THE JAPANESE SUITE for String Orchestra（1998）

This is a new transcription [of the Japanese Suite for orchestra], specially prepared for Ensemble Endless of Tokyo College of Music. The original version was written for George Copeland, a distinctive pianist of Spanish origin and a close friend of Claude Debussy. Debussy was so deeply impressed by his performance that he went so far as to say he had never expected in his lifetime to hear his works interpreted with such deep understanding. They became close and even dined together at home. When I sent the piece to Copeland, he replied that he was resting because of his aching heel. Even though he enjoyed daily swims in the sea near Palma, he was eager to play the piece as soon as his foot recovered. However, shortly thereafter, the Spanish Civil War broke out, bringing our correspondence to an end. Later, in 1938, the piano version was premiered by Gino Gorini at the International Festival of Contemporary Music in Venice, but the score was subsequently lost during World War II. As for the transcriptions, there is already an orchestral version (1991), but I was somewhat hesitant to arrange it for string orchestra, as there seemed to be something essentially incompatible between its musical ideas and the characteristics of string instruments.
Meanwhile, quite unexpectedly, a CD of George Copeland’s performance was released by a label called Pearl last autumn. I found that the CD faithfully reproduced his recordings, which had completely captivated me over sixty years ago. I was deeply touched that his performance had not been forgotten. I felt as if I had suddenly returned to my childhood, because the vintage sounds of Mason and Hamlin were so nostalgic that they brought me to tears. While I was lost in such nostalgia, I unexpectedly received a transcription commission from a group of young college students. Seeing this as a coincidence, I decided to take on this transcription.
I emphasize traditional Japanese styles both in melody and in rhythm, which makes the playing style of the string instruments less orthodox and more reminiscent of gypsy violins. Hearing that now, after sixty years, my piece, written when I was young, will be played by young people, I am curious about how it will sound and have mixed, indescribable emotions.

Akira Ifukube (excerpt from the program of the premiere)
(Note from the publisher: The above text appears to contain inaccuracies, but we published it as originally written because the author is deceased.)