Toro nagashi (Bird, Peter)

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 Computer-generated audio (no words)
#167693 - 6.50MB - 7:05 -  0.0/10 2 4 6 8 10 (0) - - !N/!N/!N - 98x

MP3 file (audio)
Bird, Peter (2011/12/31)

Performers:

(Sibelius)

Publisher Info.:

Los Angeles: Peter Bird, n.d.(2004-13).

Copyright:

Creative Commons Attribution Share Alike 3.0 [tag/del]

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Sheet Music

Scores

 choral score, text, and piano part
#99356 - 0.23MB, 22 pp. -  0.0/10 2 4 6 8 10 (0- !N/!N/!N - 433x

PDF typeset by Peter Bird
Peter Bird (2011/4/17)

PMLP204067-Toro nagashi.pdf
Publisher Info.:

Los Angeles: Peter Bird, 2011.

Copyright:

Creative Commons Attribution Share Alike 3.0 [tag/del]

Misc. Notes:

Piano accompaniment also included as separate part

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General Information

Work Title Toro nagashi (Lantern-floating)
Alternative Title
Composer Bird, Peter
Opus/Catalogue Number PB 17
Movements/Sections 5
Text Incipit see below
  1. Yama kawa ni ; In a mountain stream (Kokin Wakashū, Part 5 No.303)
  2. Kaze o itami ; Like a driven wave (Shika Wakashū, Part 7 No.211)
  3. Wata no hara ; Over the wide sea (Kokin Wakashū, Part 9 No.407)
  4. Se o hayami ; Swiftly rushing stream (Shika Wakashū, Part 7 No.229)
  5. Tachi wakare ; Though we are parted (Kokin Wakashū, Part 8 No.365)
Year/Date of Composition 2011
First Publication 2011
Librettist 5 poems from the Ogura Hyakunin Isshu
Clay MacCauley (1843–1925), English translator
  1. Tsuraki Harumichi no (d.920)
  2. Shigeyuki Minamoto no (fl.1000)
  3. Takamura Ono no (802–853)
  4. Emperor Sutoku (1119–1164)
  5. Yukihira Ariwara no (818–893)
Language Japanese & English
Dedication To the victims of the 2011 tsunami, and their surviving relatives
Average Duration 7 minutes
Composer Time Period Modern
Piece Style Modern
Instrumentation SATB chorus and piano
External Links Hyakunin Isshu (Wikisource)


Misc. Comments

This piece is dedicated to the victims of the 2011 tsunami, and to their surviving relatives. The text is 5 short tanka poems from the 13th-century “Ogura Hyakunin Isshu”. The first two poems were selected because they serve as metaphors for the disaster, and the last three poems were selected because they serve as metaphors for the summer Obon festival observances that may provide a measure of healing for some. English translations (based on those of Clay MacCauley, 1917) are provided, and the piece may be sung in either Japanese or English. (Currently, the Japanese is represented by western Romaji characters.)

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