Uploaded January 2026 | Updated September 2026, 2 weeks ago
Izumi Symphonietta Osaka conducted by Norichika IImori. Nanae Mimura as the soloist.
I - Bird Code: 0:00
II - Rain Song: 9:50
III - Bird Feast: 19:58
Yoshimatsu's Marimba Concerto "Bird Rhythmics" was composed in 2010, being commissioned by marimba player Nanae Mimura. It was premiered on the same year by the Kyoto Symphony Orchestra conducted by Iimori Norichika, with Nimura as the soloist.
Scored for a small orchestra, the title again points us to Yoshimatsu's interest in nature and specially birds; The alto saxophone concerto "Cyber Bird", his Symphony No.1 "Kamui-Chikap" and No.6 "Birds and Angels", "The Age of Birds", "Ode to Birds and Rainbow" and "Prelude to the Celebration of Birds". Even his early serialist piece "Threnody to Toki" is bird-themed, lamenting the extinction of the Japanese toki bird in the wild (the toki, also known as a crested ibis, has since been reintroduced from captivity).
The first movement is free in form. It begins with dialogues between the different instruments, most notably marimba and woodwinds imitating birdsongs. These motives coalesce into a rhythmic and carefree main theme, which is then developed in a continuous and flowing way, gradually evolving in different shapes. The music then becomes more and more agitated and rhythmic until reaching a great climax. The soloist then performs a brief but virtuosic cadenza, largely derived from the opening motives. It concludes with a more dramatic section capped by a dissonant climax. New dialogues between the soloist and the orchestra appear before a fast and sudden ending.
The second movement is structured in binary form. It opens with a lyrical and delicate main theme presented between orchestra and soloist, with brief romantic peaks. After a broad and expressive climax in the centre of the movement, a new section opens with a rhythmic theme led by the soloist, based on a short motive. The music then unfolds through continuous changes of rhythm while maintaining the carefree tone. A brief return to the opening lyricism lead us to a calm coda.
The third movement is also free in form. It begins with a lively and animated main theme introduced by the marimba. Like in the first part, it will be continuously developed throughout the movement; ornamented and unfolded by the soloist with the support of percussion. Brass fanfares lead us a vigorous climax, reminiscent of Latin-American music like the mambo. The music then becomes more and more frenetic, almost like a race between soloist and orchestra. Brass fanfares lead us to a brilliant coda.
Picture: Three woodblock prints depicting birds and flowers (Taisho period, early 20th century)
Musical analysis written by myself.
Unfortunately, the score is not freely available.
Izumi Symphonietta Osaka conducted by Norichika IImori. Nanae Mimura as the soloist.
I - Bird Code: 0:00
II - Rain Song: 9:50
III - Bird Feast: 19:58
Yoshimatsu's Marimba Concerto "Bird Rhythmics" was composed in 2010, being commissioned by marimba player Nanae Mimura. It was premiered on the same year by the Kyoto Symphony Orchestra conducted by Iimori Norichika, with Nimura as the soloist.
Scored for a small orchestra, the title again points us to Yoshimatsu's interest in nature and specially birds; The alto saxophone concerto "Cyber Bird", his Symphony No.1 "Kamui-Chikap" and No.6 "Birds and Angels", "The Age of Birds", "Ode to Birds and Rainbow" and "Prelude to the Celebration of Birds". Even his early serialist piece "Threnody to Toki" is bird-themed, lamenting the extinction of the Japanese toki bird in the wild (the toki, also known as a crested ibis, has since been reintroduced from captivity).
The first movement is free in form. It begins with dialogues between the different instruments, most notably marimba and woodwinds imitating birdsongs. These motives coalesce into a rhythmic and carefree main theme, which is then developed in a continuous and flowing way, gradually evolving in different shapes. The music then becomes more and more agitated and rhythmic until reaching a great climax. The soloist then performs a brief but virtuosic cadenza, largely derived from the opening motives. It concludes with a more dramatic section capped by a dissonant climax. New dialogues between the soloist and the orchestra appear before a fast and sudden ending.
The second movement is structured in binary form. It opens with a lyrical and delicate main theme presented between orchestra and soloist, with brief romantic peaks. After a broad and expressive climax in the centre of the movement, a new section opens with a rhythmic theme led by the soloist, based on a short motive. The music then unfolds through continuous changes of rhythm while maintaining the carefree tone. A brief return to the opening lyricism lead us to a calm coda.
The third movement is also free in form. It begins with a lively and animated main theme introduced by the marimba. Like in the first part, it will be continuously developed throughout the movement; ornamented and unfolded by the soloist with the support of percussion. Brass fanfares lead us a vigorous climax, reminiscent of Latin-American music like the mambo. The music then becomes more and more frenetic, almost like a race between soloist and orchestra. Brass fanfares lead us to a brilliant coda.
Picture: Three woodblock prints depicting birds and flowers (Taisho period, early 20th century)
Musical analysis written by myself.
Unfortunately, the score is not freely available.
