Minoru Miki

Minoru Miki (三木 稔, Miki Minoru^?, born 16 March 1930 in Tokushima) is a Japanese composer and artistic director, particularly known for his promotional activities in favour of Japanese (as well as Chinese and Korean) traditional instruments and some of their performers.

His vast catalogue, where aforementioned traditional instruments figure profusely either solo or in various types of ensemble with or without Western instruments, demonstrates large stylistic and formal diversity. It includes operas and several types of stage music as well as orchestral, concerto, chamber and solo music, and music for films. Miki is probably the second best known Japanese composer overseas after Tōru Takemitsu.

He is a pioneer in the composition of contemporary classical music for large ensembles of traditional Japanese musical instruments. In 1964 he founded the Nihon Ongaku Shūdan (Pro Musica Nipponia ensemble), also known as Ensemble Nipponia, for which he has composed extensively.

Biography

Miki was born in Tokushima in 1930, and his first musical experiences were connected with the traditional music of his region. He had no formal music education before he moved to Okayama for high school, where he first contacted with European classical music. From there he moved to Tokyo, graduating from Tokyo University of the Arts in 1964. In 1964 Miki founded Pro musica Nipponia (日本音楽集団), an orchestra of traditional Japanese instruments for which he composed a large number of works. He also began cooperation with koto virtuoso Keiko Nosaka, developing the 21-string koto and reviving the instrument's repertoire with many new works in a variety of genres and combinations, including five concertos for koto and orchestra. Miki composed his first opera, Shunkinsho (based on Tanizaki's novel of the same title), in 1975. Interest by members of the English Music Theatre Company in Japanese traditional music led to contacts with Miki which resulted in the commission of Ada, An Actor's Revenge, to an English libretto by James Kirkup, which premiered in London in 1979. During this period Miki developed a relationship with theatre and opera director Colin Graham that was to last until the latter's death in 2007. The most notable result of this cooperation was the opera Jōruri, commissioned by Graham for the Opera Theatre of Saint Louis (where he had moved following the disbandment of the EMTC in 1980) and premiered there in 1985.

From 1992 with Wakahime, Miki turns to a pan-Asian perspective, incorporating music and instruments from a number of Asian countries in his compositions and collaborating with a number of Asian artists. Some of Miki's operas from here on - and notably Wakahime and Aien - also increasingly tend to deal with episodes of Japan's presence and interaction with its Asian neighbouring countries, often incorporating the use on stage ad within the plot of such countries' traditional instruments.

Compositional idiom

Major works by type

Vocal

Stage

Operatic cycle on Japanese history (日本史オペラ連作)

• Shunkinshō (春琴抄)
• Ada, An Actor's Revenge (あだ; piano score by Geoffrey Tozer)^[1][2]
• Jōruri (じょうるり)
• Wakahime (ワカヒメ)
• Shizuka to Yoshitsune (静と義経)
• Sumidagawa/Kusabira (隅田川／くさびら)
• Genji monogatari (源氏物語)
• Aien (愛怨)

Other stage works

• The Monkey Poet (1983)
• Yomigaeru 読み蛙(1992)
• From the Land of Light 光の国から (Ballet)

Choral with orchestra

• Requiem (1963), baritone solo, male chorus.

Choral without orchestra

• The Mole's Tale (1966), male chorus, 2perc.

Solo with orchestra

Solo without orchestra

• Shirabe: 4 songs for tenor and harp (1979)

Instrumental

Film music

• On the Road: A Document (ドキュメント路上 Dokyumento rojō) (1964), directed by Noriaki Tsuchimoto
• In the Realm of the Senses 愛のコリーダ (1976), Nagisa Oshima (dir.)

Orchestral

• Trinita sinfonica (1953)
• Symphony Joya (1960)
• Symphony from Life (1980)
• Beijing Requiem (1990), string orch
• MAI 舞 (1992)

Orchestral with soloist(s)

• Marimba Concerto (1969)
• Eurasian Trilogy 鳳凰三連 (1969; 74; 81), Japanese and Western instruments
• Koto Concerto N. 1 (1974); this piece is also the second movement of Eurasian Trilogy
• Koto Concerto N. 2 (1978)
• Koto Concerto N. 3 (1980); aka Concerto Requiem
• Koto Concerto N. 4 (1984); aka Pine Concerto 松の協奏曲
• Koto Concerto N. 5 (1985)
• Z Concerto (1992), marimba and percussion soli
• Pipa Concerto (1997)
• Requiem 99 (1998); marimba solo, orchestra of Japanese traditional instruments
• Trio Concerto (2000), shakuhati, pipa, 21-koto soli, orchestra of Japanese instruments
• Shakuhati Concerto (2002), aka Lotus Concerto

Chamber

• Piano Sextet (1965), fl, ob, cl, bn, hn, pf
• Piano Trio (1986), pf, vn, vc
• String Quartet (1989)
• Marimba Spiritual (1983) marimba solo with percussion trio

Solo

• Time for Marimba, (1968), marimba
• Ballades for koto (I-Winter, 1969; II-Spring, 1976; III-Summer, 1983, ; IV-Autumn, 1990)

References

• 三木稔、「日本楽器法」、東京：音楽之友社、1996年。
• 三木稔、「オペラ《源氏物語》ができるまで」、東京：中央アート出版社、2001年。

1. ^ Geoffrey Tozer Publications
2. ^ Guy Rickards, Obituary of Geoffrey Tozer in The Gramophone

External links

• Minoru Miki's Homepage
• Composing for Japanese Instruments Minoru Miki's classic work on using Japanese, Chinese and Korean traditional instruments in concert music, translated by one of his former pupils, Marty Regan, and edited by Philip Flavin (University of Rochester Press 2008). The book includes two CDs.

Persondata
Name	Miki, Minoru
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Date of birth	1930
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