Acousticlub Vol.4 Archive

ああ ヒロシマ (…)〈ヒロシマ〉といえば 〈ああ ヒロシマ〉と やさしいこたえが かえって来るためには わたしたちは わたしたちの汚れた手を きよめねばならない/ 栗原 貞子(1913-2005)


ああ ヒロシマ (…)〈ヒロシマ〉といえば 〈ああ ヒロシマ〉と やさしいこたえが かえって来るためには わたしたちは わたしたちの汚れた手を きよめねばならない/ 栗原 貞子(1913-2005)


〈ああ ヒロシマ〉と
〈ヒロシマ〉といえば 女や子供を 壕のなかにとじこめ ガソリンをかけて焼いたマニラの火刑
〈ヒロシマ〉といえば 血と炎のこだまが 返って来るのだ
〈ああ ヒロシマ〉とやさしくは
〈ああ ヒロシマ〉と
捨てた筈の武器を ほんとうに 捨てねばならない
私たちは潜在する放射能に 灼かれるパリアだ
〈ああ ヒロシマ〉と

栗原 貞子 (1976)


1991年東京生まれ。6歳でピアノをはじめ、これまでに150以上の演奏会に出演。18歳より作曲理論を学ぶ。2016年東京音楽大学卒業。2018年より独ドレスデン音楽大学大学院に在籍。作曲をこれまでに池辺晋一郎、北爪道夫、糀場富美子、原田敬子、FranzMartin Olbrisch、Manos Tsangaris、Mark Andreの各氏に師事。2016年ダルムシュタット夏季現代音楽講習会にてBrian Ferneyhough氏の作曲ワークショップ受講生に選出。2015年東京音楽大学・独ヴュルツブルク音楽大学交流プロジェクトに参加。2015年度ピティナ新曲課題曲賞。




Ah, Hiroshima (…) When we say “Hiroshima” and to hear a gentle “Ah, Hiroshima” back, we must wash our soiled hands and purify them first /Sadako Kurihara (1913-2005)

When we see light in the darkness, we feel a relief. When we cannot move one step more, a single word by somebody can bring us back up. This is also light. Even in the darkness, if only somebody helped or threw words of encouragement to us, we might be able to live on. In contrast, are we able to live on in a world where there is abundance of light, but without any support from anybody? To counter the enormously negative energy of nuclear weapons, we need many people to hold hands and to go face to face with it. For me, instead of saying “Hiroshima” or “Pearl Harbor” or “Nanjing Massacre”, I would like to say the names of people who suffered and died, and the names of the people whom I think we can hold hands together.

When we say “Hiroshima”,
do people answer gently “Ah, Hiroshima”?
Say “Hiroshima”, and hear “Pearl Harbor”.
Say “Hiroshima”, and hear “Nanjing Massacre*”
Say “Hiroshima”, and hear of women and children in Manila thrown into tenches, doused with gasoline, and burned alive. Say “Hiroshima”
and hear echoes of blood and fire.
Say “Hiroshima”,
and we don’t hear, gently,”Ah, Hiroshima”.
In chorus, Asia’s dead and her voiceless masses spit out the anger of all those we made victims.
That we may say “Hiroshima”,
and hear in reply, gently, “Ah, Hiroshima”,
we must in fact lay down
the arms we were supposed to lay down.
We must get rid of all foreign bases.
Until that day
Hiroshima will be a city of cruelty and bitter bad faith.
And we will be pariahs burning with remnant radioactivity.
That we may say “Hiroshima”,
and hear in reply, gently, “Ah, Hiroshima”, we first must
wash the blood off our own hands.

Sadako Kurihara (1976)

Kai Kobayashi

Kobayashi was born in 1991 in Tokyo. She began her piano studies at the age of six, and has since been featured in more than 150 concerts. She has been studying composition theory since the age of 18. Upon graduating from Tokyo College of Music in 2016, she moved to Germany to start her studies at the Hochschule für Musik Carl Maria von Weber Dresden with FranzMartin Olbrisch, Manos Tsangaris, and Mark Andre. Being active in the fields of contemporary music composition, she has been selected as a workshop participant for Brian Ferneyhough’s session in the 2016 Darmstadt Summer Courses for New Music. In 2015, she was awarded the Pitina Prize for the assigned music for an annual music competition.



Kai Kobayashi, Jun Iida, Mari Ota (Opera Theater Konnyakuza), Mayumi Okahara (Opera Theater Konnyakuza), Kenji Kubo, Masaaki Seki, Rumiko Dobashi, Yukiko Nagakura, Yu Magari, Nobuko Yamamoto (Opera Theater Konnyakuza)