委嘱：佐藤 采香
ユーフォニアム：佐藤 采香
箏：森 梓紗
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なごり・・・物事が終わった後に残っている気配。
元は【余波】と書き、「打ち寄せた波が引いたあと、なぎさのあちこちに海水・魚・海藻」や「風が静まったあとも、しばらく波が静まらないこと」を指したそうだ。
そして、「名残りの花」とは、散り残った桜を言い表した言葉。それはとても切なく、美しいものだと思う。上代も、今も、人類が滅んだのちも訳もなく、静かに散り損ねた桜。
わたしたちにも、残花のように不思議と忘れられない記憶がある。
恋人と交わした言葉。商店街のお店。公園のブランコの冷たさと軋み。朝焼けの気配...
そんな遠い記憶のような朧げな音風景の歩みを、ゆっくりと見守る作曲だった。箏とユーフォニアムはある意味で不器用な楽器だと思う。だからこそ紡げるプライベートで、ひそやかな歌がある。
滲み、溶けてゆく歌。
今ここにないものを愛でる時間。
Composed by Noel HiyamizuCommissioned by Ayaka Sato
Euphonium：Ayaka Sato
Koto：Azusa Mori
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“Nagori” is the trace that remains after something has ended—the lingering presence you can still feel even when the moment itself is gone. Nagori no hana refers to late-blooming, leftover cherry blossoms: petals that, for no particular reason, have not yet fallen. There is something quietly heartbreaking—and quietly beautiful—about them.
Even after spring has passed, even as eras change, even in some imagined future where no one is there to witness it, those blossoms keep holding on for a little while longer, and then drift down in silence.
We carry similar “after-bloom” memories: fragments that won’t quite leave us. A sentence exchanged with someone you loved. A small shop on a local street. The cold, creaking chain of a playground swing. The feeling that dawn is approaching before the sky has fully changed.
This piece was written as if watching those blurred soundscapes slowly walk by—gently, without trying to pin them down. The koto and the euphonium can feel, in their own ways, like “awkward” instruments: they resist easy virtuosity in the same direction. But that very quality allows a different kind of singing—private, intimate, and understated.
A song that stains the air, then dissolves.
A time for cherishing what is no longer here.