back into reality, then begins again orchestral works, some thirty operas, cantatas and musicals, heard, to be repeated once more after further repetitions of
significant meaning. Often their economy with notes achieves to take steps forwardʼ. This follows the emotional sequence and a number of Japanese instrumental pieces. He studied the main tune.
8.573457 2 3 8.573457
573457bk Fukuda2:570034bk Hasse 23/10/15 9:37 PM Page 2

Japanese Guitar Music • 2 of immediate sadness, the recalling of happy memories, and at the Tokyo National University of Fine Arts and Music,
then back to the present sorrow, the established structure of obtaining a masterʼs degree in 1971 and is a professor at
Toru Takemitsu (1930–1996): A Song of Early Spring (original song by Akira Nakada, 1886–1931) a funeral piece. the Tokyo College of Music. Throughout his career he has
Hiroshi Hara (1933–2002): Canto funèbre Akira Miyoshi, born in Tokyo, had piano and composition been the recipient of many honours and awards including
Akira Miyoshi (1933–2013): Epitase • Cinq Poèmes pour la guitare lessons from an early age, and on entering primary school the Purple Ribbon Medal. The Yokohama Cultural Prize,
studied the violin with Kozaburo Hirai. In 1951 he entered International Emmy Awards, and the 38th and 47th Otaka
Shin-ichiro Ikebe (b. 1943): A Guitar Bears and She Keeps Hoping • Theme of Katja the Department of French Literature at Tokyo University. As Prize.
Toshio Hosokawa (b. 1955): Serenade • Two Japanese Folk Songs a student he was awarded First Prize in the 22nd Japan A Guitar Bears and She Keeps Hoping was the result of
Music Competition in 1953 for Sonata and won several other visits to the site of the concentration camps at Auschwitz and
Japan has for decades enjoyed a flourishing culture of the intensity by concentrated sound clusters and fragments with awards at this time. Miyoshi went to France in 1955 to study Terezin. In Terezin the composer discovered a handmade
classical guitar including excellent performers, composers pauses of silence in between the phrases. The guitar is the composition at the Conservatoire National Supérieur de violin which brought home to him how even in unimaginably
for the instrument, and makers of guitars, as well as leading ideal instrument for such a blend of quietness and sonority. Musique, Paris, studying with Henri Challan and Raymond cruel situations people long for music. This work was
periodicals and publishers willing to invest in compositions. Akira Nakada, composer and organist, was for several Gallois Montblanc. He was strongly influenced during these commissioned by Tokorozawa Civic Cultural Centre MUSE
Many westerners are aware of the achievements of Toru years professor of theory at the Tokyo Music School, the years by the work of Henri Dutillieux. and first performed by Daisuke Suzuki in December 2007.
Takemitsu, one of the worldʼs leading twentieth-century countryʼs first academy (founded 1887), renowned for its Following his return to Tokyo in 1957, he continued The work begins marked ʻslow, tempo rubatoʼ, with a
composers for guitar. But this selection by Shin-ichi Fukuda, teaching of compositional styles in Western music. Nakada studies at Tokyo University, graduating in 1960. In the next reflective, emotional episode which gives way to a middle
one of Japanʼs most eminent concert guitarists, reveals the composed a number of songs but A Song of Early Spring few years he composed symphonic and orchestral works, section, a little faster (tempo rubato). The composition returns
amazing flair for the instrument demonstrated by other has acquired a truly international popularity. songs and choral music. From 1974 to 1995 he was president to its first tempo with a brief recapitulation of some of the
distinguished composers. Toru Takemitsu (1930-1996) arranged this theme for of Toho Gakuen University, becoming a member of the opening theme. But this progresses into a dramatic section
Modern Japanese history originated in the Meiji guitar for his anthology of 12 Songs for Guitar (published Japanese Academy of Arts in 1999, the same year as he with repeated pedal notes and accompanying fragments of
Restoration of 1868, when a constitutional monarchy was 1977). Takemitsuʼs unique harmonic ingenuity enriched presented his first opera. In November 2001, Akira Miyoshi melody. The texture steadily becomes more complex with
founded after centuries of feudalism. Western influences Nakadaʼs exquisite melody with a truly contemporary setting. was honoured with the Cultural Merits Award. passages of two part harmony in quasi-fugal style. The coda
became welcome and in this context interest in the guitar Hiroshi Hara graduated in 1957 from Tokyo University of Epitase, dedicated to Mikio Hoshido (1947-1996), who includes elements of the opening theme though constantly
gradually increased. The pioneering guitarists were Morishige the Arts (formed in 1949 by the merger of the Tokyo School gave the first performance in 1975, was the companion to a moving away from it after a few phrases. A panoply of loud
Takei (1890-1949), Yoshie Okawara (1903-1935), and of Fine Arts and the Tokyo Music School). Moving to France composition for guitar duo entitled Protase, meaning triplet chords concludes the work.
Takayuki Oguri (1909-1944), who composed their own music in 1961, Hara studied at the Conservatoire National Supérieur continuation (Epitase being ʻcontinuation with changeʼ). In The music for the film Spy Sorge, directed by Masahiro
and gave recitals. Their work was helped by Segoviaʼs de Musique, Paris, returning to Japan in 1964. Between 1990 his dissertation, Guitar Music by Japanese Composers Shinoda, was composed in 2003, the solo guitar being
concert tours of Japan from 1929. and 1998 he was professor at Nagasaki National University. (Indiana University, 2003), Daniel Quinn comments that in entrusted with two pieces, an arrangement of LʼInternationale,
After the Second World War the classical guitar gained In 1968 the Seikei University Guitar Society requested Epitase ʻchange is symbolic for crisisʼ, and emphasises the and the original composition Theme of Katja for Sorgeʼs tragic
ever more popularity from the 1950s onwards. The great Hiroshi Hara to write a trio for them, and it was at this point sheer compactness of Miyoshiʼs style with its eleven tempo wife, Katja. The guitar part in the film was played by Daisuke
luthier, Masaru Kohno (1926-1998) established an that the composerʼs involvement in guitar composition began. changes on the first page alone ranging from molto vivo to Suzuki, a former pupil of Shin-ichi Fukuda.
international reputation and was rewarded with huge He did not play the guitar but as the commission was for a lento. Harmonically the work creates ingenious chordal The film is about Richard Sorge, a Soviet spy during the
demand for his guitars while Akinobu Matsuda (b. 1933) trio Hara undertook the work, writing in a monophonic style sonorities due to the tuning of the lowest string of the guitar Second World War, working undercover in Germany and
studied with Segovia and gave recitals in Europe. From the using the guitar for both melody and harmony. The piece to E flat (instead of the customary E). Japan. In September 1941 he informed the Soviet military
1960s guitarists such as Julian Bream, John Williams, and was premiered as a Suite with four movements, Canto Cinq poèmes pour la guitare, written some ten years that Japan did not intend to attack Russia thus enabling the
Narciso Yepes regularly performed in Tokyo and other funèbre being the third movement. The following year In 1969 later than Epitase, are in a very different style, providing Soviet Union to transfer tanks and aircraft to the German
leading cities. Canto funèbre was published as a solo work arranged by lyrical melodies influenced by the French school. The five front during the battle for Moscow. A month later Sorge was
This recording reveals the sheer variety of the guitar in the the composer, dedicated to Seiko Obara (1969). pieces are based on the original Haiku pattern of Japanese arrested by the Japanese for espionage, tortured, and
creativity of Japanese composers. Some compositions Hiroshi Hara described the composition as a song in three verse with each phrase synchronized to the Haiku syllabic eventually executed in November 1944.
represent one way or another the principles of Ma, an parts sung as a funeral prayer. The first part is in B minor, measure of 5-7-5. Theme of Katja opens with a poignant theme, played
everyday word from Japanese indicating space and time. followed by a middle episode in D major, developing into A Shin-ichiro Ikebe, born in Mito City, Japan, has written with great freedom and expressiveness. After this statement
Composers within Japanese culture instinctively use silence major for the ending. During the recapitulation ʻthe motion scores for many films as well as a considerable output of of the melody a slightly faster episode in gentle arpeggios is
between sounds to communicate a sense of structure and stops as if one is jerked back into reality, then begins again orchestral works, some thirty operas, cantatas and musicals, heard, to be repeated once more after further repetitions of
significant meaning. Often their economy with notes achieves to take steps forwardʼ. This follows the emotional sequence and a number of Japanese instrumental pieces. He studied the main tune.
8.573457 2 3 8.573457
573457bk Fukuda2:570034bk Hasse 23/10/15 9:37 PM Page 4

Toshio Hosokawa studied composition with Isang Yun in Thus we hear instances of microtonal intonation with the
Berlin (1976-82) and in Freiburg (1983-6) with Klaus Huber string being inflected to create unexpected colours. The
and Brian Fernyhough. From the 1980s onwards he has composer also employs delicate harmonics to suggest the
been awarded a number of prestigious composition prizes ethereal effects of moonlight. In the second half of the piece
including the Otaka Prize (1987) and the 39th Suntory Music repeated scale fragments are to be played ʻfreely, like the
Award (2007). Hosokawa has served as composer-in- murmur of a streamʼ.
residence at the Tokyo Symphony Orchestra since 1998
and in 2004 became guest professor at Tokyo College of
Dream Path uses sequences of isolated chords very
slowly arpeggiated, with occasional harmonics, to build up an Japanese
Music. He was elected as a member of the Academy of Arts, atmosphere of dreaming and sleeping, perhaps bringing to
Berlin in 2001.
His works include orchestral, chamber, and vocal music,
mind the gentle intensity of Brittenʼs Nocturnal after John
Dowland.
Guitar Music • 2
as well as film scores, solo instrumental pieces and Finally we have settings of two Japanese songs,
compositions for Japanese instruments. In 2007, Hosakawa Komoriuta (Lullaby) and Sakura (Cherry Blossom). Both Toru
wrote a new concerto, Voyage IX, Awakening, for guitar and songs were dedicated to the Finnish guitarist, Markus
strings, with percussion.
Serenade (2003) was commissioned by the Finnish
Hochuli, who gave the first performance at the Takefu
International Music Festival, Japan in 2004. Once more
TAKEMITSU
Broadcasting Corporation and Timo Korhonen, the dedicatee
who gave the first performance at Musica Nova Helsinki on
traditional aesthetic aspects of the music of Japan are
brought into the sphere of the classical guitar with subtlety Hiroshi
7th March 2003. (In the original score normal tuning is used.
But Shin-ichi Fukuda has, with the composerʼs permission,
introduced his own tuning (E-A-D flat-G-e) for this recording.)
and perfect appropriateness.

Graham Wade
HARA
The first movement, In the Moonlight, owes much to
concepts of traditional Japanese music, including the
Grateful acknowledgement is due to Maestro Shin-ichi Fukuda
for invaluable information, advice, and comments and to Daniel Akira
echoing sonorities of plucked chordophones such as the
biwa and shamisen (types of lute), and the koto (long zither).
Quinnʼs dissertation, Guitar Music by Japanese Composers
(May, 2003). MIYOSHI
Shin-ichi Fukuda Shin-ichiro
Born in 1955 in Osaka, Shin-ichi Fukuda started playing the classical guitar at the age of eleven under Tatsuya Saitoh
(1942-2006). In 1977 he moved to Paris and continued his music training at the Ecole Normale de la Musique, under Alberto
Ponce, continuing his studies at the Accademia Chigiana in Siena with a scholarship, under Oscar Ghiglia during 1980-
IKEBE
1984. After his diplomas in Paris and Siena, Fukuda was awarded many important competition prizes, including First Prize
in the 23rd Paris International Guitar Competition, organized by Radio France. Since then, for more than thirty years, he Toshio
has pursued a brilliant concert carrier as a leading guitarist, performing solo recitals, concertos with orchestra, and
chamber music in major cities around the world. Fukuda is also a highly gifted and enthusiastic teacher and has trained
many pupils who have gone on to gain the highest honours; these include the young Japanese guitarists, Kaori Muraji,
HOSOKAWA
Daisuke Suzuki and Yasuji Ohagi, among others. He is a guest professor at Shanghai Conservatory (China), Osaka College C
of Music and Hiroshimaʼs Elisabeth University of Music and the Showa Music University. The distinguished Cuban
composer Leo Brouwer dedicated to him his Concerto de Requiem – In memoriam Takemitsu II for guitar and orchestra.
Fukuda was awarded the Japanese government 2011 Art Encouragement Music Prize and has more than eighty recordings
to his credit.
Shin-ichi M

Shin-ichi Fukuda wishes to extend special thanks to Mr Masaki Sakurai of Kohno Guitar Manufucturing, Mr Yoshi Hayashi
Fukuda Y
of String Instrument Expert Co, Ltd. and Mr Bernard Maillot of Savarez.
K
8.573457 4
G
U
Also available:
I
T
A
R

C
O 8.573024 8.573153

L
L
E
C
T
I 8.573308 8.573322

O
N
 NAXOS

NAXOS
The second volume in this series reveals once again the amazing flair that Japanese
composers have for the guitar. It also explores the ways in which the more traditional
aspects of the country’s music are brought into the sphere of the classical guitar with
variety, subtlety and richness. From Toru Takemitsu’s popular arrangement of Nakada’s A
Song of Early Spring through Akira Miyoshi’s lyrical Cinq Poèmes pour la guitare to Toshio 8.573457
Hosokawa’s evocative Serenade the listener encounters unexpected colours and textures as
Japanese Guitar Music • 2

Japanese Guitar Music • 2

DDD
well as evocations of the biwa and shamisen (types of lute) and the koto, a long zither.
Playing Time
Japanese Guitar Music • 2 61:00
Toru TAKEMITSU (1930–1996) Shin-ichiro IKEBE (b. 1943)
1 A Song of Early Spring (1977) 9 A Guitar Bears and She
(original 1913 song by Keeps Hoping (2007) 11:10
Akira Nakada, 1886–1931) 3:41 0 Theme of Katja (from the
Hiroshi HARA (1933–2002) film Spy Sorge) (2003) 3:47
2 Canto funèbre (1969) 6:18 Toshio HOSOKAWA (b. 1955)
Akira MIYOSHI (1933–2013) Serenade (2003) 13:52
3 Epitase (1975) 5:02 ! I. In the Moonlight 8:51
www.naxos.com
Made in Germany

Booklet notes in English

Naxos Rights US, Inc.
 & 훿 2016

@ II. Dream Path 4:59

Cinq Poèmes pour la guitare
(1985) 7:38 Two Japanese Folk Songs
4 I. Champs 1:44 (2003) 9:05
5 II. Sein 1:14 # Komoriuta (Lullaby) 3:14
6 III. Vers la fin d’été 1:15 $ Sakura (Cherry Blossom) 5:49
7 IV. Mandarine 1:52
8 V. En fuite 1:33
C
Shin-ichi Fukuda, Guitar
M
Recorded at St John Chrysostom Church, Newmarket, Ontario, Canada, 25–28 September 2014
8.573457

8.573457

Producers: Norbert Kraft, Bonnie Silver • Engineer: Norbert Kraft • Editor: Bonnie Silver
Booklet notes: Graham Wade • Publishers: Schott Music Co. Ltd (formerly Schott Japan) (1, 11–14); Y
Casa de la Guitarra, Tokyo (2); Zen-On Music Co. (3, 9, 10); Gendai Guitar (4–8)
Guitar by Masaki Sakurai (RF-Maestro model / 2014/ Tokyo) K
Cover photo: “Shin-ichi Fukuda under Sakura Trees” by Yayoi Arimoto