Political Classical: Dai Fujikura’s Piano Concerto No. 4 “Akiko’s Piano”


As it happens the digital file of the performance of Dai Fujikura‘s Piano Concerto No. 4, “Akiko’s Piano” (2020) was kindly sent to me by the composer. As is clear from the album photo the CD release also contains other music performed at the concert which contained this work. So this review is focused only on the concerto.

It is worthy of noting the musical pairings on the disc which add to the melancholy of the concerto, the lovely but somber Cavatina from Beethoven’s String Quartet No. 13 in B flat major. The music is said to reflect Beethoven’s sadness over his unsuccessful love life. That is followed by a true classic of beauty and melancholy, Gustav Mahler’s Kindertotenlieder. The last piece is an arrangement (by Hideo Saito) of the famous Chaconne from Bach’s D minor solo violin Partita. This ethereal music presumably providing some abstract solace in this sad concert which also happened to occur during the height of the global Covid Pandemic which continues to exert a pall on life in these times.

This is the fourth of Fujikura’s concerti for piano and the first this writer has heard. The recording here is of the world premiere and the composer did the mastering. The pianist is Mami Hagiwara playing both the concert grand and the upright piano (Akiko’s piano). The Hiroshima Symphony Orchestra is led by Tatsuya Shimono. The piece is dedicated to the Hiroshima Symphony’s Peace and Music Ambassador, Martha Argerich.

The appellation, “Political Classical” is this writer’s own proposed genre and one which identifies a series of articles and reviews of music on this blog which I believe fits this definition. And this work fits nicely in that it memorializes a tragedy in the hopes of raising awareness and, hopefully, conveying a lesson and expressing a hope that this little story from history might not be repeated.

What story, you ask? Well the composer’s brief notes tell us that the upright Baldwin piano used only in the final coda of the work was the one used by a then 19 year old girl named Akiko. She was born in Los Angeles to Japanese parents and she and her family moved to Hiroshima when she was six years old. This upright piano was the instrument in her home upon which she practiced her lessons.

On August 6, 1945 the first atomic bomb was dropped on Hiroshima. Though injured, Akiko did make it back from her school to her parents’ home where she died in their arms from acute radiation poisoning. The piano survived but the budding young artist did not.

The concerto is modern but lyrical, a challenge to the soloist, and a fine display of the soloist’s virtuosity. It is cast in one movement with generally identifiable fast and slow sections. The orchestra is kept quite busy throughout until the end. The soloist plays on the concert grand until the last few minutes before the end when she plays on Akiko’s piano, a somber coda, leaving the orchestra and the grand piano behind with their tasks complete. The solo upright brings the work to a rather devastating ending sounding alone, evoking the memory of Akiko.

This is a new twist on the many pieces which have been written decrying the devastation of war and of the atomic bombings which ostensibly brought an end to the war. As the composer notes, there are many “Akikos” in many wars and this work is concerned with the hope that there will be no more.

It is a beautiful concerto, a major addition to Fujikura’s oeuvre and one that moves this writer to want to hear more of this modern Japanese master composer. The music does not appear to have any other obvious references other than the story and the metaphorical use of the upright piano. It is a serious work but one that will forever represent grief at the injustices children suffer at the hands of world politics.

Hiroshima After the Fact


English: Photo of Polish composer, Krzysztof P...

English: Photo of Polish composer, Krzysztof Penderecki (Photo credit: Wikipedia)

Krzysztof Penderecki’s ‘Threnody to the Victims of Hiroshima’ was an experiment in extended techniques for string instruments and the use of tone clusters written in unconventional musical notation using specialized symbols for the extended techniques and marking time in seconds rather than a tempo and metric divisions. It is scored for 52 solo strings which play sounds, not melodies for the indicated durations in the score.

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It was written in 1959 and was originally titled, ‘8’ 37″‘ perhaps a reference to John Cage’s ‘4’ 33″‘ of 1952. The composer had just won prizes for three works (Strophen, Psalms of David and Emanations) at the Warsaw Autumn Festival earlier that year. The Threnody effectively launched his career as a composer.

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Penderecki states that he simply changed his mind about the title and decided to dedicate it as “Threnody for the Victims of Hiroshima”, a title which was certainly topical in the Cold War paranoia of the times about nuclear holocaust. It is under that title that the piece has received numerous performances and recordings. It was used briefly in the film, ‘The Lives of Men’.

Penderecki’s music has been used in films such as ‘The Exorcist’ (which first introduced me to this composer), ‘The Shining’ and ‘Shutter Island’ among others. But the sound world or sonic signature of his work has been very influential.

He has not been largely political in his musical output but the ‘Lacrimosa’ (1980 later incorporated into the ‘Polish Requiem’, 1980-2005) was commissioned in commemoration of the Solidarity struggles which signaled the end of communist rule in Poland. His composition, ‘Dies Irae’ (1967) has been subtitled the ‘Auschwitz Oratorio’ and is dedicated to the victims of the infamous Nazi death camp.