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  • Hosokawa: Orchestral Works Vol. 2 [Jun Märkl] [Naxos: 8573276]
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Hosokawa: Orchestral Works Vol. 2 [Jun Märkl] [Naxos: 8573276]


Price: £7.24 & FREE Delivery in the UK on orders over £20. Details
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£7.24 & FREE Delivery in the UK on orders over £20. Details Only 8 left in stock (more on the way). Dispatched from and sold by Amazon. Gift-wrap available.

Frequently Bought Together

Hosokawa: Orchestral Works Vol. 2 [Jun Märkl] [Naxos: 8573276] + Hosokawa: Orchestral Works Vol. 1 [Jun Märkl, Royal Scottish National Orchestra] [Naxos: 8.573239]
Price For Both: £14.41

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Product details

  • Conductor: Jun Märkl
  • Composer: Toshio Hosokawa
  • Audio CD (1 Sept. 2014)
  • Number of Discs: 1
  • Label: Naxos
  • ASIN: B00M2A9ADE
  • Other Editions: MP3 Download
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 163,822 in Music (See Top 100 in Music)

1. Woven Dreams
2. Blossoming II for chamber orchestra
3. Circulating Ocean

Product Description

Toshio Hosokawa is one of Japan's most eminent living composers. The first volume in this series devoted to his orchestral works [8.573239] explores the idea of the blossoming lotus – "music as plant-like development and growth" – and continues here with Blossoming II for chamber orchestra. Woven Dreams traces the journey from womb to birth by employing techniques drawn from Gagaku, the ancient Japanese court music. Of Circulating Ocean the composer writes: "I am attempting to express in sound the flow and change of water... The ocean is for me the birthplace of life, a being possessed of infinite depth and expanse."

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Most Helpful Customer Reviews

Format: MP3 Download
Three orchestral works by Japanese composer Toshio Hosokawa (1955-) that ebb-and-flow with differing degrees of intensity. Impulsive, lush, glistening, wayward, these water-colour-like washes seem to have a life of their own: imagine a small boat at the mercy of the wind and the surging oceanic currents: the unpredictable (and perhaps the unforeseen) is what lies at the heart of this intuitive music. Tinges of menace swell, and below the surface disaster looms. The general spontaneous feel may be viewed by some as haphazard or even aimless, as much of a muchness, although I think listeners with an affinity for abstraction will prefer to define these compositions as naturalistic - from the sparkles on the veneer to the shadows that lurk beneath. Personally I found the three compositions to be evocative if somewhat indistinct.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 4 reviews
1 of 1 people found the following review helpful
Subtle Atmospherics and Moods: The Eastern Approach 29 Oct. 2014
By Dr. Debra Jan Bibel - Published on Amazon.com
Format: Audio CD
If, as composer Toshio Hosokawa observes, Western music tends toward architecture and complexity, then his, as much of other Japanese traditional and classical works, emphasizes poetic atmospherics and moods. This style of sustained notes, shimmers, canons, pulses and crescendos all lento are found in music of the ancient imperial court, gagaku, which is derived from the Chinese form. Indeed, Hosokawa released an album Deep Silence for accordion and sho [Wergo] that specifically follows the gagaku approach. (Gagaku has such a spiritually emotive quality that it once was performed at the World Festival of Sacred Music in Fès, Morocco.) Another characteristic of Japanese music is the portrait of environment, landscapes and waterways, far more minimal than Western pastorals, as in Hosokawa's Landscapes [ECM]. In this album, Hosokawa revisits the concept of a lotus rising out of the muddy water to blossom; and for another work again calls upon a dream as inspiration. Naxos adds a previously released piece, Circulating Ocean, to the grouping. Woven Dreams begins hushed; indeed, a full minute passes before sound is detected (depending on volume setting). It is b-flat, a seed sound for fragmentation and development. The dream concerns gestation and birth, from floating in warmth to struggle and exposure to the outer environment, but all the activity is subdued and implied. The parallel of blossoming, often found in Hosokawa's large discography, has more shape and emotion, with nervous agitation and instrumental interaction that leads to brassy outbursts and string and flute glissendi. Three-quarters into the score, the lotus rises above the surface and slowly develops and opens its petals as a matter-of-fact, with no comment of majesty or other concept. The circulation of water, ocean to cloud and mist to rain to stream and back to ocean is the musical teaching of the 9-track composition. Hosokawa scores the orchestra to emulate at times the sho, a bamboo harmonica of sorts, which plays sustained chords, itself a circulation of air with in and out breaths to create the sound. From the serene ocean rises a flotilla of waves, with whistling wind of woodwinds. Nebulous gently floating clouds darken and thicken to an atmospheric storm that push up more waves. The mood relaxes as zephyrs play across the surface and water quietly evaporates and then forms mist. Conductor Jun Märkl ably leads the Royal Scottish National Orchestra in the first two works (2013) and the Orchestre National de Lyon (2007). If the listener is open to slow, subtle, almost meditative poetics, then this album may lead to other recordings of this highly regarded composer.
1 of 1 people found the following review helpful
Picturesque works to explore and be challenged by 27 Oct. 2014
By Daniel R. Coombs - Published on Amazon.com
Format: Audio CD
Contemporary music from Japan has always fascinated me. Having its roots in the restoration and "westernization" explored by composers in the early 1960s and beyond, I grew up listening to music by such names as Mayuzumi, Ichiyanagi and Takemitsu; with the latter being probably the best known. I had not heard music by Toshio Hosokawa before but he seems to come from a similar lineage where compositions grow out of simple gestures and the overall effect is introspective and rather meditation like. The opening work "Woven Dreams" is a perfect example of this. This piece extremely quietly. In fact I had to check before realizing the single really soft, low Bb breaks apart into cells of motive along the lines of Japanese ceremonial music, called "gagaku" It is a slow meaning work that is interesting but also just a little creepy. "Blossoming II" for chamber orchestra begins in a similar way, in fact. Hosokawa points out in the booklet notes that his music is intended to develop "plant-like" - a very good analogy - unlike most western music that has very particular structures and, usually, recognizable building blocks. This too, is a meditative Zen-like work that develops and grows from just a single sustained tone that builds into chords and textures and the like. The longest work in this collection is, for me, also the best. "Circulating Ocean" begins in the same nearly silent, static way, as the other works and grows over twenty minutes to a sonic depiction of the power of water and the recession and tranquility of water. It is not a "sea tone poem" in the Debussy "La Mer" sense but it is a powerful - not an easy - piece to absorb. Hosokawa is a name to know in the fascinating world of Japanese contemporary music and highest praise to Jun Markl as well as both the Royal Scottish National Orchestra and the Orchestre National de Lyon for such dedicated performances. In terms of marketing the unusual and with the highest of audio standards, Naxos has succeeded again.
1 of 1 people found the following review helpful
Beautifully played, just not great music 14 Nov. 2014
By Wanda Brister - Published on Amazon.com
Format: Audio CD
This was my first venture with Hosokawa. I am convinced that the music presented here would be far more interesting in a hall than by listening to a CD. It would also be more interesting with score in hand. The first three selections, conceived as a work (Woven Dreams) all began the same way. As a listener, it almost felt as though there had been an error in the CD order, repeating selections. They all evolved in exactly the same way as well… each beginning from a single tone and become more and more "conversational" adding instruments, one at a time. It bored me. I found the Blossoming II and Circulating Ocean much more interesting. The orchestra does an amazing job portraying the translucentness of this composer. It is just the material that I personally find weak.
Somewhere, Somebody. Not Here. 23 Jan. 2015
By Allen Cohen - Published on Amazon.com
Format: Audio CD
This is austere, joyless. The composer’s analysis of his work is fanciful, actually somewhat poetic, more engrossing than the music it illuminates. The writing is occupied with ever shifting dynamics, textures and colors. The bedrock principles of motivic development and contrast are virtually eschewed. If you are so inclined aesthetically then this will interest you or maybe even captivate you. It’s a safe bet that an audience accustomed to the traditional paradigms will find this daunting, unfathomable, or simply dull.
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