★ The English translation of the video commentary by the composer is as follows: I first heard Toshiro Mayuzumi's "Nirvana Symphony" when I was in junior high school (around 1970, about 50 years ago - half a century ago - more than 10 years after the premiere of "Nirvana Symphony"). I was overwhelmed by the enormity of it. I was happy to learn that Toshiro Mayuzumi's birthday is February 20, the same day as mine, and that the year of its premiere was my birth year (1958). The original form of this work had been roughly completed in my mind by the time I was in junior high school, and I had the main melody and simple accompaniment ready to be played on the piano. However, because I could not write music notation, it was left in my brain without taking shape. At first, I did not intend to make it into a symphony, but rather a small piece (tentatively named "Buddhist March") that would be an overture for a concert. Thanks to DTM (free composition software: Studio One Prime by Presonus), which I started in 2018 as a hobby in anticipation of retirement, I was finally able to upload the first version as Symphony No. 12 in 2020. However, the free software's built-in sound sources for male chorus and brass and woodwind were unsatisfactory, so I had no choice but to limit myself to a small-scale work for string orchestra and female chorus. However, we have recently purchased a paid sound source, the Presonus Symphonic Orchestra (PSO), and have been able to obtain generally satisfactory sound sources, and began the revision process on June 25, 2022. The main points of revision are as follows (1) The second movement for male (>female) chorus, timpani, and French horn was added. (2) The brass and woodwind parts were added to the last movement (the 4th movement = the former 3rd movement), and the timpani was also revised significantly to make it more exciting. (3) In the third movement (the former second movement), I added a gagaku-like sound with flute and oboe to give it a clean heavenly image (which also appears in the fourth movement). The revised version was finally completed on October 18, 2022. The completion of this symphony, 64 years after Toshiro Mayuzumi's "Nirvana Symphony," was completely untimely. This symphony is still an artless work with a lot of unison and a single tone even after the revision, but what I called "Nirvana Fantasy" in the first edition has been renamed "Nirvana Symphony" on this occasion, although it is the height of irreverence to be aware of such a great work and a masterpiece by Toshiro Mayuzumi. The structure of this work follows that of the first edition. It consists of four movements played in unbroken attacca (to be precise, the last note of the previous movement is connected to the following movement by overlapping the note of the following movement = glue style). Each movement has the same main melody and accompaniment, with the only difference being the instruments used between the movements. Each movement consists of three elements (musical ideas), A (the image of Buddhist practice and progress), B (the image of heaven), and C (the image of further Buddhist practice), and each movement is performed with different instruments and accompaniment. Roughly speaking, the structure of this symphony is as follows. I [A → B → C] → II [A' → B' → C''] → III [A'' → B'' → C''] → IV [A''' → B''' → C''']. However, movements I-IV all have the same melodic structure, so to be precise, the structure is [I → I' → I'' → I''']. I (= Mov. I): mainly composed of a solid string ensemble I' (= Mov. II): mainly composed of a brave male chorus I''' = (Mov. III): mainly composed of a bewitching female chorus. I''' (= Mov. IV): lively brass instruments are remarkable, making a festive atmosphere Moreover, interestingly, the following images are assigned to each movement. I: Images of sutra reading and Buddhist practice II: Images of Buddhist practice and progress III: Images of Kalavinka and Shangri-La IV: Image of waking up from the dream of Shangri-La and further Buddhist practice with progress The images in each movement are assigned images that overlap with the components A, B, and C of each movement. Thus, the whole story begins with a solemn recitation of the sutras (Mov. I), then the Buddhist practice becomes more and more intense (Mov. II), and suddenly one reaches a state of nirvana (Mov. III), only to wake up and realize that one is just enjoying oneself in the state of ecstasy and pleasure (Mov. IV), and then one realizes that the state of nirvana is in this unceasing practice. However, I did not compose this symphony with such a storyline in mind, but only imagined such a story secondarily when I heard my own finished work. ★ Translated with www.DeepL.com/Translator (free version) and modified by me
★ The English translation of the video commentary by the composer is as follows:
I first heard Toshiro Mayuzumi's "Nirvana Symphony" when I was in junior high school (around 1970, about 50 years ago - half a century ago - more than 10 years after the premiere of "Nirvana Symphony").
I was overwhelmed by the enormity of it.
I was happy to learn that Toshiro Mayuzumi's birthday is February 20, the same day as mine, and that the year of its premiere was my birth year (1958).
The original form of this work had been roughly completed in my mind by the time I was in junior high school, and I had the main melody and simple accompaniment ready to be played on the piano.
However, because I could not write music notation, it was left in my brain without taking shape.
At first, I did not intend to make it into a symphony, but rather a small piece (tentatively named "Buddhist March") that would be an overture for a concert.
Thanks to DTM (free composition software: Studio One Prime by Presonus), which I started in 2018 as a hobby in anticipation of retirement, I was finally able to upload the first version as Symphony No. 12 in 2020.
However, the free software's built-in sound sources for male chorus and brass and woodwind were unsatisfactory, so I had no choice but to limit myself to a small-scale work for string orchestra and female chorus.
However, we have recently purchased a paid sound source, the Presonus Symphonic Orchestra (PSO), and have been able to obtain generally satisfactory sound sources, and began the revision process on June 25, 2022.
The main points of revision are as follows
(1) The second movement for male (>female) chorus, timpani, and French horn was added.
(2) The brass and woodwind parts were added to the last movement (the 4th movement = the former 3rd movement), and the timpani was also revised significantly to make it more exciting.
(3) In the third movement (the former second movement), I added a gagaku-like sound with flute and oboe to give it a clean heavenly image (which also appears in the fourth movement).
The revised version was finally completed on October 18, 2022.
The completion of this symphony, 64 years after Toshiro Mayuzumi's "Nirvana Symphony," was completely untimely.
This symphony is still an artless work with a lot of unison and a single tone even after the revision, but what I called "Nirvana Fantasy" in the first edition has been renamed "Nirvana Symphony" on this occasion, although it is the height of irreverence to be aware of such a great work and a masterpiece by Toshiro Mayuzumi.
The structure of this work follows that of the first edition. It consists of four movements played in unbroken attacca (to be precise, the last note of the previous movement is connected to the following movement by overlapping the note of the following movement = glue style).
Each movement has the same main melody and accompaniment, with the only difference being the instruments used between the movements.
Each movement consists of three elements (musical ideas), A (the image of Buddhist practice and progress), B (the image of heaven), and C (the image of further Buddhist practice), and each movement is performed with different instruments and accompaniment.
Roughly speaking, the structure of this symphony is as follows.
I [A → B → C] → II [A' → B' → C''] → III [A'' → B'' → C''] → IV [A''' → B''' → C'''].
However, movements I-IV all have the same melodic structure, so to be precise, the structure is [I → I' → I'' → I'''].
I (= Mov. I): mainly composed of a solid string ensemble
I' (= Mov. II): mainly composed of a brave male chorus
I''' = (Mov. III): mainly composed of a bewitching female chorus.
I''' (= Mov. IV): lively brass instruments are remarkable, making a festive atmosphere
Moreover, interestingly, the following images are assigned to each movement.
I: Images of sutra reading and Buddhist practice
II: Images of Buddhist practice and progress
III: Images of Kalavinka and Shangri-La
IV: Image of waking up from the dream of Shangri-La and further Buddhist practice with progress
The images in each movement are assigned images that overlap with the components A, B, and C of each movement.
Thus, the whole story begins with a solemn recitation of the sutras (Mov. I), then the Buddhist practice becomes more and more intense (Mov. II), and suddenly one reaches a state of nirvana (Mov. III), only to wake up and realize that one is just enjoying oneself in the state of ecstasy and pleasure (Mov. IV), and then one realizes that the state of nirvana is in this unceasing practice. However, I did not compose this symphony with such a storyline in mind, but only imagined such a story secondarily when I heard my own finished work.
★ Translated with www.DeepL.com/Translator (free version) and modified by me
お久しぶりです👏🥂心に響く力強い作品🎼こんなの作れるの凄いです♥🎶🎸
トルストイ様、お久しぶりです。
ご視聴と温かいコメント有難うございます。
すごくお褒め頂いてとても嬉しいです (^^♪
Muy buena composición Makoto. Saludos😊😊👍👍15
Thank you my friend !!!
Your words encourages me very much !!!
こんにちは。
まるで映画館の椅子に座って、さてこれから別世界に行くよー、みたいな
ワクワクするというか、
不思議な次元へ旅するような
そんな気がしました💐
Momoko さん、ご視聴と温かいコメント有難うございます。
Momoko さんには「別世界」・「不思議な次元」への旅のような感覚をお楽しみいただけましたようで、実に作曲者冥利に尽きます (^^♪
じっくりと聴かせてもらいました心がゆったりします😊👍👍
[L≒R] さま、いつもご視聴と温かいコメントありがとうございます。
お心をゆったりさせることができて良かったです (^^♪
はい、シンフォニーサウンドで天に昇った
気分になりました✨✨✨✨✨✨✨
Terrific as always ✨💎✨
Thank you again my friend !!!!
Hello🙋♀ 🤝
I watch it slowly 。。。🎵😍 素晴らしいビデオ共有していただきありがとうございます 👍9🌹
Good luck friend🙏
紅葉談壇さま、いつもご視聴と温かいコメント有難うございます。励まされます (^^♪
Muy buena composición Makoto. Saludos😊😊👍👍16
Thank you for your kind comment !!!
Thanks my friend !!!
⭐️⭐️⭐️⭐️⭐️
Thank you my friend !!!!
土井田 さんの作品と音には
荘厳さと共に、前へ向かう力というか、
ある意味爽やかさというか、
そういうものを感じるのがとても好きです。
こういうジャンルに詳しくはないけれど、いつもわくわくして聴かせていただいています。
Mary Ann さん、ご視聴と温かいコメント有難うございます。
素敵なオリジナル曲と素晴らしいピアノ演奏＆歌唱にいつもわくわくさせていただいている Mary Ann さんから、こんなにも素敵なお褒めのお言葉を頂戴し光栄かつ大感激です (^^♪
終盤の高みに登っていく感じが特に印象に残りました😃
Satoh-Suzuki Takahashi-Tanaka さま、いつもご視聴と温かいコメントありがとうございます。
「終盤の高みに登っていく感じ」・・・あ、自分ではハッキリ言葉に出来ませんでしたが、言われてみれば確かにそんな感じがありますね (^^♪
そんな風に感じていただけとても嬉しいです！
ありがとうございます 😊
[A → B → C] という１つのユニットから（主旋律と主伴奏はほとんどそのままで）使用楽器や追加伴奏の異なる４つの部分を作っておいて、それを単純に連結すると言う「四部分単純連結形式」による１楽章制の交響曲・・・というのが、私のこの交響曲の捉え方です。
それにしても主旋律＋主伴奏をほとんど変えずに、使用楽器と追加伴奏を変えるだけで、このように各部分がまるで異なった表情を持つのは驚きです。そして四者四様ながら、主旋律＋主伴奏は共通ですから自ずと曲全体の統一感が得られると言うのが非常に興味深いです。
男声合唱（斉唱）と木管・金管が加わって重厚さが増しましたね。
この曲の原形（楽想）を1970年頃に着想されていたとのことで、もしその頃からDTMがお出来になっていたら（或いは作曲技術がおありであったら）1980年頃の発表になっていたかも知れないですね・・・当時なら十分に新しかったかも知れませんが、無論、今だから古い・・・と言う訳ではありません。逆に黛敏郎の「涅槃交響曲」や芥川也寸志の「エローラ交響曲」（こちらも1958年の作）に時間的に近すぎて、かえって模倣感・類想感が強くなっていたかも知れませんし・・・。
それにしても着想から半世紀近くも曲を温めてこられたとは恐れ入ります。
田沼さん、ご視聴と温かいコメント有難うございます。
「四部分単純連結形式」は、もともと即興交響曲や抽象音楽などの自作の一部の構造（形式）に対して私が提唱した用語なのですが、それを使っての御評、これは一本取られました～～(笑)
「四部分単純連結形式による一楽章制の交響曲」とは、まさに仰せの通りです。
1980年頃に発表しておれば、新しさはあったかもしれないが、逆に「涅槃交響曲」や「エローラ交響曲」の発表年（いずれも1958年＝私の誕生年）に時間的に近すぎて、模倣感・類想感（二番煎じ感）・・・無論、足元にも及びませんが・・・が強くなっていたかも知れない・・・これまた、仰せの通りかも知れませんね。
だからと言って、今ならほとぼりが冷めてちょうど良い・・・かと言えば、そうでもないところが辛いですね(笑)
まぁ、時空を超えて、両作への憧れとリスペクトを込めた作品とうことでご容赦賜りますよう (^^♪
音源の購入されたとのこと、おめでとうございます。
というのは、作曲家が頭の中でどんな素晴らしい音楽をイメージしていても、
イメージしている時点では他の人にはわかりません。
適切に形になって初めてその真の姿が伝わるからです。
素晴らしい音源を使うと効果は顕著です。
そうした演奏を聴いて初めて
「こういう曲だったんだ」とか
「演奏してみようか」とか
思う方もいるかもしれないです。
この曲も堂々とした土井田メロディが曲を貫いていますね。
男性合唱(斉唱)のところは、僧の読経の声のようでもありますが、
女性斉唱なども続きますから、
単に人々の根底に共通にある思いのように捉えてもいいでのは、と思いました。
音色・音高の変化で本曲はうまく成功していると思います。
自分の頭の中で思い描く音楽を現実のものにするためには
それなりの技術が必要ですが、技術を自分のモノにするのはなかなか大変です。それに比べますと優良音源を自分のモノにするのはお金で解決でき、容易です（それでもまだ使いこなせていませんが・・・）ので、まずはそこから解決の糸口を見つけようと思いました。
これまで外部音源の導入に躊躇していたのは、経済的な問題からでなく、導入によってPC（安物のPCですので・・・）の容量を圧迫してこれまで出来ていた作曲操作に支障を来す可能性を恐れていたからです（実際、いろいろな操作がかなり遅くなったような気がします・・・ケチらずに最初から高価なPCを買えば良かったのかも知れません）。
旧版では、適切な男声コーラス、金管・木管の音源がなかったものですから、自分の理想像には到底及ばないものになってしまいましたが、これでかなり理想に近づきました。
「音色・音高の変化で本曲はうまく成功していると思います」と過分のお褒めのお言葉を頂戴し、とても嬉しく存じます。
詳しい説明をありがとうございます。
興味深く読ませていただきました。
パソコンの動作の遅さはメモリが増設できれば解決できることがあります。
tryしてみる価値があると思います。
@@afksxさま、有難うございます。
メモリ増設・・・私はメカに弱いのでダメですが、親戚に詳しい人がいますので、お願いしてやってもらいます・・・と、何事も他力本願な私 (^^♪
作曲も人に頼めると良いのですが・・・これは冗談です(笑)
さっそく聴かせていただきました😊音源を導入されたようでおめでとうごさいます🎉この曲の読経的な主題が以前の版でも特徴的でカッコいいと感じておりましたし、さらに鮮やかな印象となったと思います👍
yoshihiro さま、ご視聴と温かいコメント有難うございます。
旧版の方にも素敵なコメントいただいておりましたね。
やはり音源は重要ですね。
旧版と聴き比べもしていただき感激です (^^♪