ARTIST PROFILE

This is Kazuhito Yamashita’s fourth appearance with

San Francisco Performances. Previous concerts were
in April 1989, October 1992 and January 2000.

presents Kazuhito Yamashita

In association with Omni Foundation for the Performing Arts

Kazuhito Yamashita, guitar

Saturday, October 20, 2007, 8pm Herbst Theatre

Kazuhito Yamashita + bambini:

Kazuhito, Koyumi, Terukaku and Kanahi Yamashita

PROGRAM

Anonymous The Song of Compostela

(arr. Yamashita)

Antonin Dvořák Largo from

Born in Nagasaki in 1961, Kazuhito Ya-
(arr. Yamashita) “The New World Symphony”
mashita has been acknowledged as one of
(Kazuhito Yamashita)
the world’s virtuoso guitarists by critics and
the public alike. His almost 75 recordings
and numerous original arrangements of such
Keiko Fujiie Little Girls’ Beautiful Lives, Op. 79,
works as Mussorgski’s Pictures at an Exhibi-
for two guitars
tion, Stravinsky’s Firebird, Rimski-Korsakov’s
(Koyumi and Kazuhito Yamashita)
Scheherazade and Dvořák’s The New World
Symphony are highly regarded.
In 1978 Yamashita made his debut in Japan
INTERMISSION and one year later made his European debut
in Paris. While still in his twenties, he made
his first appearances in Canada (Toronto Gui-
Keiko Fujiie Kasane Op.84, for guitar quartet tar Festival), America and England. He gave a
(Koyumi, Terukaku, Kanahi and solo recital in the Musikverein (Grosser Saal)
Kazuhito Yamashita) in Vienna. In 1989 the prestigious Casals The-
atre in Tokyo presented a series called “The
World of Kazuhito Yamashita,” consisting of
Ganesh Del Vescovo from “Season Quartet” seven concerts in twelve months. A highlight
(Kazuhito Yamashita) of the series was Mario Castelnuovo-Tedesco’s
24 Caprichos de Goya in a single performance.
It concluded with Bach’s six sonatas and par-
titas on two consecutive nights. He also per-
formed this recital series in 1994 and 1999.
In addition to his solo performances, Ya-
mashita also performs in duos, as well as with
chamber music ensembles, orchestras and
with internationally acclaimed conductors
such as Leonard Slatkin with the London
Philharmonic Orchestra, Rafael Frühbeck
de Burgos, Luis Garcia Navarro and Antoni
Ros-Marba; and artists such as James Galway
(flute), Gary Karr (double bass), Michala Pe-
tri (recorder), the Tokyo String Quartet and
the Los Angeles Chamber Orchestra.

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 Yamashita has recorded for BMG (RCA), Largo from “The New World Symphony” childhood and adolescence. They reflect the
Crown Classics, Japan Victor, King Records (arr. Yamashita) images of my daughters and also the misty
and Alfa Records. His recordings include memory of my own past. I may have spent
sixteen CDs with the complete works of Fer- Antonin Dvořák those days differently if I had the chance.
nando Sor, and a collection of five CDs con- Born September 18, 1841, Muhlhausen, Bohemia These fantasies naturally enter the work.
taining J. S. Bach’s sonatas and partitas for Died May 1, 1904, Prague Of course, the pieces are not solely dedicated
violin, cello, lute and flute (BWV995-1013), to my personal memories and wishes. I believe
which he transcribed for the guitar. The re- Antonin Dvořák’s active life as a composer that each girl is given and grows with a sacred
cording of Pictures at an Exhibition, released encompassed the last third of the 19th century. and simple flower of love. The flowers of the
in 1981, was awarded the prestigious Deutsche He is known as the pre-eminent Czech nation- girls of the age I depict here have not yet been
Grammophon Award. alist composer, who wrote numerous “Slavonic sullied or distorted by the contempt that sur-
Yamashita began studying guitar at the Dances” and also employed folk-like melodies rounds them and reciprocal irritation. Through
age of eight with his father, Toru Yamashita. in his symphonic and chamber works. At the the pieces here, I tried to describe the beauty
In 1972, at age eleven, he won the Kyushu same time, he may be described as a composer of the flowers and also the connection the girls
Guitar Competition. Four years later, he was who comes at the end of the classical Viennese possess with “the unlimited.” My wish is that
awarded first prize in the All Japan Guitar tradition and who is inclined to make use of they will grow into perfection with increasing
Competition. In 1977, he won three impor- classical forms. In many ways he can be com- depth under protective care. I pray for this.
tant international competitions: the Ramirez pared to Brahms, whom he greatly admired For example, the girls’ delightful surprise
in Spain, the Alessandria in Italy and the Par- and with whom he was on friendly terms. when they find simple and modest flowers in
is Radio France Competition, where he was As a result of a stay in the United States, roadside grasses. Their sudden silence in sad-
the youngest winner ever recorded. where he taught at the National Conserva- ness when they find the dead butterflies and
He is an enthusiastic proponent of new tory of Music in New York, Dvořák thought cicadas with beautiful wings at the end of sum-
works for the guitar and has given world pre- deeply about American songs. The fruit of his mer. The moment when their countenances
mieres of more than 60 new compositions, reflections is his great and immensely popular light up with joy when discovering the round,
in particular the works of the Japanese com- Symphony No. 9 in E minor, which the com- green fruits among the thick green foliage
poser Keiko Fujiie. In 1999, he received the poser himself explained gave his “impressions above them. The girls have no contempt in the
National Arts Festival Grand Prize by the and greetings from the New World.” quotidian and they have the sense of finding
Japanese Government’s Agency for Cultural The arrangement of previously composed such humble beauty. This is connected with
Affairs for his CD recording Japanese Guitar music for plucked strings has a history as long “the unlimited”; it is plaintive that because of
Music 1923-1948. as that of Western music. The earliest pieces the sensitivity their hearts often suffer.
Recently he has been performing a guitar for Renaissance lute were arrangements and Our civilization has become increasingly mas-
quartet with his children called “Kazuhito adaptations of vocal music; J.S. Bach made culine because of the development of science
Yamashita + bambini.” The quartet has been his own arrangement of his Fifth Cello Suite and imbalanced because of the relentless pursuit
invited to two international festivals in Italy,for baroque lute. Many of Schubert’s songs of power and monetary riches. Civilization has
Seoul Art Center in Korea and several cities were first published for voice and guitar, and become destructive. It is inevitable that the girls’
in Japan. Tárrega initiated a continuing tradition of ar- sadness becomes prolonged in this environment.
ranging Albéniz for guitar. However, if there is a way in which they can live
NOTES ON THE PROGRAM Kazuhito Yamashita gained worldwide at- without becoming numb, they will add elegance
tention with his arrangement and recording of and serenity to the barren landscape. The sad-
The Song of Compostela Mussorgsky’s Pictures at an Exhibition in 1981. ness of the little girls, their silent cries, become
(arr. Yamashita) The critical response ranged from the stron- thin, needle streaks of rain. This will be absorbed
gest disparagement to the highest accolades even into the armored, rational heart of adults.
Anonymous and the Dvořák arrangement has most likely 1. Morning with Roosters
triggered similar responses. Yet Yamashita Dawn. The little girls wake to the sound of the
The Galicia region of northwestern Spain himself has said that he turned to symphonic roosters. They feed them and chase them, round
faces out on the Atlantic Ocean to the north forms in order to “achieve a greater scale and and round, and then get chased themselves!
and the west, while the southern part of the the projection of a deeper inner world.” 2. Floating Paper Boats on the River
region borders on Portugal. Santiago de Com- Program note by Scott Cmiel © 1989. This piece was inspired by a poem by the
postela is located at the center of this region great Indian poet Rabindranath Tagore. One
and is the location of the celebrated St. Jacob Little Girls’ Beautiful Lives afternoon, a little paper boat floats down a
Monastery, which ever since the Middle Ages Opus 79, for two guitars river. A little girl’s name is written on it. In
has been a holy site to which pilgrims from the evening, she sees, in a dream, the boat
all over Europe have made their way. The Song Keiko Fujiie floating slowly down the Milky Way.
of Compostela is an arrangement by Kazuhito Born 1963, Kyoto, Japan 3. Bicycling to the Wizard’s Wood
Yamashita of several ancient songs handed The bicycle. A commonplace thing for
down in this region. This beautiful and deep- The twelve pieces of music here are the adults but a shining treasure that brims with
ly moving work gives one the impression of sketches of everyday lives, the playful moments delight for many children. I am sure you
listening to the narration of an old folk tale. and dreams of little girls. More precisely, they would like to take your bicycle into the deep
—Program note provided by Kazuhito Yamashita express the transient moment between young wood. What secrets will the woods reveal?

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Dynamite Guitars
2007-2008

“The longest running and most extensive guitar series in the United States”
–Sergio Assad

SOLODUO: Lorenzo MICHELI and Matteo MELA The Omni Foundation for the Performing Arts wishes to
Friday, October 5, 8 pm acknowledge with thanks the following people whose
California Palace of the Legion of Honor generous support has made this series possible.

Kazuhito YAMASHITA and BAMBINI, featuring

Koyumi, Terukaku and Kanahi YAMASHITA
Saturday, October 20, 8 pm / Herbst Theatre
Herbst Theatre concerts presented in association with
Remi BOUCHER San Francisco Performances.
Saturday, November 17, 8 pm
Green Room, War Memorial & Perf. Arts Center
FOUNDERS Michael & Mary Ann Gage
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Tim Hall SUSTAINING MEMBERS
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4. Raindrops Recolor the Landscape
Raindrops trickle and curl across the window-
pane. Look! What joy! They fashion vivid colors
on dry stones, roads, the ground and leaves.
5. Fireworks in a Starry Sky
Science has wrought knowledge and in-
formation. However, does this diminish the
feeling of mystery that stars evoke? Do not
fireworks signal the presence of magical pow-
er more than an elaborate conjuring trick?
6. Birds Peck-Pecking on Branches
The sound of birds peck-pecking together.
Their nimble joy delights us but what an aw-
ful noise for the worms under the tree.
7. An Annamese Bowl with Leisurely
Goldfish
Well, here is a goldfish bowl. As in Vietnam-
ese houses, a few pop-eyed goldfish swim lei-
surely in a large blue and white porcelain bowl.
8. A Sad Melody at Twilight
This describes the sad longing that strikes
the heart.
9. Daughter of the Mountain
This refers to the daughter of mountain people
in the Russian story Stone Flower. She may not
be a human maid. Perhaps a malachite nymph?
10. Children Chasing Birds
Children are chasing the birds who are
picking and pecking at the scraps of rice
and corn in the field. This was an important
work for farmers. The movements of the
body involved in the work are atmospheric
and evoke a sense of fun; thus it has become
the motif of much artistic performance. This
piece of music presents the image of children
copying the movements. The main melody is
made by Kanahi, our second daughter.
11. New Year’s Eve in a Far-off Land
The writing of this was prompted by Alfred
Tennyson’s poem “New Year’s Eve” in the Victo-
rian era in England; a scene from a dream and a
fairy-tale world, detached from reality, bringing
the feeling of distance, “in a far-off land.”   them Kimi Ga Yo, was composed in the same
12. Lullaby of the Waves
The waves come and go. They are a lullaby.
My second son Namifu (“wave boy”) was sung
a lullaby by Koyumi, my eldest daughter.
—Keiko Fujiie
translated by John Maher
Kasane, Opus 84, for guitar quartet
Keiko Fujiie
Born 1963, Kyoto, Japan
This quartet looks to the resurgence of a
quintessential and older musical tradition. It
recalls a bygone era in both Europe and Ja-
pan, when such music was known and valued
and whose echoes can still be heard in the
classic 11th-century novel The Tale of Genji. a self-taught musician. An important meet-
Kasane is the quartet’s main repertoire and ing with Alvaro Company, a pupil of Andrés
typifies the music of the age. Four guitars, Segovia, brought him to follow Company’s
multi-layering with shifting tonal colors, courses at the Conservatory of Florence,
represent the various plucked stringed instru- where he graduated cum laude, with honor-
ments of old Japan. able mention “for his extraordinary skill in
In Matsuo Basho’s seminal work Oku no Ho- portraying the character and mood of the
somichi (“The Narrow Road to the Interior”) pieces performed.”
the great poet’s disciple and travel companion He widened his experience as a musician
Kawai Sora composed the following Haiku: by attending guitar master classes held by
Kasane to wa Oscar Ghiglia, Eliot Fisk, Pepe Romero
Yae Nadeshiko no and Eduardo Fernandez at the Amici Della
Na naru be shi. Musica in Florence. There, he was praised
One day, lost on a moor, the travelers were for the maturity of his playing. Romero
charmed by a little girl named “Kasane” run- described him as a “magnificent guitarist
ning after them; a rare and elegant name for and musician.”
such a rural area. Throughout his career as concert musi-
Nadeshiko or “Fringed Pink” is a flower asso- cian, Vescovo has concentrated on the many
ciated with girls, while Kasane means “layers.” periods of guitar repertoire—Renaissance,
The poet plays on words by adding the prefix baroque, classical, romantic, modern and
yae- or “eightfold” or “multilayered” to nade- contemporary—but his interest in music
shiko; thus: “This child Kasane, when com- has never been limited only to pieces writ-
pared with a flower must be a Yae-nadeshiko.” ten for the guitar. In fact he has developed
The title of this album derives from Sora’s a personal technique of transcription to the
haiku and the image of “Kasane,” indicating guitar of compositions written for other
the multilayered dress of Heian Period aris- instruments and his concert repertoire in-
tocracy. Each track is based upon Gagaku’s cludes his transcriptions of such compos-
Riku Choshi (six main modes): ers as Bach, Frescobaldi, Scarlatti, Mozart,
1. So-jo, 2. Waushiki-cho, 3. Hyo-jo, 4. Ban- Schubert and Debussy.
shiki-cho. The four modes gradually became Right from the start, Del Vescovo’s ac-
associated with the four seasons. In the Heian tivity as a composer developed at the same
period, the word asobi (leisure, play, pastime) pace as the study of the instrument itself.
signified playing Kan Gen (pipes and string in- Throughout the years he has continued to
struments). The aristocracy of the era apparent- experiment with new guitar techniques,
ly derived much pleasure and healing from mu- as is documented by four collections of
sic. This album comprises an effort, in my own “Studies” (the first of which was published
fashion, to recall the music of this era. Track 5,by Sinfonica Carisch of Milan, with a CD
Taishiki-cho has an exotic key because Taishiki played by the author). He has also devel-
is the name for Islam or the Arab in the Sung or oped a very personal musical concept, in
Tang Dynasty. (The “Taj” in Taj Mahal may be part freely inspired by the moods of Indian
a cognate.) Track 6, Ichikotsu-cho, is positioned classical music. For guitar solo he has also
in the center of all modes. Japan’s national an- published Dodici studi di transizione (with
CD played by the author), Tre studi giova-
key. Alas, Kimi Ga Yo, as currently rendered, nili, Tre reminiscenze per chitarra, Jasidih
does not sound like a piece of Ichikotsu-cho express, Sandhya, and for guitar and flute
because of the unmatching harmonies of the Three Dhuns. The same publisher has also
accompaniment. Ichikotsu-cho was originally a come out with a CD of his music played
mode employed to invoke a celebratory mood. by the author.
—Keiko Fujiie He has performed as a soloist in many
translated by John Maher concert halls in Italy and abroad and has
also played pieces by Castelnuovo-Tedes-
From “Season Quartet” co, Boccherini, Paganini and others, in
ensembles. He has given the first perfor-
Ganesh Del Vescovo mance of Ballade, Notturno, Il Concerto
(Dates not available.) catalano and Quattro pezzi in memoria by
Alvaro Company as well as Circo Minore
The Italian guitarist and composer Ganesh by Sylvano Bussotti.
Del Vescovo, today considered a virtuoso of —Ganesh del Vescovo
the classical guitar, began his guitar studies as