MUSIC IN JAPAN

New Zealand Listener, Volume 17, Issue 421, 18 July 1947, Page 18

MUSIC IN JAPAN

(Written for "The Listener" by

J.M.D.

H.

"7 HEN I went to Japan with the occupation force I already knew that many Japanese were interested in our music, but to what extent, and whether any change had _ been brought about by the war, I was anxious to see for myself. During a _ year there I attended as many _ recitals and concerts as I could in widely separated parts of the country and got to know many amateur and professional musicians.

From conversations with these and from the standard of the performances I heard, I received the impression that although Japanese interest in Western music had scarcely diminished during the years of war, the technique of the musicians had "suffered badly. Many had been drafted into the armed forces; others had found it necessary to take employment in the factories and had come home after’ their shift with fingers and minds too tired to admit of even a few minutes’ practice. Still more, struggling to maintain their technique as best they could, had been subjected to hints, sneers, and sometimes threats from their dogmatic-ally-patriotic neighbours. And let it be also said that there were some who voluntarily gave up their interest in Western music, considering it their patriotic duty to do so. Even the music of countries allied to Japan was disapproved. After VJ Day and during the first few months of the occupation the Japanese had ample opportunity to size up their conquerors. They soon realised that they had nothing further to fear from them and that their private lives were not likely to be subjected to undue interference. For. the entertainment. of. its

members the occupation force set up theatres and clubs throughout the four main islands and local bands and entertainers were invited--and paid-to perform. Music for dancing and light dinner music were the forms most sought after, but to any Japanese who could play at all upon a Western instrument the incentive to start studying and practising again brought an eager response. Here and there performers of more serious music found themselves able to obtain engagements. The Armed Forces Radio Network came into being and JOAK, the Japanese Broadcasting Corporation which, as the war progressed,

had become primarily a mouthpiece for the propaganda authorities, received a new lease of life. For the benefit of troops. stationed in Tokio, arrangements were made for the Nippon Philharmonic Orchestra, Japan’s best, to perform weekly in Hibiya Hall under the baton of its distinguished permanent conductor, Dr. Josef Rosenstock. During the best part of a year with the occupation forces in. Tokio I attended most of this orchestra’s Sunday afternoon concerts in that time.: »The ‘standard of playing,’ while somewhat inconsistent, was good, occasionally very good: The strings and woodwind could usually be relied upon for a sound performance; but the orchestra’s chief weakness lay in its brass, which lacked subtlety of tone and stood out harshly from the other sections. Japanese Conductors

Dr. Rosenstock, to whom must go the credit for having built the orchestra up to what it is, left the country some months ago, placing the Nippon Philharmonic in the capable hands of a trio of Japanese conductors, Kazuo Yamada, Otake, and Viscount Konoye, younger brother of the former Prime Minister. Viscount’ Konoye formed the New Symphony Orchestra, nucleus of the present day Nippon Philharmonic, some 20 years ago, but left for Germany a few years later. It was shortly after this that Dr. Rosenstock took over:-he had once been a pupil of Toscanini, but like many other musicians of repute, had found it necessary to get out of Germany while he could.. Under his guidance the orchestra developed rapidly and became a leading factor in Western musical life in Japan. Standard of Soloists Not High Of the Japanese soloists who appear with the orchestra, few display a high standard of playing. While the technique of some is good, their inability to interpret the mood of the composer is marked, and their playing is sadly lacking in that feeling which distinguishes the good from the mediocre.