Reviewing "Ichiro Fujiyama is Coming! — From 'Wakaki-chi' to the People's Honor Award"

2025/01/09

Ichiro Fujiyama has arrived! Upon entering the special exhibition room, a golden accordion shines brightly in the central display case. Beside it is a photograph of Fujiyama standing with a smile, holding the accordion. It brings to mind his bright, clear singing voice. Behind the accordion is a trumpet. There is a photograph of Takeo Masunaga (Fujiyama's real name) in his Tokyo Music School uniform, standing in the cheering section at Jingu Stadium blowing a trumpet. It is said to be from the 1932 Keio-Waseda baseball game. Masunaga, then a third-year student in the main course of the music school, had rushed to support the team. Is the song he is playing "Wakaki-chi"?

The special exhibition at the Fukuzawa Yukichi Memorial Keio History Museum on the Mita Campus (October 17 – December 14, 2024) consists of four sections: "1. The Birth of 'Ichiro Fujiyama'", "2. Journeying Through the Era of War", "3. Believing in the Power of Music", and "4. Together with Keio University." On a monitor, a 33-minute edited video of Fujiyama's singing performances plays throughout the day. By watching, reading, and listening, visitors can feel the atmosphere of the era. The exhibition room captures the five senses—and even a sixth sense—creating an atmosphere where it wouldn't be surprising if Fujiyama himself appeared to guide the tour.

Family photos from Fujiyama's childhood, essays from his Yochisha Elementary School days, his Keio Futsubu School transcript from when he applied to the Tokyo Music School, sheet music he used for practice for music school concerts, concert photographs, handwritten scores for compositions and arrangements such as the "Radio Calisthenics Song," numerous records, a tapestry of the Ichiro Fujiyama Orchestra, a pennant gifted by the Keio University Cheerleading Team, his favorite jacket, and his People's Honor Award commemorative shield are all gathered in one place. Items such as the composition of "Odoru Taiyo" and "Under the Sanshokuki," an album from the "Keio Rally" on the eve of a Keio-Waseda game, and a photo of him with Taro Okamoto reveal the strength of the bond between Fujiyama and Keio University.

Among these, the "Journeying Through the Era of War" corner had a particularly strong presence. From February 1943, Fujiyama participated as a civilian employee of the Navy in a southern comfort mission, returning in July. In November, he again served as a Navy consultant with the rank of major, encouraging soldiers on southern islands and engaging in pacification work for residents. Even during nearly a year of internment, he performed at various camps. Fujiyama's footsteps as he traveled through various regions with his music are summarized on three panels titled "Footsteps of the Southern Comfort Missions." Through these, photographs of Fujiyama's comfort performances and him teaching music at local schools can be seen within their historical context. This may be the first time Fujiyama's movements in the South have been visualized to such an extent.

There is also a letter of appreciation written in ink by ten people, including former Army Minister Sadao Araki, for a solo recital at Sugamo Prison after his return, titled "Gratitude: Passionate Comfort Performance." Following an encounter with Dr. Takashi Nagai, who was exposed to the atomic bomb in Nagasaki, Fujiyama sang "The Bells of Nagasaki" at the 1st NHK Kohaku Uta Gassen. A letter and a rosary gifted by the doctor are also on display. It is clear that Fujiyama's musical life cannot be discussed without his wartime experiences. In the permanent exhibition room, the August 5, 1946 issue of "Kayou Shunju" is displayed. Its cover features "the joyful and nostalgic face of our Pin-chan, Ichiro Fujiyama, who suddenly returned from the South" (from the editorial postscript on page 36 of the same magazine). Fujiyama's "Words upon Return" were also published. The copy held by the National Diet Library is preserved as part of the Prange Collection with GHQ censorship notes.

Many of the exhibited materials are owned by the Ichiro Fujiyama Music Culture Promotion Foundation. This special exhibition was made possible through the cooperation of Fujiyama's daughter, Ms. Taiko Ichikawa (Keio University alumni), and his grandson, Mr. Takahiro Ichikawa (Keio University alumni). Materials donated to the NHK Museum of Broadcasting, such as his trumpet and the handwritten score for "Sake wa Namida ka Saigetsu ka," were also exhibited.

The purpose of the project was to highlight Fujiyama's lifelong involvement in the music that colors Keio University, and to attempt a "re-evaluation of Ichiro Fujiyama, who left a multifaceted trail with a sincere and resilient rebellious spirit" by throwing himself into the non-classical world and contributing to the development of musical culture after mastering professional singing. This is the starting point, having moved one step closer to that re-evaluation.

In reality, what and how much did the special exhibition convey? While this exhibition covered the important scenes of Fujiyama's life, what was conveyed about the music itself, which is the core of a musician? Visible materials such as scores for compositions and arrangements, record jackets, and memorabilia are effective in conveying his activities, but there are limits to conveying invisible music.

So, what does it mean to convey Ichiro Fujiyama? While listening to "The Bells of Nagasaki" repeatedly at the venue, I noticed something. The verses are "spoken" in a minor key, and the refrain is "sung" in a major key. For example, the second verse—"Summoned, my wife went to heaven / Leaving me to depart on a journey alone / My white tears on the chain / Of the rosary left as a memento"—is spoken in a minor key, while the refrain—"Comforting, encouraging, Nagasaki / Ah, the bells of Nagasaki ring"—has the same lyrics through the third verse.

While the spoken verses convey the facts and pain of the atomic bombing in an explanatory way, the refrain is a prayer for peace dedicated to the kingdom of heaven, liberated from pain and suffering. How does Fujiyama sing the refrain? From "Comforting, encouraging" onward, a vocalists might be tempted to show off a sonorous, beautiful voice, but Fujiyama suppresses that, offering a requiem without breaking his firm expression. Of course, Ichiro Fujiyama's singing is not the only or the best way. Every singer has their own voice, interpretation, and expression, but listening repeatedly to the singing of Fujiyama, who met Dr. Nagai in person, and savoring its true intent is necessary precisely now, when we can no longer meet either Fujiyama or Dr. Nagai.

I was given the opportunity to participate because of materials from Fujiyama's time at the Tokyo Music School. As a result, I realized painfully that I knew very little about Fujiyama. I cheered at a Keio-Waseda game at the invitation of Associate Professor Takeyuki Tokura of the Fukuzawa Memorial Center for Modern Japanese Studies. Standing in the place where Fujiyama likely blew his trumpet and sang "Wakaki-chi" with passion, the distance from Keio's third-base side to Waseda's first-base side was surprisingly close, and I could imagine how Masunaga's voice might have threatened the enemy camp.

Fujiyama said, "The ones who create music are, in the end, the audience" ("Utai Tsuzukete," Association for the Promotion of Music Appreciation Education, 1985, p. 113). He believed that music is ultimately completed within the listener. If so, an exhibition is also ultimately completed within the viewer. Ichiro Fujiyama still lives on within people today. However, it cannot necessarily be said that the true image of Fujiyama is well-known. The special exhibition suggested the meaning of Fujiyama continuing to live in the 21st century and the challenges for that purpose. It would be possible to delve deeper into each corner of the special exhibition. I hope for a permanent place or regular opportunities to become familiar with his singing. We must have Ichiro Fujiyama continue to be active in the 21st century.