Koscak Yamada (1886-1965)
        Orchestral Music

Overture in D major (1912 - 3:32) *
Symphony in F major "Triumph and Peace" (1912 - 36:16)
Symphonic Poem "The Dark Gate" (1913 - 10:53)
Symphonic Poem "Madara No Hana" (1913 - 7:40)

Ulster Orchestra
New Zealand Symphony Orchestra *
Takuo Yuasa, conductor
Recorded Wellington Town Hall, Wellington, New Zealand, 2002 *
Ulster Hall, Belfast, Northern Ireland, 2000/01
Released March 2004
Naxos 8.555350 [58:21]

Rating: 4 of 6 Stars

I find this Naxos disc a rather strange creature, although it does offer
some pleasures.  First, if you're looking for a fusion of European and
Japanese music, you will have to look elsewhere.  Yamada studied music
in Europe, and the programmed works are steeped in the European tradition.
Yamada does make some passing gestures for his homeland, but it is best
to think of him as a European composer who happened to be a citizen of
Japan.

The second unusual aspect of the disc is the huge difference in style
between the first two works on the program and the two symphonic poems.
Although Yamada was born toward the end of the 19th century, the Overture
and the Symphony take us as far back as Haydn and Mozart with some
additional homage to Mendelssohn and Schumann.  For the symphonic poems
written just one year later, Strauss, Debussy, and Wagner are Yamada's
models.  How could one composer switch styles so suddenly?  The liner
notes explain that the Overture and Symphony were written for academic
review, evidently leading Yamada to compose 'safe' music sure to be
acceptable to his teachers.  One year later, the thinking is that Yamada
felt free to compose as he wanted.  I'd like to accept this premise, but
I have to say that such huge differences in style are absolutely startling
and difficult to comprehend.

The third oddity concerns the liner notes.  They read like an imperialistic
paper, emphasizing that the injection of European music into the Japanese
culture was a wonderful shot in the arm for those musically vacant
Japanese.  But wait!  Don't the Japanese have a musical heritage just
as valuable as the European heritage?  Of course, and it is rather
offensive that the writer of the liner notes paints a picture of inferior
Japanese music that needs saving by Europe.  The countries that constitute
the world of Western Civilization have been meddling into the political,
economic, and social affairs of other parts of the world for centuries;
I suppose it's only consistent to invade their musical heritage as well.
This doesn't sit well with me, but that's another story.

Of course, the main thing here isn't politics or economics, but the
quality of Yamada's music.  Beyond having introduced symphonic music
to Japan, are his works worthy of a discography?  Yes, they are quite
enjoyable with fine melodies and excellent structure.  I do have to point
out that the symphonic poem "The Dark Gate" is rather limited as to
invention, but I have no complaints about the other three works on the
program.  Sound quality is excellent with clear lines and little congestion.

Don's Conclusions: Whether one thinks of Yamada as a Japanese musical
pioneer or an instrument of imperialism, his music has a fairly strong
appeal and can be recommended to those who enjoy traveling the side roads
of classical music.  I will probably keep the disc for reference purposes,
but I have my doubts that I will play it in the future for sheer enjoyment.
Ultimately, Yamada's role-models have much more to offer in terms of
compelling melodies and emotional breadth.

Don Satz
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