I have been creating works under the theme "Hokusai Impressions" for some time. Hokusai is the famous Ukiyo-e painter of the Edo period, Katsushika Hokusai.
Ukiyo-e is a unique style of Japanese ukiyo-e that depicts the world through color, balance, form, and above all, the use of color to highlight Japanese customs and manners. Debussy was inspired to write the symphonic poem "La Mer" after seeing "Fugaku Sanjurokkei (Thirty-six Views of Mount Fuji), Kanagawa Okinamiura" at the Paris Exposition at the end of the 19th century. Van Gogh also attempted to copy Ukiyo-e in his career.
The power of Ukiyo-e is to stimulate the imagination...I believe its legacy is a strong sense of originality. It is not the result of the culture of the common people of Edo, which was isolated from the rest of the world, but rather the fact that the Japanese people originally possessed the power to enhance their culture. I would like to go back in time to experience the Edo period, when this power was strongly apparent.
I, too, have created works under the theme of "Japanese originality," though I do not know of my success. I have the lofty goal of approaching the "originality" of the ukiyo-e paintings of Hokusai Katsushika, which I admire.
As for Dancing in the Wind, I was interested in creating the world of Sharaku's "Kabuki pictures" and "iki" for band. I started with the idea of creating an "imaginary Kabuki stage." In the end, I had wind floating in the air in my mind. That's how the title came about.
I believe that the expression and color of the piece changes considerably depending on how it is performed. I am very much looking forward to your various performances, stages, colors, and winds.
[Revised Edition]
Prior to publishing this revised edition, I made significant modifications to parts I felt needed enhancement as I observed numerous performances, especially performances of varied instrumentation. Therefore, the following changes have been made to the orchestration:
- More optional notes (cue notes) were added to accommodate small bands.
- The range has been expanded to create a broader sound in large ensembles.
- Increased tempo options.
[For small bands]
The optional parts shown in the score can be omitted, but are also included as a minimum.
Fl.1 / Cl.1&2 / A.Sax. / T.Sax. / Trp.1 / Hrn.1 / Trb.1 / Euph. / Tuba / Perc.
If the number of players is smaller, or if there are any missing parts, critical phrases may be moved to other instruments as needed.
Percussion must have a minimum of one player; it is preferable to have at least three, including Timpani and Mallets. Use the part for Percussion (opt.) if only one player is available.
(Yosuke Fukuda)
