This is how orchestral music is created: Focus on the Kanagawa Philharmonic and the staff who support their music!
The Kanagawa Philharmonic Orchestra (hereinafter referred to as Kanagawa Phil) has been forced to cancel its regular concerts and other performances in response to the self-restraint requests during the COVID-19 pandemic. Many people have likely felt sad about not being able to experience live music.
But don't worry, the Kanagawa Philharmonic and music are doing well!
With the effectiveness of infection prevention measures being verified and prevention guidelines being formulated, concerts are gradually resuming. Seeing the various efforts being made to resume concerts, many people have likely been reminded of how much orchestral music is supported by the efforts of many people.
So this time, we visited the Kanagawa Philharmonic Orchestra's rehearsal venue and interviewed the staff who support their wonderful sound.
I visited the Kanagawa Art Hall , located within Kanagawa Prefectural Hodogaya Park. On this day, rehearsals were being held for the regular concert series, which had resumed with changes to the performers and program.
First, we start by setting up the stage to match the orchestra's configuration. The hall is designed to be used for a wide range of purposes, including rehearsals and performances of music, theater, and dance, and the stage, which can be divided into three sections, can be adjusted to four different heights, making setup very smooth.
The stage setup affects the orchestra's sound, so even the placement of the chairs requires careful consideration. Especially now, as a measure against COVID-19, we are setting wider spacing between players, so we are setting everything up carefully while measuring with a scale.
Since each player has different preferences for height and angle of music stands, we carefully adjust each one individually. It's amazing how the staff members seem to have almost every member's preference memorized!
The rehearsal setup was completed, utilizing the entire hall, including the front of the seating area. Even though it was a familiar art hall, it was impressive that everything was set up in less than an hour.
Apparently, setting up the stage like this is the job of a "stage manager," but who exactly is that...?
We spoke with Atsushi Terakado, the stage manager for the Kanagawa Philharmonic Orchestra.
What kind of work does a stage manager do?
In short, it's "everything on stage except the actual performance." My job is to create an environment where performers can concentrate on their playing without stress during concerts, so the specific tasks are diverse.
First, once the concert program is decided, we check the instrumentation and plan the arrangement of instruments and their placement on stage. When we play classical pieces at the Kanagawa Philharmonic's home venue, like today, the flow is pretty much set in stone. However, at a new venue, we need to consult with the person in charge, draw up a layout plan, and decide on each detail regarding the loading and unloading of instruments and equipment. If we need an instrument that the Kanagawa Philharmonic doesn't own, we arrange for it through rentals or other means. However, with contemporary music, sometimes instruments that make us think, "What is this?" come up, which can be quite a headache (laughs).
If the instrumentation changes for each song, we check the movement of instruments and chairs during rehearsals and make arrangements to ensure a smooth and safe performance. Furthermore, we must be able to respond quickly if anything happens (for example, an earthquake!), so we can't take our eyes off the stage during the actual performance.
Does the stage setup change a lot?
Of course, the instrumentation varies depending on the piece, but even for the same piece, the arrangement changes depending on the size of the venue and the conductor, so it's especially important to have a thorough meeting when working together for the first time. Sometimes we adjust the arrangement to ensure the best possible performance while considering the balance of acoustics and ease of listening, and other times we decide on the overall arrangement based on the requests of soloists who specify where they want to stand. Perhaps the interesting thing about this job is being able to feel how the sound changes due to such settings.
What does Mr. Terakado find appealing about the Kanagawa Philharmonic Orchestra?
I've been involved with the Kanagawa Philharmonic for about 20 years now, and I feel that it's an organization where the members are united in their pursuit of music. They perform not only in concert halls, but also in commercial facilities and outdoor spaces, and their repertoire is wide-ranging, from classical to contemporary music, opera, and pop. I believe that gaining diverse experiences isn't about "good or bad" or "growth," but rather about expanding the orchestra's appeal.
During this pandemic, I wasn't able to hear live music for about six months, so I was really happy when I heard live music again after such a long time.
And then, the rehearsal finally began.
The performance stops every few measures, and the maestro gives various instructions. Even with famous pieces that they have played many times, the interpretation and tempo can subtly differ depending on the conductor. The maestro's challenge of classical music with a new interpretation is impressive, but the members of the Kanagawa Philharmonic who respond quickly to this challenge are also wonderful!
Suddenly, I noticed the players writing something on their sheet music, and it caught my attention.
Since an orchestra has a variety of instruments, it's easy to imagine that there are many different scores. Furthermore, if each musician were to write on those scores, it would likely become quite complicated. So, who prepares and manages the orchestra's scores in the first place?
It was librarian Tamae Yamaji who answered that simple question for us.
What kind of work does a librarian do?
Simply put, it's about "preparing" and "managing" sheet music.
First, once the performance program is finalized, we arrange for the sheet music. However, even the same piece can have subtle differences in nuance depending on the publisher, so it's important to confirm with the conductor which edition you want to use. If the specified sheet music is not in the Kanagawa Philharmonic's library, we may purchase it or rent it due to copyright restrictions.
Many musicians seem to write on their sheet music, but is that okay?
Even with the same piece, it's impossible for every performance to be exactly the same, so it's common for players to take notes of the conductor's instructions during rehearsals. Bowing techniques, such as up and down movements, are sometimes confirmed with the conductor before the rehearsal and noted down by the librarian. Each player then adds the conductor's instructions, creating the unique sound of that particular orchestra.
What led you to choose the profession of librarian, Ms. Yamaji?
I had an orchestra class at music college, and I was amazed that the sheet music was prepared in advance. When I learned about the job of a librarian, who supports the glamorous orchestra behind the scenes, I thought, "That's so cool!"
What's it like in reality?
It was a much harder job than I expected (laughs). When preparing sheet music for concerts, it sometimes involves repairing well-used scores or pasting pages together to make them easier for the musicians to play. While musical expertise is necessary, the most important thing in this job is being able to anticipate what the musicians will need and act accordingly.
Incidentally, this is the tape used for repairs and bonding. It's made from Japanese paper, so it doesn't deteriorate easily over time, and it doesn't become too thick even when layered, which is why it's used for book repairs and other purposes. In the case of sheet music, staples are sometimes used for binding, so sometimes the staples are removed and the sheet music is rebound with tape before they rust.
What does Mr. Yamaji find appealing about the Kanagawa Philharmonic Orchestra?
As a fan, what I enjoy most is that they have two concertmasters with very different personalities. On top of that, they play a wide range of genres, from classical to contemporary music and pop, so I never get bored listening to them every day (laughs). I think that versatility is a unique charm of the Kanagawa Philharmonic, so I really want everyone to come and listen to them.
Finally, we spoke with Koichiro Taga, the public relations representative who arranged this interview.
What kind of work does public relations entail?
First, once the concert program is decided, we create flyers and posters accordingly, distribute them in appropriate locations, and conduct widespread publicity through the media. Another important task is to regularly disseminate information to various media outlets, including media interviews like today's, in order to let everyone know about the orchestra's appeal.
What's interesting about this job?
Although our work doesn't involve being in the spotlight, it makes us happy when we see the audience leaving with smiles on their faces after a performance, saying how much they enjoyed it. When we hold free concerts in shopping malls and other places, even people who don't usually listen to orchestras stop by and enjoy the music. When we encounter scenes like that, we truly feel that we made the right choice in pursuing this career.
Actually, there was a time when I aspired to be a musician myself. If that dream didn't come true, I wondered whether I should aim for a job supporting musicians, or perhaps explore a completely different path... After much trial and error, I found a job in public relations for the Kanagawa Philharmonic Orchestra. Looking back now, I think that the experience I gained working in a field other than music during that difficult period has been invaluable in my current job.
So, is specialized knowledge of music really necessary?
While having a basic understanding of the subject is certainly helpful, I don't think it's necessary to have a professional background. What's truly important is a love for the orchestra. From a business perspective, one might think, "As long as tickets sell, that's all that matters," but when it comes to orchestra publicity, I believe the most important thing is being able to convey your passion and love for music. It's true that even concerts that we've poured our hearts into creating sometimes don't attract enough audience members. It's very disappointing, but I feel fortunate to be able to share our passion for music with the orchestra members and the audience, and to share in their joys and sorrows.
Please tell us about anything you'd like to try or challenge yourself with in the future.
I want to connect more with the local community. I think we can do a lot more with Yokohama F. Marinos and DeNA BayStars, and I want more people in Kanagawa Prefecture to know that there is an orchestra in their area. Personally, I also want to connect with public relations people from various industries, not just the music industry, share information, and get ideas to help promote the Kanagawa Philharmonic.
The Kanagawa Philharmonic Orchestra is celebrating its 50th anniversary this year. Unfortunately, many concerts and events have been canceled or postponed due to measures against the COVID-19 pandemic, but we hope to gradually resume them while thoroughly implementing preventative measures. I believe that the music produced by the Kanagawa Philharmonic Orchestra is characterized by its inner passion. Please come to a concert and experience the music of a live orchestra.
* Click here for the official website of the Kanagawa Philharmonic Orchestra!
*The Kanagawa Philharmonic Orchestra has sent concert tickets to Magcal.net readers! Details can be found at the bottom of the page.
What is Kanagawa Art Hall?
This music hall opened in 1992 within Hodogaya Park in Hodogaya Ward, Yokohama City. In addition to the hall, it is equipped with five studios, a restaurant, and an exhibition area. Initially, the Kanagawa Philharmonic Orchestra's office was located here (it has since moved to Naka Ward, Yokohama City), and it is still used for rehearsals, which are sometimes open to the public (currently, open rehearsals are suspended to prevent the spread of COVID-19).
The hall can accommodate up to 300 people. Equipped with a stage curtain and lighting, it can be used for various recitals and concerts, as well as dance and theatrical performances.
In order to further promote the " Magical Theater " initiative, Kanagawa Prefecture has launched "Magical Theater in Art Hall," which will utilize the Kanagawa Art Hall as a performance venue, in addition to Studio HIKARI at the Prefectural Youth Center, which has been used until now. Please look forward to it!
The Kanagawa Philharmonic Orchestra has sent concert tickets to Magcal.net readers!
[Kanagawa Philharmonic Future Concert Ebina Performance]
[Date and time] Wednesday, October 21, 2020, 19:00 start
[Venue] Ebina City Cultural Hall Main Hall
[Conductor] Mirai Abe (conductor)
[Co-stars]
Airi Sunada (Soprano)
Naoki Kawada (baritone)
Ebina Citizens' Opera Chorus (Chorus)
[Main Tracks]
Glinka / Overture to the opera "Ruslan and Lyudmila"
From Donizetti's opera "L'elisir d'amore": Benedette queste carte!
Donizetti / Come paride vezzoso from the opera "L'elisir d'amore"
Bizet/ "Toreador Song" from the opera "Carmen"
Lehár / "Vilja-lied Duet" from the operetta "The Merry Widow"
Verdi / From the opera "Nabucco" - Va, pensiero
Mascagni / "Gli aranci olezzano" from the opera "Cavalleria Rusticana"
Dvořák / Symphony No. 9 in E minor, Op. 95 "From the New World"
*Please note that performers, songs, etc. may be subject to change due to unavoidable circumstances.
[Price] All seats reserved: ¥4,000 / Youth (under 25): ¥2,000
[Inquiries] Kanagawa Philharmonic Ticket Service Tel. 045-226-5107 (Tuesdays and Wednesdays 10:00-13:00)
*Please refrain from bringing preschool-aged children.
*Conductor Shigeo Genda, who was scheduled to perform at the touring concert "Future Concert Ebina Performance," will be unable to participate due to unforeseen circumstances. Mirai Abe will conduct in his place. There are no changes to the program.
****
The giveaway entry period has ended. Thank you for your many entries.
[Gift Application Details]
We are giving away tickets to the "Kanagawa Philharmonic Future Concert Ebina Performance," which will be held at the Ebina City Cultural Hall Grand Hall on Wednesday, October 21st at 7:00 PM, to 3 pairs of people (6 people total).
[How to apply]
If you would like to receive a free viewing ticket, please apply using the application form below. We look forward to receiving your applications.
[Application Deadline]
Until 23:59 on Friday, October 2, 2020
[Lottery and Winner Announcement]
Winners will be notified by email, so please check your spam settings. The email will be from the Magcul.net administrative office (info.magcul@gmail.com).
Winners will be notified via the email address mentioned above. On the day of the performance, please present your winning notification email at the reception desk of the Ebina City Cultural Hall Grand Hall. A staff member will then give you your ticket.
*The personal information you provide will not be used for any purpose other than the lottery.
