Wind Band

March on Eight Folk Tunes

Composed: Jan 21, 2024
Duration: 3:40

Premiere	Mar 3, 2024

Diferencias on an Old Spanish Song

Composed: 2021
Duration: 11

Publisher: ItoMusic / Brain
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Note	I am immensely happy that my Gloriosa, symphonic poem for band (1990), has been performed by so many bands in the last thirty years. During this period, the growth of the internet has made it much easier to access information. When I composed Gloriosa, I only had limited information about the period when Christianity and Western music was first introduced to Japan, and had to rely a lot on my imagination. However, nowadays, it is easy to obtain various source materials and to read interesting studies on the music of the past. In recent years, the music of Luis de Narvaez (born ca.1500 - died between 1555-1560), Spanish composer and vihuela player, has become increasingly known, and several CDs of his music are now available. Narvaez composed the earliest-known set of diferencias, a forerunner of the variation form. One of his works is Seys diferencias sobre el himno "O gloriosa domina" [Six diferencias on the hymn "O gloriosa domina"] (1538), based on the Spanish Marian hymn, and it was this melody I used in the first movement of my Gloriosa. Western music has been my musical roots since childhood, and throughout my career as a composer, it has continued to fascinate me. One could say that this has provided the inspiration for Diferencias on an Old Spanish Song, my own take on the diferencias form. Actually, such music from the early sixteenth century could sound fresh to our modern ears. So I decided to quote the melody from Narvaez's Sey diferencias at the beginning and end of the piece, in order that people can get the feel for the period. The main section (bars 42-390) is formed of 13 diferencias, similar to the first movement of the Gloriosa. In the middle section, which begins after the eighth diferencia(from bar 187), one should be totally absorbed in the tranquility and the beauty of the music. Although it's in the style of a sarabande, it should be taken slower and played as pianissimo as possible. This is followed by folk-style dance music. (As only standard percussion instruments are used, try to be creative with tonal colours and sense of rhythm). The structure of the work is simple, but be aware of the connection between the sections when constructing the whole. Also, think about the tonality. Overall, the work is in F minor. The main section is basically in D minor, but from bar 102, it modulates to A flat minor and G minor, and then in the middle section it suddenly switches to A flat major (which is the furthest key from D minor, and the relative major of F minor). From bar 219, it modulates to F minor and then to C minor, then back to F minor by way of A minor. N.B. The Oboe II part can be substituted by the English Horn (as indicated in the parts). One can choose according to the player's skills or preference. Recent new compositions for wind band are often full of rhythm, dynamism, and tonal colour, and compositional techniques and orchestration have also evolved greatly. Yet on the other hand, they tend to feature fewer melodic or expressive elements. Since this work is the test piece for WMC Kerkrade 2022, I had to think about what "tests" or "challenges" to set, and I decided to compose something that doesn't involve a lot of technical display, but requires beautiful sounds and harmonies, and above all, musical expressivity. I didn't put many expression markings in the score, because I wanted the performers to think about how best to express this music. If it is played merely as notated, it's not going to sound very interesting. Christianity was introduced to Japan in the mid-16th century, but it was subsequently banned and Japan entered a period of national isolation, which meant that there was hardly any international exchange for two hundred years. As a result, the Christian hymns that were introduced prior to the isolation became almost unrecognizable over the centuries. This was the theme I explored in my Gloriosa thirty years ago. Now, in 2021, the whole world has been forced to "isolate" due to the Covid-19 pandemic. In such times, it seems pertinent that I've written a work using this melody again. I sincerely hope that people will be able to gather in Kerkrade in 2022. Yasuhide Ito

Note

I am immensely happy that my Gloriosa, symphonic poem for band (1990), has been performed by so many bands in the last thirty years.
During this period, the growth of the internet has made it much easier to access information.
When I composed Gloriosa, I only had limited information about the period when Christianity and Western music was first introduced to Japan, and had to rely a lot on my imagination.
However, nowadays, it is easy to obtain various source materials and to read interesting studies on the music of the past.
In recent years, the music of Luis de Narvaez (born ca.1500 - died between 1555-1560), Spanish composer and vihuela player, has become increasingly known, and several CDs of his music are now available.
Narvaez composed the earliest-known set of diferencias, a forerunner of the variation form. One of his works is Seys diferencias sobre el himno "O gloriosa domina" [Six diferencias on the hymn "O gloriosa domina"] (1538), based on the Spanish Marian hymn, and it was this melody I used in the first movement of my Gloriosa.
Western music has been my musical roots since childhood, and throughout my career as a composer, it has continued to fascinate me. One could say that this has provided the inspiration for Diferencias on an Old Spanish Song, my own take on the diferencias form.

Actually, such music from the early sixteenth century could sound fresh to our modern ears. So I decided to quote the melody from Narvaez's Sey diferencias at the beginning and end of the piece, in order that people can get the feel for the period.
The main section (bars 42-390) is formed of 13 diferencias, similar to the first movement of the Gloriosa.
In the middle section, which begins after the eighth diferencia(from bar 187), one should be totally absorbed in the tranquility and the beauty of the music. Although it's in the style of a sarabande, it should be taken slower and played as pianissimo as possible.
This is followed by folk-style dance music. (As only standard percussion instruments are used, try to be creative with tonal colours and sense of rhythm).
The structure of the work is simple, but be aware of the connection between the sections when constructing the whole.
Also, think about the tonality. Overall, the work is in F minor. The main section is basically in D minor, but from bar 102, it modulates to A flat minor and G minor, and then in the middle section it suddenly switches to A flat major (which is the furthest key from D minor, and the relative major of F minor). From bar 219, it modulates to F minor and then to C minor, then back to F minor by way of A minor.
N.B. The Oboe II part can be substituted by the English Horn (as indicated in the parts). One can choose according to the player's skills or preference.

Recent new compositions for wind band are often full of rhythm, dynamism, and tonal colour, and compositional techniques and orchestration have also evolved greatly. Yet on the other hand, they tend to feature fewer melodic or expressive elements. Since this work is the test piece for WMC Kerkrade 2022, I had to think about what "tests" or "challenges" to set, and I decided to compose something that doesn't involve a lot of technical display, but requires beautiful sounds and harmonies, and above all, musical expressivity. I didn't put many expression markings in the score, because I wanted the performers to think about how best to express this music. If it is played merely as notated, it's not going to sound very interesting.

Christianity was introduced to Japan in the mid-16th century, but it was subsequently banned and Japan entered a period of national isolation, which meant that there was hardly any international exchange for two hundred years. As a result, the Christian hymns that were introduced prior to the isolation became almost unrecognizable over the centuries. This was the theme I explored in my Gloriosa thirty years ago.
Now, in 2021, the whole world has been forced to "isolate" due to the Covid-19 pandemic. In such times, it seems pertinent that I've written a work using this melody again. I sincerely hope that people will be able to gather in Kerkrade in 2022.

Yasuhide Ito

Von Pathetique zur Freude

Kanon zu drei Simmen

Composed: Jun 8, 2020
Duration: 3

Premiere	Jul 12, 2020

Paraphrase on the Opera “Mr. Cinderella”

Composed: Nov 6, 2019
Duration: 8:30

Publisher: Tokyo Hustle Copy

Paraphrase on "The Tale of the Blackened Canteen"

Composed: Jul 20, 2019
Duration: 8:00

Publisher: ItoMusic / Brain
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Premiere	Aug 17, 2019 Soka University Pioneer Wind Orchestra

Fantasia di Hakka 客家幻想曲

Composed: Aug 7, 2018
Duration: 10:30

1:25:50～

Note	Commissioned by and dedicated to the HsinChu Wind Onsemble, Taiwan, for the celebration of the 300th anniversary of Zhu$0301qia$0300n (current Hsinchu City). 慶祝竹塹城開城300年紀念新竹交響管樂團委託作曲
Premiere	Sep 1, 2018

Peace, Peace, so Sing the Birds

Composed: Jul 3, 2018
Duration: 8:00

Publisher: ItoMusic / Brain
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Note	In January 2001, to mark the beginning of the 21st century, I wrote a celebratory overture titled “Pacem et Gloriam pro Nobis” (Peace and Glory for Us), commissioned by the Soka Gloria Wind Orchestra. It’s a gorgeous piece for large instrumentation including 4 bands in the auditorium. Pablo Casals, the legendary cellist, had performed “The Song of the Birds” (El cant dels ocells), a famous Catalonian folk tune with the lyrics; ‘Birds sing when they are in the sky, they sing: “Peace, Peace, Peace””, at the United Nations on 24th October 1971. I quoted this melody as a symbol of peace, and prayed that the 21st century would be a peaceful time. However, the 9/11 terror attacks cruelly broke our prayers for peace. In addition, a great number of wars have taken place since. That’s why I have been writing a lot of pieces praying for peace, such as; “Choral Fantasy” (2002), and its revised version, “Fantasy on a Bach Prelude, ‘O Mensch, bewein’ dein’ s$00FCnde gro$00DF’” (2014), “The Earth” from The Planets Trilogy (2005), “Adagio for Band” (2005), “Pictures at an Exhibition for Chorus and Band” (2005), “That which He taught us, for Baritone, Soprano and band” (2015), and its revised version (3rd prize at the Coups de Vents international band composition competition, 2018), “A Tale of a Canteen” an opera (to be premiered in 2019). Now, 17 years after the premiere of my “Pacem et Gloriam pro Nobis”, I have written a new edition, which can be played by a standard wind orchestra, commissioned by the Soka University Pioneer Wind Orchestra. I have added a new section at the beginning and another from bar 127 to 183. The orchestration has been totally changed, which is why I have given the piece the new title of “Peace, Peace, so Sing the Birds.” Professor Masaki Yamaoka, the general advisor of the band, played at in the Tsukuba University Band about 35 years ago under my direction. I am grateful to him for our great history together. The piece premiered on 7th July, 2018 at the regular concert of Soka University Pioneer Wind Orchestra, under the baton of the composer.
Premiere	Jul 7, 2018 Soka University Pioneer Wind Orchestra / Conducted by ITO Yasuhide

Note

In January 2001, to mark the beginning of the 21st century, I wrote a celebratory overture titled “Pacem et Gloriam pro Nobis” (Peace and Glory for Us), commissioned by the Soka Gloria Wind Orchestra. It’s a gorgeous piece for large instrumentation including 4 bands in the auditorium. Pablo Casals, the legendary cellist, had performed “The Song of the Birds” (El cant dels ocells), a famous Catalonian folk tune with the lyrics; ‘Birds sing when they are in the sky, they sing: “Peace, Peace, Peace””, at the United Nations on 24th October 1971. I quoted this melody as a symbol of peace, and prayed that the 21st century would be a peaceful time.
However, the 9/11 terror attacks cruelly broke our prayers for peace. In addition, a great number of wars have taken place since. That’s why I have been writing a lot of pieces praying for peace, such as; “Choral Fantasy” (2002), and its revised version, “Fantasy on a Bach Prelude, ‘O Mensch, bewein’ dein’ s$00FCnde gro$00DF’” (2014), “The Earth” from The Planets Trilogy (2005), “Adagio for Band” (2005), “Pictures at an Exhibition for Chorus and Band” (2005), “That which He taught us, for Baritone, Soprano and band” (2015), and its revised version (3rd prize at the Coups de Vents international band composition competition, 2018), “A Tale of a Canteen” an opera (to be premiered in 2019).
Now, 17 years after the premiere of my “Pacem et Gloriam pro Nobis”, I have written a new edition, which can be played by a standard wind orchestra, commissioned by the Soka University Pioneer Wind Orchestra. I have added a new section at the beginning and another from bar 127 to 183. The orchestration has been totally changed, which is why I have given the piece the new title of “Peace, Peace, so Sing the Birds.”
Professor Masaki Yamaoka, the general advisor of the band, played at in the Tsukuba University Band about 35 years ago under my direction. I am grateful to him for our great history together. The piece premiered on 7th July, 2018 at the regular concert of Soka University Pioneer Wind Orchestra, under the baton of the composer.

Premiere

Jul 7, 2018
Soka University Pioneer Wind Orchestra / Conducted by ITO Yasuhide

Time-into-Music

Composed: Jun 5, 2018
Duration: 5:30

Publisher: ItoMusic / Brain
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Note	Composed to celebrate the 80th birthday of Mr. Timothy Reynish. The age of 80 reminded me of Verdi who was still in his musical enthusiasm at that age and wrote his last opera, Falstaff. Well, there was an association in my mind the stout title role with Tim. It was my intention to celebrate the occasion with this little lucid (like the opera) piece in C major. The eighth-note phrases at the beginning gets longer as they are repeated. It is to mimic the form of a verse by emperor Yuryaku in Manyoshu, an 8th century anthology of Japanese poetry: “Komoyo, Mikomochi, Fukushimoyo, Miukushimochi”. In the verse, syllables are added one by one, in a manner that is said to symbolize auspice and bliss. Quoted in the middle is the beginning of the fugue at the closing of Falstaff: “Tutto nel mondo e burla” (All the world is a joke). The title implies musical moments. This little piece is filled with gentle melodies and is slightly less than 5 minutes in duration. You may notice the name “Tim” hidden in the title. The world premiere is on 17 June 2018 by Timothy Reynish conducting Philharmonic Winds in Singapore. The Japan premiere is on 1 July by the same conductor with Senzoku Gakuen College of Music Green-Tie Wind Ensemble.
Premiere	Jun 17, 2018

Note

Composed to celebrate the 80th birthday of Mr. Timothy Reynish. The age of 80 reminded me of Verdi who was still in his musical enthusiasm at that age and wrote his last opera, Falstaff. Well, there was an association in my mind the stout title role with Tim. It was my intention to celebrate the occasion with this little lucid (like the opera) piece in C major.

The eighth-note phrases at the beginning gets longer as they are repeated. It is to mimic the form of a verse by emperor Yuryaku in Manyoshu, an 8th century anthology of Japanese poetry: “Komoyo, Mikomochi, Fukushimoyo, Miukushimochi”. In the verse, syllables are added one by one, in a manner that is said to symbolize auspice and bliss.

Quoted in the middle is the beginning of the fugue at the closing of Falstaff: “Tutto nel mondo e burla” (All the world is a joke).
The title implies musical moments. This little piece is filled with gentle melodies and is slightly less than 5 minutes in duration. You may notice the name “Tim” hidden in the title.

The world premiere is on 17 June 2018 by Timothy Reynish conducting Philharmonic Winds in Singapore. The Japan premiere is on 1 July by the same conductor with Senzoku Gakuen College of Music Green-Tie Wind Ensemble.

Premiere

Jun 17, 2018

Concerto for Trumpet and Band

Composed: Feb 24, 2018
Duration: 15

Publisher: ItoMusic / Brain
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Note	The amazing performance of Mr. Ottaviano Cristofoli, the solo trumpet player of the Japan Philharmonic Orchestra inspired me to write a concerto full of melodies. He plays like a singer, and I feel as if I can even hear lyrics through his performance. As a result, this concerto, written for him, is full of melodies and 'molto cantabile'. I didn't write any typical trumpet passages such as fanfares or flourishes. The piece consists of one movement, but you'll find three traditional movements. The first part 'allegro vivo' has sonata form, which lacks recapitulation of a second theme. Followed by the second part, andantino lento. The main theme is the second theme of the first part. It is in G. Verdi style. This being an homage to the great composer and also to Italy where this concerto has its premiere. The third part is 'Le Danze (Dances)'. You'll find a lot of dance characters from western and eastern countries. Through these dances, we hope to spread the message of peace on the earth.
Commissioned	Orchestra Fiati Val Isonzo
Premiere	Mar 17, 2018 Ottaviano Cristofoli, solo trumpet, with Orchestra Fiati Val Isonzo under the baton of Fulvio Dose

Concerto for two Trumpets and Band

Composed: Jan 16, 2018
Duration: 16:30

Publisher: ItoMusic / Brain
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Note	Commissioned by and dedicated to the Hong Kong Chamber Wind Philharmonia, (Victor Tam, music director and conductor). Premiered on 19th February 2018 with Paul Archibald and Christopher Moyse, trumpets. The first movement is an extremely fast tempo sonata form in which two trumpets are always intertwined in canon. The second theme of the first movement is a homage of Haydn's trumpet concerto leading directly to the second movement "Passacaglia". Here, the melody of "Chocolate d'Amore" is transformed and quoted in the middle section, and continues to the third movement. The six-eight rhythm of the timpani brings back the first theme of the first movement and the melody of the second movement, which alternate and interact with each other to conclude the piece. 協奏曲的開首為「最急板」，是一個極快的奏鳴曲式樂章，兩位小號獨奏以$5361農曲式相互輪奏著。樂章的第二主題出自海頓的小號協奏曲，特意向作曲家致敬。緊接著是第二樂章「$5E15薩加牙舞曲」，引用了伊藤康英自己的作品《Chocolate d'amore》當中的旋律，並以變奏形式呈現出來。第三樂章為「活$6F51的快板」，定音鼓的6/8拍子和節奏重現第一樂章的第一主題和第二樂章的旋律，兩者以變奏形式穿插著，為樂曲作結。
Commissioned	Hong Kong Chamber Wind Philharmonia
Premiere	Feb 19, 2018 Paul Archibald and Christopher Moyse, with Hong Kong Chamber Wind Philharmonia under the baton of Victor Tam

Fantasia on Greensleeves

Composed: Nov 21, 2017
Instrument: Picc. 3Fl. 3Ob . EH. 3B♭Cl. Bass-Cl. 3Bsn. Double Bsn. 2A-Sax. T-Sax. Bar-Sax. 4Hrn. 3Cb
Duration: 6:00

Publisher: ItoMusic / Brain
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Note	Premiered on 12th December 2017, by Senzoku Gakuen College of Music Green-Tie Wind Ensemble under the baton of Douglas Bostock. Hardly any melody is so associated with England as "Greensleeves", a folk song about love, which has its origins in the late 16th Century. Interestingly, the tune was used as a slow march by British military bands in the 16th and 17th Centuries and as a quick march during World War I, reminding the soldiers of home. Yasuhide Ito has employed the melody as the basis for a new composition to complement this evening's special programme. (Douglas Bostock)
Premiere	Dec 12, 2017

Note

Premiered on 12th December 2017, by Senzoku Gakuen College of Music Green-Tie Wind Ensemble under the baton of Douglas Bostock.

Hardly any melody is so associated with England as "Greensleeves", a folk song about love, which has its origins in the late 16th Century. Interestingly, the tune was used as a slow march by British military bands in the 16th and 17th Centuries and as a quick march during World War I, reminding the soldiers of home. Yasuhide Ito has employed the melody as the basis for a new composition to complement this evening's special programme. (Douglas Bostock)

Premiere

Dec 12, 2017

Rainbow for tomorrow for Chorus and Wind Ensemble

Composed: Sep 18, 2017
Duration: 7:30

Commissioned	Konan Junior High School, Kanagawa, Japan
Premiere	Oct 25, 2017

On the Road

an Oratorio or a Theatre Piece　 for Narrator, Singer, Children’s chorus, Mixed voice chorus, Japanese instruments and band

Composed: Apr, 2017
Duration: 35

Premiere	Aug 12, 2017

Festal Ballade for Band

Composed: Sep 1, 2016
Duration: 9:00

Publisher: ItoMusic / Brain
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Note	Beyond the long and bitter-cold winters, the people in Aomori drown in the joy and delight of summer festivities, where summers are short-lived. Brightly lit and colorfully decorated floats called Nebuta are a common feature in Aomori’s festive summer parades. “Festal Ballade” is a continuation from “Festal Scenes” (1986), which is a piece still very well received by many, something I am proud to say with my utmost gratitude. It is a creative blend of Japanese musical elements and Western composition technique, and about six minutes long. “Festal Scenes” was commissioned by the Wind Band of the Maritime Self-Defense Force of Ominato in Aomori, and features four popular folk songs from the Aomori prefecture of Japan. 30 years on, this new composition, also employing the same folk songs, was born from a request, once again, by the mentioned wind band. Following the astounding progress of Japanese wind bands’ performance profile on an international level since 1986, back when information and resources were scarcely available, “Festal Ballade” can be said to have evolved greatly (from “Festal Scenes”) into something more authentic, and perhaps, “truly Japanese”. The melodies from “Tsugaru Jongara-bushi Kyokubiki Rokudan”,“Tsugaru Aiya-bushi”,“Hoh-hai-bushi”, and “Aomori Nebuta” are presented in sequence, while hidden expressions of melodies from the “Ominato Nebuta”, “Hachinohe Sansha Taisai” can also be relished. In a matter of 30 years, the power of the Internet has vastly improved, while the Japanese bullet train service has also expanded, bringing Aomori closer than ever. Things have changed, apparently, even for things that did not seem to have. The gradual change in tempo and rhythm of the Taiko drums at Nebuta festivals is just one example. I can only imagine what my composition would be like in another 30 years, if the band of the Maritime Self-Defense Force would, hopefully, once again request for my services in creating a new variation. Without doubt, the world would have changed significantly. In the least, it is my personal wish that world peace is prevalent, and that Nebuta festivals can still be enjoyed as it is now. Performance notes Bar 176 onwards: To be performed as close to the “Aiya-bushi’s” triple time. The beats’ lengths are not even, with something similar to 1st >2nd >3rd beats. A search on the Internet about the “Tsugaru Aiya-bushi” is strongly recommended. Bars 261 to 274, and/or bars 311 to 317 can be omitted, to shorten the piece to a little over 8 minutes long. The full piece is a little over 9 minutes.
Commissioned	Japan Maritime Self Defense Force, OMINATO BAND
Premiere	Sep 21, 2016

Ce qu’il nous enseigna… Pour Baryton et Orchestre d’Harmonie

Composed: Jul 28, 2016

Note	Used as the text was the words by Buddha in Pali language. Original work is for baritone, soprano and wind band, premiered in Germany on 8th November 2015. A few days after that, on November 13th, terrorist attacks occurred in Paris. Antoine Leiris, a journalist who lost his beloved wife on this atrocity, posted a message on Facebook. It was shared by many people and reported by medias including Japanese newspapers. “Alors non je ne vous ferai pas ce cadeau de vous ha$00EFr. Vous l’avez bien cherch$00E9 pourtant mais r$00E9pondre $00E0 la haine par la col$00E8re ce serait c$00E9der $00E0 la m$00EAme ignorance qui a fait de vous ce que vous $00EAtes.” (I will never give you a gift of hatred, responding with anger as you wish will yield to the same ignorance as you.) Those words had something in common with the text of my newly premiered piece. I received information that the ‘Coups de Vents’ composition competition was looking for works based ‘on the theme of peace’ (sur le th$00E8me de la paix). As an attempt to deliver a message for peace to France, I revised the work for baritone and wind band, and submitted it to the competition.

Note

Used as the text was the words by Buddha in Pali language. Original work is for baritone, soprano and wind band, premiered in Germany on 8th November 2015. A few days after that, on November 13th, terrorist attacks occurred in Paris. Antoine Leiris, a journalist who lost his beloved wife on this atrocity, posted a message on Facebook. It was shared by many people and reported by medias including Japanese newspapers.

“Alors non je ne vous ferai pas ce cadeau de vous ha$00EFr. Vous l’avez bien cherch$00E9 pourtant mais r$00E9pondre $00E0 la haine par la col$00E8re ce serait c$00E9der $00E0 la m$00EAme ignorance qui a fait de vous ce que vous $00EAtes.”
(I will never give you a gift of hatred, responding with anger as you wish will yield to the same ignorance as you.)

Those words had something in common with the text of my newly premiered piece. I received information that the ‘Coups de Vents’ composition competition was looking for works based ‘on the theme of peace’ (sur le th$00E8me de la paix). As an attempt to deliver a message for peace to France, I revised the work for baritone and wind band, and submitted it to the competition.

Ibuki - Breath of Life, Symphonic Cantata for Voice and Wind Orchestra

Composed: May 8, 2016
Duration: 15:00

Note	Ryoichi Wago is a Japanese poet who currently resides in Fukushima, where the 2011 Great East Japan Earthquake had hit hard. He has since been the voice for the people of Fukushima, and the online publications of his works were a great sensation. In response, I have composed nearly forty songs as well as a cantata for chorus and an opera, “Ki-sho-ten-ten”. In my personal opinion, I think the power embedded in the words of Wago’s poetry has served as a torch for many souls right after the earthquake in 2011, and will still continue to light the paths of many hereafter. Like a collage, I wove Wago’s poetry, the very words, and the spirit engraved in the words as well, into this composition. It is a piece about despair, hope, the future, love, the things we hold dear to our hearts, and the breath of life. The richness and delicacy of the wind orchestra, contrasts heavily with the voice’s imposing, yet tender presence. It is neither an opera, nor a piece with a specific story to tell, but a composition that somewhat resembles a monodrama. On another note, I would also like to express my heartfelt gratitude and delight for this opportunity, to write a piece which showcases the two genres I have long been engaged in $2013 wind orchestra music, and vocal music. 30 years has passed since “Festal Scenes”, a piece I have composed in lyrical style, by the request of Ominato Band of the Japanese Maritime Self-Defense Force. That piece can also be said to have been my debut masterpiece, and I cannot express how deep my emotions are when I think of how this piece serves as the fruit I have bore through a long journey. Finally, in a bid to show my appreciation, this piece is dedicated to the Tokyo Band of the Japan Maritime Self-Defense Force, Yukari Miyake, and Hiroyuki Tedzuka, with whom I have shared a long association with.
Premiere	Jul 9, 2016 Japan Maritime Self-Defense Force Band, TOKYO

Note

Ryoichi Wago is a Japanese poet who currently resides in Fukushima, where the 2011 Great East Japan Earthquake had hit hard. He has since been the voice for the people of Fukushima, and the online publications of his works were a great sensation. In response, I have composed nearly forty songs as well as a cantata for chorus and an opera, “Ki-sho-ten-ten”. In my personal opinion, I think the power embedded in the words of Wago’s poetry has served as a torch for many souls right after the earthquake in 2011, and will still continue to light the paths of many hereafter.
Like a collage, I wove Wago’s poetry, the very words, and the spirit engraved in the words as well, into this composition. It is a piece about despair, hope, the future, love, the things we hold dear to our hearts, and the breath of life. The richness and delicacy of the wind orchestra, contrasts heavily with the voice’s imposing, yet tender presence.
It is neither an opera, nor a piece with a specific story to tell, but a composition that somewhat resembles a monodrama.
On another note, I would also like to express my heartfelt gratitude and delight for this opportunity, to write a piece which showcases the two genres I have long been engaged in $2013 wind orchestra music, and vocal music.
30 years has passed since “Festal Scenes”, a piece I have composed in lyrical style, by the request of Ominato Band of the Japanese Maritime Self-Defense Force. That piece can also be said to have been my debut masterpiece, and I cannot express how deep my emotions are when I think of how this piece serves as the fruit I have bore through a long journey.
Finally, in a bid to show my appreciation, this piece is dedicated to the Tokyo Band of the Japan Maritime Self-Defense Force, Yukari Miyake, and Hiroyuki Tedzuka, with whom I have shared a long association with.

Premiere

Jul 9, 2016
Japan Maritime Self-Defense Force Band, TOKYO

CD: Marine Fantasy (Brain/BOCD-7611)

March, Mirai-e Ashita-e

Composed: Mar 4, 2016
Duration: 4:00

Yaysama-Rimse, Dance Impromptu for Band

Composed: Feb 14, 2016
Duration: 7:30

Publisher: ItoMusic / Brain
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Note	This melodic piece is a burst of energetic expression of song and dance, by a people who holds a great desire for peace and harmony. An Ainu folk song was integrated in “Fantasy Variations”, a piece I have composed for the euphonium and wind band 26 years ago, and is still widely popular among euphonium players. The Ainu tribe is native to northern Japan, the area under the jurisdiction of the Northern Air Self-Defense Force. This piece is commissioned by its band. I composed this new piece, employing the same Ainu folk song then. Meanwhile, I also aimed to discover how my composition style then contrasts with my current methodology. The sub-title “Dance-Impromptu” is derived from Yay-sama Rimse. “Yay-sama” translates into “Impromptu”, or “Song of Love” in the Ainu language, while “Rimse” means “round dance”. Yay-sama Rimse was first performed on 13 March 2016 by the band of the Northern Air Self-Defense Force, with Mr. Tomohide Watanabe as conductor.
Premiere	Mar 13, 2016

Note

This melodic piece is a burst of energetic expression of song and dance, by a people who holds a great desire for peace and harmony.
An Ainu folk song was integrated in “Fantasy Variations”, a piece I have composed for the euphonium and wind band 26 years ago, and is still widely popular among euphonium players. The Ainu tribe is native to northern Japan, the area under the jurisdiction of the Northern Air Self-Defense Force. This piece is commissioned by its band. I composed this new piece, employing the same Ainu folk song then. Meanwhile, I also aimed to discover how my composition style then contrasts with my current methodology.
The sub-title “Dance-Impromptu” is derived from Yay-sama Rimse. “Yay-sama” translates into “Impromptu”, or “Song of Love” in the Ainu language, while “Rimse” means “round dance”.
Yay-sama Rimse was first performed on 13 March 2016 by the band of the Northern Air Self-Defense Force, with Mr. Tomohide Watanabe as conductor.

Premiere

Mar 13, 2016

Toccata for Band

Composed: Dec 29, 2015
Instrument: Flute 1&2(2nd also Piccolo), Oboe(Option), Bassoon(Option), Bb Clarinet 1, Bb Clarinet 2, Bb Bass Clarinet, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone, F Horn 1&2, Bb Trumpet 1&2, Trombone 1&2, Euphonium, Tuba, String Bass(Option), Percussion 1(Timpani，Suspended Cymbal，2 Tom-tom drums), Percussion 2(Glockenspiel，Xylophone，Snare Drum，Tom-tom drum)
Duration: 5:40

Publisher: Rocket Music
Please place an order to: toiawase@itomusic.com

That which He taught us …

for Bariton, Soprano and Band

Composed: Oct, 2015
Duration: 14:00

Note	Signed in 1951, the Treaty of San Francisco officially marked the end of World War II. As the defeated nation of the war, Japan’s national sovereignty was at a risk of being lost to foreign powers such as China and the Soviet Union. The words of J. R. Jayawardene (1906-1996), former President of Sri Lanka (then Finance Minister of Ceylon) were what saved Japan from that fate. Although the island of Ceylon suffered aerial bombings from the Japanese Imperial Army, his words were that “We in Ceylon were fortunate that we were not invaded”, and that “we believe in the words of the Great Teacher” and “hatred ceases not by hatred but by love”, quoting the teachings of Buddha, in an attempt to allow a free Japan, and expressed that he had no wish for compensation from Japan. It can be said that, Japan is what she is today, because she was saved by the words of Buddha. (The Japanese people should be grateful for that.) Among a great number of Buddhist texts, the original words by Buddha himself were only recorded in a few, and were written in the Pali language, which was spoken by Buddha. Hence, this composition being written based on the Pali language. However, though, it is not a piece of religious music. In general, for all religions, all man may all but desire the same thing. Unfortunately though, wars cease to end in this world. Several countries and regions all over the world are in threatening situations. “May all living beings be happy.” And may future generations live in a better world. The music starts with a prayer, “May all living beings be happy” presented by the baritone. Shortly after, the soprano comes in, depicting fury. The baritone would respond with the words “hatred will not cease with hatred”, paving the way to a gentle melody, singing, “hatred will cease only by not hating”. The soprano would yield with the words “this is the eternal truth”. The soprano ushers in a calm section with the words, “all living beings, feeble and strong”, while the baritone joins in with the words, “all beings that can, and cannot be seen”, eventually leading to a duet part with the words “may all be happy”. The composition fades quietly into the ending with both singing the words, “Good, good, good…” ____________________ The “e” and “o” of the Pali language are pronounced with an elongated emphasis. In the score, they are written as “$0113” and “$014D” respectively.
Premiere	Nov 8, 2015 Sinfonisches Blasorchester Ulm, conducted by ITO Yasuhide

Note

Signed in 1951, the Treaty of San Francisco officially marked the end of World War II. As the defeated nation of the war, Japan’s national sovereignty was at a risk of being lost to foreign powers such as China and the Soviet Union. The words of J. R. Jayawardene (1906-1996), former President of Sri Lanka (then Finance Minister of Ceylon) were what saved Japan from that fate. Although the island of Ceylon suffered aerial bombings from the Japanese Imperial Army, his words were that “We in Ceylon were fortunate that we were not invaded”, and that “we believe in the words of the Great Teacher” and “hatred ceases not by hatred but by love”, quoting the teachings of Buddha, in an attempt to allow a free Japan, and expressed that he had no wish for compensation from Japan. It can be said that, Japan is what she is today, because she was saved by the words of Buddha. (The Japanese people should be grateful for that.)
Among a great number of Buddhist texts, the original words by Buddha himself were only recorded in a few, and were written in the Pali language, which was spoken by Buddha. Hence, this composition being written based on the Pali language. However, though, it is not a piece of religious music.
In general, for all religions, all man may all but desire the same thing. Unfortunately though, wars cease to end in this world. Several countries and regions all over the world are in threatening situations.
“May all living beings be happy.” And may future generations live in a better world.
The music starts with a prayer, “May all living beings be happy” presented by the baritone. Shortly after, the soprano comes in, depicting fury. The baritone would respond with the words “hatred will not cease with hatred”, paving the way to a gentle melody, singing, “hatred will cease only by not hating”. The soprano would yield with the words “this is the eternal truth”.
The soprano ushers in a calm section with the words, “all living beings, feeble and strong”, while the baritone joins in with the words, “all beings that can, and cannot be seen”, eventually leading to a duet part with the words “may all be happy”. The composition fades quietly into the ending with both singing the words, “Good, good, good…”
____________________
The “e” and “o” of the Pali language are pronounced with an elongated emphasis. In the score, they are written as “$0113” and “$014D” respectively.

Premiere

Nov 8, 2015
Sinfonisches Blasorchester Ulm, conducted by ITO Yasuhide

A Carnival Day, concertino for alto saxophone and Euphonium (Fanfare Orchestra edition)

Composed: 2015

Premiere	May 2, 2015 Hiroshi Hara (Saxophone), Kyohei Ando (Euphonium), Symphonic Fanfare Tokyo Cond: Yoshiaki Ito

La Follia nel Bosco

Fantasia for Wind Ensemble

Composed: Dec, 2013
Duration: 6:20

Publisher: ItoMusic / Brain
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Note

La folia (Portuguese) or la follia (Italian), bearing the literal meaning of "madness" or "insanity", is also a very fast dance in triple time, which supposedly originated in the Iberian Peninsula. By the 17th century, it has taken on a calmer character, eventually taking form as a variation based on a specific basso ostinato (obstinate bass).

Various composers have produced works based upon la folia. Composers such as A. Corelli (Sonata, Op. 5-12), F. Liszt (Rhapsodie espagnole), and S. Rachmaninov (Variations on a theme by Corelli).

In March 2013, I wrote La Follia, Concertino for Band, upon receiving a commission from Tokyo Kosei Wind Orchestra. This concertino is of a high level of difficulty in terms of technique, as it is intended for a professional wind band. By using the same elements in the original piece, I wrote a more compact version, La Follia nel Bosco in December the same year, commissioned by the wind band of Kaishin Daisan Junior High School in Nerima ward, Tokyo. The members of the band, who based their idea from the impression they held for the piece, created the Italian title, meaning ‘little woods’. Mr. Lorenzo Della Fonte kindly assisted in translating the title into Italian.

Although the piece was written for a junior high school band, it comprises of rich musical elements, which could prove useful to the players’ development. Naturally though, this piece might offer interesting challenges even to experienced players.

It is in free variation form with no fixed harmonic progression, and most rehearsal marks are assigned to each variation.

As it is a work for small bands, it is most ideal to have each part performed by only a single player, apart from the clarinet section, which should be performed by 2 persons for each part. The number of wind players should add up to 24 in total. Furthermore, though not indicated on the score, an oboe and/or a bassoon may also be included.

On another note, it can also be performed without the 3rd clarinet, 3rd horn or 3rd trumpet, which would result in a minimum ensemble of only 18 wind players. Also, quite a number of percussion instruments are to be used. However though, if the passages in parentheses are omitted, it can be effectively performed with only six percussionists. And, with a little creativity, the number of percussionists may be further reduced.

Much attention has been paid in the orchestration of this piece, so as to produce a wide range of tone colors. Finally, by studying the full score thoroughly, the interaction between the various instruments can be understood even better.
ITO Yasuhide

Premiere

Aug 4, 2014

CD: Brain Contest Repertoire Vol.3 (Brain/BOCD-7356)

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Concerto for Tsugaru-Shamisen and Band

Composed: Aug, 2013
Duration: 14:00

Publisher: ItoMusic / Brain
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Commissioned	Ichinomiya Fire Company Band
Premiere	Nov 10, 2013 Yamaguchi Koji (Tsugaru-Shamisen) and Ichinomiya Fire Company Band conducted by Suzuki Tatsuya

La Follia, Concertino for Wind Ensemble

Composed: Mar, 2013
Duration: 13:00

Publisher: ItoMusic / Brain
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Commissioned	Tokyo Kosei Wind Orchestra
Premiere	Apr 6, 2013 Tokyo kyosei Wind Ensemble

Fantasia on a Bach Chorale Prelude "O Mensch, bewein' dein' S$00FCnde gro$00DF"

Composed: 2013
Instrument: Fl.1,2 Picc. Ob. Hrn. Bn.1,2 EbCl. BbCl.1,2,3 BbBassCl. Alt.Sax.1,2 Ten.Sax. Bar.Sax. Hrn.1,2,3,4 BbTrp.1,2,3,4 Trb.1,2,3 Euph.Tub. Cb. Hp. Timp. Perc.1,2,3,4
Duration: 8:00

Publisher: ItoMusic / Brain
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Note	Fantasia on a Bach Chorale Prelude, "O Mensch, bewein’ dein’ Snde gro$00DF" I have always been fascinated by J. S. Bach’s music, ever since I was studying musical composition during my high school days in Hamamatsu. I have enjoyed very much, playing Bach’s chorales as well as their developed forms, the chorale preludes and fantasias on the piano, recognizing at the same time the fabulous architecture of Bach’s music. Among the pieces I know, I came to notice that his excellence in note placements and part-writings were most remarkably accomplished in the chorale prelude, "O Mensch, bewein’ dein’ Snde gro$00DF" (Oh Man, bewail your great sins) BWV622. On September 11, 2001, I witnessed on TV, the shocking images of the collapse of the twin towers of the World Trade Center, and mourned the fact that we have to embrace the beginning of the 21st century with such horror. The previous century has already seen all but too many wars. It was then, that I came across this chorale in my mind. At the very same period, I was commissioned to write a piece for the Chubu Japan Air Self-Defense Force Band, in which I named it, "Chorale Fantasia", a work inspired by the chorale. It premiered in 2002. This present rendition is a shortened version, and is 8 minutes long, instead of the original 14 minutes. Instead of simply cutting the piece down, the details were meticulously modified during the reconstruction of the whole fantasia. It was commissioned by the wind band of Hamamatsu Municipal High School and premiered in 2013. For the opening, I quoted another arrangement of a chorale, BWV402, while a quote from BWV622 is presented in the final section, and with the middle section being a free form variation of the same chorale. The irregular meter section starting from the 150th measure is based on "The Seventh Seal" I have composed in 1979. For the performance of the final chorale part, information on how to play the cantus firmus (fixed song) in the chorale has been provided separately for reference. The bass drum’s crescendo during measures 209-213 should be performed extremely loud, enough to overwhelm the entire ensemble. Finally, the music should slow down around the final four measures, as expressed by the lyrics, "He should be sacrificed, bearing the heavy burden of our sins long on the cross." in the original chorale. ITO Yasuhide
Commissioned	Hamamatsu Ichiritu High School Band
Premiere	2013

	CD: Brain Contest Repartoire Vol.2
	CD:

Jalan-jalan di Singapora

Singapore Walkabaout March

Composed: Jul, 2012
Duration: 3:30

Publisher: ItoMusic / Brain
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Note

Singapore is a vibrant city. Though modern buildings line its streets, cultures of Chinese, Indians and Malays can still be found everywhere.
This cheerful march has been composed to capture this crosslink of cultures in Singapore. The title Jalan Jalan di Singapura is in Malay and translates literally to “A Walk in Singapore”. Singapura-ku, a melody from Singapore, can be heard at the end of the march at rehearsal letter “G”. A motif from Movement 2 of Sinfonia Singaporiana (Singapore Symphony, composed in 2005) can also be heard from rehearsal letters D to F. 　With this short march, the composer aims to capture a variety of musical characteristics that are clearly unique and symbolic of Singapore.
This work is commissioned by and dedicated to the Band Directors’ Association, Singapore. (BDAS) The premiere was performed on the 25th of July 2012 under the baton of the composer with the NYWO (Singapore Youth Wind Orchestra) during the Opening Ceremony gala concert of the 17th Conference of the Asia Pacific Band Directors' Association held in Singapore at the SIA Theatre of Lasalle College of Arts.

Premiere

Jul 25 , 2012

The Seashell Song for Band

Composed: Feb 28, 2012
Instrument: 2Fl. Picc. 2Ob. 2Bsn. EbCl. 3BbCl. A.Cl. B.Cl. 2A.Sax. T.Sax. B.Sax. 3Trp. 4Hrn. 3Trb. Euph. tub. Cb. Harp. Timp.
Duration: 4:30

Publisher: ItoMusic / Brain
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Premiere	Mar 8, 2013 Taiwan Winds Ensemble conducted by Ito, Yasuhdie

Moonlight Dragon -A Postcard from Hong Kong

Composed: 2012
Instrument: 2Fl. Picc. Ob. Bn. Cl. 3Bbcl. BassCl. 2ASax. TSax. BSax. 4Hrn. 3Trp. 3Trb. Euph. Tub. Cb. Timp. Perc.
Duration: 7:00

Publisher: ItoMusic / Brain
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Note

Some years after graduating college, the composer received a postcard from a high school classmate who visited the port of Hong Kong during his world travels. He wrote that the city of Hong Kong is chaotic yet full of life and spirit. This reminded him of a quote, “Ma vie etait un festin” (My life had been a feast - “A Season in Hell” by French writer Arthur Rimbaud). Thereafter, the composer’s impression of Hong Kong is “a city of festivals”. This composition depicts his first impression and the city’s vitality.
This work was commissioned by the Hong Kong Band Director’s Association. It was premiered on September 14th, 2012 by the Hong Kong Band Directors Wind Orchestra under the baton of Ito himself at the “HKBDWO with Ito & HK Composers Concert”.

Premiere

Sep 14, 2012

Ton ami, mon ami, mes amis et vos amis

Composed: 2012
Duration: 10:00

Premiere	Feb 19, 2012

...yet the sun rises

Composed: 2011
Duration: 13:00(9:00)

Publisher: ItoMusic / Brain
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Note

Premiered on July 18th, 2011 by the Senzoku Gakuen College of Music Green-Tie Wind Ensemble conducted by Douglas Bostock. In March of that year The Great East Japan Earthquake shocked the entire world. I knew I needed to channel my emotions through music but I did not know how to deal with such a devastating event.

Near the end of March, I came across a Twitter account by poet Ryoichi Wago, who had been tweeting profuse amounts of poetry related to the disaster. This encounter spurred me to compose songs in rapid succession. Among these I wrote “Yet the Sun Rises” on April 22nd which became the basis of this band work. I believe Mr. Wago captured one of many important messages about the tragedy in this specific poem and I felt the urge to deliver that message via the band setting.

$00A0$00A0$00A0$00A0$00A0 Comments from the premiere:
Perhaps I should have tried this type of “experimental” composition at an earlier age. Nonetheless, in this work, instead of actively pursuing the musical impact, I passively immersed in the sound of the music or the various timbres thereof.
When you want to not observe a painting, you simply need to close your eyes. Dealing with music is not that simple. You can still hear the music passively even when you cover your ears. (This is one of the reasons why you, students should always strive to produce a beautiful sound during rehearsal).

I constantly listen to music $2013 analyzing it and appreciating the different colors of melodic lines. But in this work, I was skeptical of what it would be like to not do any of that and just experience the music.

Thus, there is no real melody in this piece. After the earthquake, on April, I wrote the song “Yet the Sun Rises” based upon a poem tweeted by poet Ryoichi Wago. I arranged this band version exclusively from its harmony and timbre.

The German premiere was on October 16th, 2011 by the Ulm Symphonic Band with Douglas Bostock conducting. It was then revised for a Singapore premiere by The Philharmonic Winds on December 16th, 2011, again conducted by Douglas Bostock. In that revision I made some minor changes and added an introduction and an ending. That edition is about 13 minutes’ duration whereas the original version is around 9 minutes.

To perform the original version utilizing the revised edition, start at measure 19 and end on measure 175. The trumpet part labeled “da lontano (o banda)” in bar 156 is for off-stage. If there are not enough trumpet players to cover the off-stage parts, it can also be performed by synthesizer with an organ-like sound rather than a trumpet sound.

Premiere

Jul 18, 2011
Senzoku Gakuen College of Music Green-Tie Wind Ensemble　Conducted by Duglas Bostock

A Carnival Day, concertino for Saxophone and euphonium [Sax. Euph. Band]

Composed: 2011
Instrument: A-Sax. Euph. Band
Duration: 6:30

Publisher: ItoMusic / Brain
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Premiere	Nov 26, 2011 Kobayashi Satoru, Saxophone solo and Kosaki Hitoshi, Euphonium solo with Senzoku Gakuen College of Music Green-Tie Wind Ensemble conducted by Masui Nobutaka

Hanyang forever!

Fanfare and March

Composed: Aug 23, 2010
Duration: 3:30

Publisher: ItoMusic / Brain
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Note

About a dozen students from Senzoku Gakuen College of Music in Japan, where I teach, travelled to Korea to Hanyang University college of Music for a joint concert. This march was a gift to the College of Music for its 50th anniversary.
Unique Korean ternary rhythms are used in parts of this march. The euphonium melody in the trio from rehearsal letter E is the actual school song.
Its premiere was on September 12th, 2010 at Seoul Arts Center under the baton of the composer.

Premiere

Sep 12, 2010
Hanyang University College of Music

Nippon hey! a Morris Dance for Band

Composed: Jul 13, 2010
Instrument: Fl.1,2 Picc. Ob.1,2 English Horn Bn.1,2 EbCl. Cl.1,2,3 A-Cl. B-Cl. S-Sax. A-Sax. T-Sax. B-Sax. Hrn.1,2,3,4 Trp.1,2 Trb.1,2,3 Bariton Euph.1,2 Tub. SB Harp Timp. Perc.1,2 Mallets (optional Double Bn. Contrabass Cl. Bass Sax. Celesta)
Duration: 3:00

Publisher: ItoMusic / Brain
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Note

Five note scale music is seen not only in Scottish music but also in
traditional music from Japan. This is a kind of ‘Morris dance’ but the
famous Japanese folk tune ‘Soran-bushi’ appears at bar 154 (rehearsal
number K) for trombones. All Japanese people know this melody. That’s why
the title is ‘Nippon hey!’, with Nippon meaning Japan.

‘Nippon Hey!’ was premiered as an encore piece for the concert of GWE
(Senzoku Gakuen College of Music Green-Tie Wind Ensemble,directed by
Yasuhide Ito), held in Kanagawa, Japan, conducted by Douglas Bostock. In
this concert, the final piece was the famous ‘Lincolnshire posy’ by A. P.
Grainger, whom I admire very much. I wanted to write an encore piece
showing Grainger’s influence on me that would fit well with the final
piece. You’ll find a taste of Grainger in ‘Nippon Hey!’

‘Nippon Hey!’ is in G major, because of ‘G’WE.
And also at letter G and J, appears GWE motives, which is, GG(double G)E,
or, GEE(double E).

Some special trumpets such as the piccolo trumpet, Aida trumpet, slide
trumpet and bass trumpet are found in the trumpet section. Some trumpet
students were joking about bringing such special trumpets when we had a
photo session for the flyer which is why I used them. But, of course you can
play the piece with normal trumpets.

“Nippon hey!” premiered on July 21st 2010 and its European premier was on
September 2010 during the Tokyo Kosei Wind Orchestra European concert tour,
conducted by Douglas Bostock.

Premiere

Jul 21, 2010
Senzoku Gakuen College of Music Green-Tie Wind Ensemble

Chopin, Always with you

Chopin, toujours avec toi!

Composed: Dec, 2009
Instrument: FI. Picc. Ob. Bassoon Cl. B-Cl A-Sax. T-Sax. B-Sax Hrn. Trp. Tb. Euph. Tub. Timp. Perc. Mallets
Duration: 5:00

Publisher: ItoMusic / Brain
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Morning Songs in Hiroshima

Composed: Apr 4, 2009
Duration: 10:00

Publisher: ItoMusic / Brain
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Commissioned	Suzugamine Girls High School
Premiere	Apr 26, 2009 Suzugamine Girls High School

L'Histoire de l'Arl$00E9sienne Po$00E8me symphonique sur la musiaue de G.Bizet

The Story of l'Arl$00E9sienne -Symphonic Poem after the incidental music by G. Bizet

Composed: Mar 21, 2009
Instrument: 2Fl. Picc. Ob. (optional) Bsn. (optional) E♭Cl. 3Cl. B.Cl. 2S.Sax. T.Sax. B.Sax. 4Hrn. 3Trp. (Cornets, if available) 3Trb. Euph. Tub. SB. Timp. 2Perc. Mallets Narrator (optional)
Duration: 9:00

Publisher: ItoMusic / Brain
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Premiere	Jul , 2009

HIBIKI　Joy of Music

Composed: Jun 10, 2008
Instrument: Fl. Cl. B-Cl. A-Sax. T-Sax. B-Sax. Hrn. Trp. Trb. Euph. Tub. Perc. (Option) Picc.　 Ob. Bsn. St.Bass
Duration: 6:00

Publisher: ItoMusic / Brain
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Premiere	Aug , 2008 Toyotama Daini Junior High School Band

CD: Brain Cotest Repertoire Vol.1 (Brain/BOCD-7356)

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Solo una volta! (Only Once!)

Composed: Jun 29, 2007
Instrument: Fl. Picc. Oboe BbCl.1,2 Sop.Sax. Alt.Sax. Ten.Sax. Bariton Sax. Hrn. BbTrp. Trb. Euph. Tub. Timpani. Perc.1,2 Mallets (optional:English horn Bassoon. ACl. BCl. ContraBCl. Cb. Harp)
Duration: 2:30

Publisher: ItoMusic / Brain
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Premiere	Jun 29, 2007 Senzoku Gakuen College of Music Freshman Wind Ensemble

Hamamatsu Concert March

Composed: Mar, 2007
Instrument: Fl. Pic. Ob. Bsn. Cl. A-Cl. B-Cl. S-Sax. A-Sax. T-Sax. B-Sax. Hrn. Trp. Trb. Euph. Tub. Cb. Timp. Triangle & Tambourine, Suspended Symbal, Cymbal, Bass Drum, Glockenspiel
Duration: 5:00

Publisher: ItoMusic / Brain
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Commissioned	Hamamatsu City
Premiere	May 13, 2007

CD: HAMAMATSU CITY

Concertino for piano and band 1.Black-Coffee-Sonata 2.Cioccolata d'amore 3.White-day- Samba

1. Black-Coffee-Sonata 2. Cioccolata d'more 3. White-Day-Samba

Composed: 2007
Instrument: Solo-Pf. Fl. Picc. Ob. Bn. BbCl. B-Cl. Alt.Sax. Ten.Sax. Bar.Sax. Hrn. BbTrp. Trb. Euph. Tub. Cb. Timp. Perc. Xylo.
Duration: 13:00

Publisher: ItoMusic / Brain
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	1. Black-Coffee-Sonata
	2. Cioccolata d'more
	3. White-Day-Samba

Premiere	Dec 1, 2007 Ito Yasuhide (Pf.) with Special C-wind "Wish"

Taiwanese Posy

Composed: 2007
Duration: 13:00

Commissioned	Hsinchu Symphonic Band, Taiwan
Premiere	Jul 20, 2007 Hsinchu Symphonic Band, Taiwan

Sopra l'arie antiche, Concerto for Violin and Wind Ensemble

Composed: Nov 24, 2006
Instrument: Vn.(Solo) Band
Duration: 27:00

Publisher: ItoMusic / Brain
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Premiere	Jul 12, 2009 Mizuno, Sachika (Vn.) Senzoku Gakuen College of Music Green-Tie Wind Ensemble Conducted by Ito, Yasuhide

Homage

Composed: Nov 8, 2006
Duration: 5:00

Premiere	Nov 11, 2006 Senzoku Gakuen College of Music D Class Wind Ensemble Conducted by Ito, Yasuhide

Ankoma-Pan

Composed: Jan, 2006
Instrument: Vocal. Band
Duration: 10:00

Note	How to make the "AMKO-MA-PAN"(A sandowich with ANKO (bean jam) and MAyonnaise)(suite) Text by HAYASHI Nozomu
Premiere	Feb 18, 2006

Adagio for Band

Composed: 2006
Instrument: Fl. Picc. Ob. Bn. Eb Cl. 3Bb Cl. Alt.Cl. Bas.Cl. Alt.Sax. Ten.Sax. Bar.Sax. 4Hrn. 3Trp. 3Trb. Euph. Tub. Cb. Hp. Timp. Perc.
Duration: 10:00

Publisher: ItoMusic / Brain
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Commissioned	Tamagawa Gakuen High School Band
Premiere	Mar 20, 2006 Tamagawa Gakuen High School Band

CD: ITO YASUHIDE 2007 (ItoMusic/IMCD0707)

Sinfonia Singaporiana

Composed: Jul 6, 2005
Instrument: 2Fl. Picc. 2Ob . EH. 2Bsn. E♭Cl. 3B♭Cl. Bass-Cl. S-Sax. A-Sax. T-Sax. Bar-Sax. 4Hrn. 3Trp. 3Trb. Euph. Tub. Cb. Pf. Hrp
Duration: 18:00

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Note

April 2002 marked my first visit to Singapore, where I was appointed as a substitute to replace the highly respected Dr. Frederick Fennell to conduct the Tokyo Kosei Wind Orchestra in their inaugural concert tour in Singapore. It was then - the moment where I stood on stage - that sparked my sense of solidarity for Asia (including Japan).

My desire for the success of the July 2005 World Association for Symphonic Bands and Ensembles Conference (Singapore) inspired me to compose a work based on the theme ‘Singapore’. As such, I decided to visit Singapore in March 2005 to collect materials for my work. I was deeply intrigued by the diversity in culture (Malay, Chinese, Indonesian, Indian, traditional English, etc.) that made up this vibrant city.

The English language name for ‘Singapore’ which is derived from Sanskrit, means ‘Lion City’. ‘Sin’ also homonym for ‘syn’ - a prefix for loan words from Greek - takes the meaning of ‘together’, as well as ‘Sin’ in ‘Sinfonia (symphony)’. As such, I decided to title my work Sinfonia Singaporiana, a 3-movement work which symbolizes the cohesion of cultures and overflowing of liveliness in Singapore - a strategic hub in South-East Asia.

The passing of Dr. Frederick Fennell on 7 December 2004, incidentally on my birthday, was probably a hidden message to me; entrusting me to further develop the wind bands of Asia. Together with the highly respected Dr. Frederick Fennell and desire for the success of WASBE 2005, I wish to present to you Sinfonia Singaporiana.

Premiere

Jul 16, 2005
International Youth Wind Orchestra　（WASBE 2005/Singapore） conducted by Ito, Yasuhdie

CD: ITO YASUHIDE 2007 (ItoMusic/IMCD0707)

Euphonium Cocerto [Euph. Band]

Composed: Jun 6, 2005
Instrument: SOLO Euph. Hp. 2Fl. 2Ob. 2BbCl. Alt.Cl. Bas.Cl. 2Alt.Sax. 2Bn. 3Hrn. 3Trp. 3Trb. Tub. Cb. Tim. Perc. Cymbals , Bass Drum
Duration: 17:00

Commissioned	Japan Air Self-Defence Force, Central Band
Premiere	Jun 19, 2005 Hokazono　Shoichiro, Euphonium solo with Japna Air Self-Defence Force, Central Band conducted by Nakamura Yoshifumi

CD: CONCERTO TRILOGY (KOSEI PUBLISHING)

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The Earth

The Planets, Trilogy for Band

Composed: Mar 3, 2005
Instrument: Picc. 2Fl. 2Ob. Eng.Hr. Bn. EbCl. 3BbCl. Alt.Cl. Bas.Cl. Sop.Sax. Alt.Sax. Ten.Sax. Bar.Sax. 4Hrn. 3Cornet. 2Trp. 3Trb. Euph. Tub. Vc. Cb. Timp. Snare Drum & 3 Tom-toms. Rachet, Claves, Wood block, Triangle, Suspended Cymbal, Cymbals, Bass Drum, Xylo.& Glockenspiel, Vib. Mar.
Duration: 10:00

Commissioned	ROCKY MOUNTAIN WINDS
Premiere	May 7, 2005 ROCKY MOUNTAIN WINDS　Conducted by Ito, Yasuhide Edna Rizley Griffin Cocert Hall

CD: ITO YASUHIDE 2007 (ItoMusic/IMCD0707)

The Planets, Trilogy for Band

1.March for Mars 2.The Earth 3.A Jupiter Fantasy

Composed: Mar 3, 2005
Instrument: Picc. 2Fl. 2Ob. Eng.Hr. Bn. EbCl. 3BbCl. Alt.Cl. Bas.Cl. Sop.Sax. 2Alt.Sax. Ten.Sax. Bar.Sax. 4Hrn. 3Cornet. 2Trp. 3Trb. Euph. Tub. Vc. Cb. Timp. Xylo.& Glockenspiel, Vib. Mar. Percs.
Duration: 19:00

	2.The Earth
	3.A Fantasy on a theme of Jupiter

Note	These three pieces were composed on different occasions. Tonight, it is the world premiere of all three pieces as the Trilogy. A Jupiter Fantasy was first composed six years ago for one event in Japan. Arranged upon Jupiter from the suite The Planets by G. Holst, I combined its beautiful melody with the Chorus and piano. Since then, I wrote more than ten various versions using the melody of Jupiter so far. This is one of them and for band version. For tonight's concert, I added several parts for the large band. It was when the Mars had a great approach to the Earth that I was inspired and wrote a small piece for piano using the four-fifth measures of the Mars by Holst. My March for Mars was used as an audition piece for the assistant conductor of the Tokyo Kosei Wind Orchestra. And for tonight, I have remade the instrumentation for the large band. Through these experiences, my intention has moved to composing another suite of The Planets. I realized that Holst didn't compose a piece named The Earth, which I composed afterwards, commissioned by the Rocky Mountain High School. The earth where we live now is not so much peaceful in these days. Wars and terrorisms and also big earthquakes with TSUNAMI are all striking throughout this era. Hoping for peace on the earth, I used the German verse Friede auf Erden (Peace on the Earth) by Ferdinand Meyer. This poem is known as the acapella chorus piece by A. Schoenberg. Considering this beautiful chorus, I decided to use the well-known old melody Agnus Dei (the Lamb of God) at the ending of this piece. The Latin verse Agnus Dei also includes the word "Dona nobis pacem" (give us the peace). Therefore, this The Earth became the piece which has a message for granting peace. I would like to wish peace for our earth and the peace for the universe. I'm very grateful that I have the opportunity to premiere this Trilogy composed in different time and different styles. I'd like to say 'ARIGATO' to the Rocky Mountain High School Band and to the director, Mr. Casey Cropp. (May/07/2005)
Commissioned	ROCKY MOUNTAIN WINDS
Premiere	May 7, 2005

Wind Band

original works (2024 - 2005)