- 日本語
- ENGLISH
SUZUKI, Teruaki鈴木輝昭（1958.2.16-）
PROLATIO pour Clarinette et 13 Instruments（1990）
プロラツィオ クラリネットと13楽器のための
- Instrumentation
- 2(II=picc).1(=eh).0.1-1.0.0.0-perc(1):mar/vib/chinese gongs/water gong-hp-pf-str(2.1.1.1)，solo cl
- Duration
- 11’30”
- Category
- Chamber (3+players)
- Premiere
- Ayako Oshima(cl)，Takahide Tanaka(fl)，Mari Masuda(fl)，Nobuyoshi Asama(ob)，Masayuki Okamoto(bn)，Osamu Takeuchi(hrn)，Eiko Ito(perc)，Mieko Inoue(hp)，Toshio Nakagawa(pf)，Sonoko Numata(vn)，Tomoshige Yamamoto(vn)，Yoshiko Morita(va)，Kazumasa Chomei(vc)，Shu Yoshida(cb)
- Description
-
The sounds played by the clarinet and the thirteen instruments demand extensive use of delicate tremolo. As this tremolo can be considered the primary inspiration behind the work，the tremoloes produced by instruments of varied articulation principles can，through their combinations and interweaving，evoke numerous perspectives and shadings.
The endeavor to induce changes in the vibrations，undulations，and luminosity created by sustained tremolo took its inspiration from the sounds of the higurashi，or evening cicada，in which changes are ceaselessly repeated through the duration of the sounds.
The radiant sound of the higurashi is an illusion that I have long pursued through sensory experience，a phantasm irresistibly and inevitably manifested in numerous works. This contemplation directed toward the higurashi has been elaborated into an image of abstract sound，providing direction to the acoustic space.
The thirteen instruments intertwine in a heterophony with its melody lead by the clarinet，mingling the light and shade of sonority.
Rather than taking on independence as a solo part，the solo clarinet leads the whole as the thread of a sound image played continuo，orchestrating an afferent fusion while animating the orchestral music in all directions.
The texture that results from breathing and from the intimate interconnection of solo and tutti generates undulations in the air and shapes a temporal tidal action.
(prolatio = a fourth stage of notation established in the quantitative system of the 14th-century ars nova style)