大人になったから虚構だと気付いたのではなく、それらを虚構だと切り捨てたから、私たちは大人になった。一種のノスタルジアだろうか。然し乍ら、人はどうして、その豊かな想像力を失うのだろうと寂しく思う。
スコアの所々に記された「王女の庭」「おもちゃの兵隊」などの語句は、私の個人的な記憶。解釈の端緒になるならとの思いから、そのまま表記しているが、特にストーリーがある訳ではない。思い出はいつも断片的で、脈略など無いのだから。(井澗昌樹)
大阪教育大学教養学科芸術専攻音楽コース卒業。同大学大学院芸術文化専攻修了。作曲を澤田博、北川文雄の両氏に師事。
主な作品に、バリトン独唱と管弦楽のためのカンタータ「倭建命 流離譚」、トランペット八重奏曲「四季の奏鳴」など。吹奏楽作品に、「火の断章」(2008年度全日本吹奏楽コンクール課題曲)、「Bye Bye Violet」、「愛の祭壇」など。
For girls, playing house is usually a game filled with love. For boys, playfighting is usually a game where they channel their inner courage and pride. For us, the stuffed animals we had hugged must have been alive, and we would not have doubted their lively, genuine emotions within.
It is not the case that we had realized these are merely imaginary after we grew up, but that we grow up by consciously casting them into the realm of the imaginary. Perhaps this is somewhat nostalgic to say. Yet, it makes me a little sad to wonder why people lose their rich imagination as they grow older.
Phrases such as “the princess’ garden” and “toy soldiers” that are found in various sections of the score have been drawn from my personal memory. I have indicated these with the hope that they can spark further interpretation even though there are no specific stories behind them.
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残発行枚数:76
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有効期間:2023/03/01 ~ 2024/12/31