Symphonies for strings
The typical concertgoer would be able to cite his favourites from among more than a hundred major symphonic works, but only a small number of favourite works for the string orchestra.
Conductor/composer Gustav Mahler left notations in the margin of his personal score of Schubert's Death and the Maiden quartet. They clearly reveal his vision of this magnificent composition vested with the greater richness and variety of textures of the string orchestra.
Conductor/composer Leonard Bernstein likewise performed the late quartets of Beethoven with full strings for a similar purpose. Schoenberg rescored his own sextet Transfigured Night for string orchestra. Shostakovich's String Quartet No. 8 was rescored and published as Symphony for Strings, in which form it enjoys new vigour and life.
Rescoring for a fuller sound
Conductor/composer Robert Rÿker re-scored Death and the Maiden completely to take full advantage of the lush sonorities of the full string orchestra. In this version it has been performed and recorded by string orchestras both large and small, always with great success. Like Mahler and Bernstein, Rÿker then sought other great and seldom performed masterpieces in the chamber repertoire which would lend themselves to similar treatment.
He began with Bruckner's magnificent string quintet of some 40 minutes, virtually unknown, seldom prepared, rarely performed. Finding it ideally suited to the sonorities of the string orchestra, he rescored it with care and craft as Bruckner's Symphony for Strings.
He then extended his search to chamber works of Beethoven, Brahms, Dvorak, Mendelssohn, Mozart, Schubert and others – especially the rare and even more rarely performed string quintets, so magnificent, so neglected. These are the Symphonies for Strings. They comprise a great addition to the repertoire for string orchestra and a blessing to music, and to the world.
A new treat in the world of music
The world premiere performances of this great series of Symphonies for Strings will cause excitement in the entire world of music, and particularly in the rich musical environment of Tokyo.
Sponsorship of this programme will bring not only the normal commercial marketing benefits of sponsorship but will attract press and television coverage, both nationally and internationally. The concerts will confer high prestige, high visibility and rich associations in the Japanese market. Publication of the scores and recordings will bring consequent benefits of lasting value.