
Koto and Shakuhachi
at 茜屋珈琲
東京都中央区銀座4-13-15成和ビル1F
Tokyo, Chuo, Ginza 4-13-15, Seiwa Buidling level 1
11月 24日 (日) Sunday Nov. 24th
1st: 13:00 open / 13:30 start
2nd: 15:00 open / 15:30 start
3995円 (ワンドリンク付き, includes one drink)
事前予約制 - Reservations : ☎️ 03-3546-0951
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Program
千鳥の曲 - Chidori no kyoku (Song of the Plover)
編曲: 吉沢検校
Arr: Yoshizawa Kengyo
12分
金葉集の和歌をその歌詞としている。前弾はゆるやかな旋律のうちに、波の静かに打ち寄せる景観を描写し、手事は千鳥の渚に飛び交う磯辺を想起させ、後弾は関守のさびしい気持がまざまざと思いやられるあわれ深い感興を呼び起す、後世に残る稀有の傑作といわれている。純筆曲ものとして作曲されたもので、古今組の一。古今組とは古今集にある和歌数種を組んで一曲の歌詞としたもの。 古くから日本で愛されている古今組と呼ばれているもの浜辺に遊ぶ千鳥の様子を表現していて、箏の奏方の中で、スクイやヒキイロなどを用いて巧みにその様子を表現している。
しほの山/さしでの磯に/住む千鳥/君が御代をば/八千代とぞなく/
君が御代をば/八千代とぞなく。
淡路島/かよう千鳥の/なく声に/幾代寝覚めぬ/須磨の関守/
淡路島/かよう千鳥の/なく声に/幾代寝覚めぬ/須磨の関守。
Chidori no kyoku was originally written for kokyū (a bowed lute), but later arranged for koto by Yoshizawa Kengyo. The lyrics of this piece are based on a waka poem from an anthology called Kin’yōshū. The prelude depicts the gentle waves quietly lapping against the shore through its flowing melody. The tegoto (instrumental interlude) evokes the imagery of plovers fluttering along the beach, while the final section conveys the poignant solitude of a gatekeeper, stirring profound emotion. This piece is regarded as an exceptional masterpiece, destined to be passed down through the ages. It was composed as a pure hikimono (instrumental piece) and is part of a set of compositions called the Kokin-gumi. The Kokin-gumi combines several waka poems into the lyrics of a single piece. For centuries, Kokin-gumi pieces have been cherished in Japan. This particular work captures the playful scene of plovers along the shore, skillfully expressed through techniques like sukui and hiki-iro in koto performance.
At Shionoyama on the rocky shores live the plovers.
My lord, may you live for eight thousand years they call out,
My lord, may you live for eight thousand years they call out.
Over Awaji Island they come and go, the cry of plovers keeps them awake,
The guards at Suma gate
Over Awaji Island Island they come and go, the cry of plovers keeps them awake,
The guards at Suma gate.
五十鈴川 - Isuzugawa
作曲:宮城道雄 (1929年)
Comp: Miyagi Michio (1929)
5分
伊勢神宮に流れる川。川の流れや石畳を歩く音を表現している。宮城は盲目であり、その音を敏感に聴取り、そこからインスピレーションをうけ作曲した。 昭和23年に伊勢神宮に奉納されている。
The river flowing through Ise Shrine is depicted in this instrumental piece. It expresses the sound of the flowing river and the footsteps on the stone pavement. Miyagi, who was blind, sensitively listened to these sounds and drew inspiration from them to compose this work. It was dedicated to Ise Shrine in 1948.
黒髪 - Kurokami (Jet Black Hair)
編曲: 湖出市十郎 (1784年)
Arr: Koide Ichijuro (1784)
8分
黒髪の/結ぼれたる/思いをば/解けて寝た夜の/枕こそ/ひとり寝る夜の/枕/袖は片敷く/妻じゃというて/愚痴な女子の/心と知らで/しんと更けたる/鐘の声/タべの夢の/今朝さめて/床し懐かし/やるせなや/積もると知らで/積もる白雪。
Black hair/all made up/and my thoughts/happily let down that night/my pillow/this night of sleeping alone/is a pillow of grudge/my single sleeve/you told me I am your wife/
A woman's complicated/heart he cannot understand/in the silent night/the sound of the temple bell/from last night's dream/I awaken this morning/still desiring and/longing/(feelings) pile up/snow piles up.
"To think that I let down both my black hair and my guard to share my bed with that man! I sleep alone and regret the pillow we shared. Now my lonely kimono sleeve is my pillow, even though he said we are like man and wife....
He has no idea of a woman's complicated heart. Ah, the temple bell echoes through the silent night air. In the morning I awaken from my dream, longing, still desiring him. My feelings pile up, unaware, like the white snow."
(English translation and interpretation of lyrics by Christopher Yohmei Blasdel)
山谷 San'ya ('mountain valley')
作曲:不明
Comp: Anonymous
10分
山谷は、横山勝也によって伝承された本曲のレパートリーの中で、最も抑制され、簡素な曲です。横山は「多くの『さんや』と題された曲の中で、これは最も静かで穏やかなものです」と記しています。
San'ya is the most restrained and austere piece in the traditional solo shakuhachi repertoire as transmitted by Yokoyama Katsuya. Yokoyama writes, "Among many other pieces titled San'ya, this is of the most tranquility and calm".
San'ya consists of six sections:
1. 調 Shirabe (prelude)
San'ya begins in the lower register. This section is in every sense a tranquil introduction.
2. 本手 Honte (main theme)
In this section, the melody moves towards the central range of the instrument, and develops momentum.
3. 高音 Takane ('high sound', culmination)
Some of the highest pitched, climactic phrases are present within the takane.
4. 鉢返し Hachigaeshi (pitch modulation)
A new note appears in section 4, which precipitates a brief change in the atmosphere of the piece.
5. 結び Musubi (conclusion)
This section is similar to the introduction, bring the piece to its end.
春の海 Haru no Umi (Spring Sea)
作曲:宮城道雄 (1929)
Comp: Miyagi Michio (1929)
8分
「春の海」は、1929年に宮城道雄によって作曲された現代日本音楽の代表作であり、その鮮やかなイメージと伝統的なスタイルと現代的なスタイルの革新的な融合で広く称賛されています。当初は箏と尺八のために作曲されましたが、後に宮城はフランス人バイオリニストのルネ・シュメと協力し、箏とバイオリンの編成でこの曲を編曲しました。このことで、曲の適応性と国際的な魅力がさらに強調されました。
8歳で視力を失った宮城道雄は、日本音楽の先駆者として、伝統的な技法と現代的な形式を融合させる革新的な作品を生み出しました。彼は箏を世界中の観客に紹介し、日本人にも西洋人にも共鳴する作品を作り上げることに尽力しました。「春の海」はそのビジョンを体現しており、伝統的な五音音階を使用しながらも、西洋の和声や構造を取り入れています。
Haru no Umi, composed in 1929 by Miyagi Michio, is a cornerstone of modern Japanese music, celebrated for its vivid imagery and innovative fusion of traditional and contemporary styles. Originally composed for koto and shakuhachi, Miyagi later collaborated with French violinist Renée Chemet to arrange the piece for koto and violin, showcasing its adaptability and international appeal.
Miyagi Michio, who lost his sight at the age of eight, became a pioneering figure in Japanese music, blending traditional techniques with modern forms. He was instrumental in introducing the koto to global audiences and creating compositions that could resonate with both Japanese and Western listeners. Haru no Umi exemplifies his vision, employing traditional pentatonic scales while incorporating elements of Western harmony and structure.


前田 真希 - 箏 (生田流)
Maeda Maki - Koto (Ikuta ryū)
北海道出身。上京し宮城宗家直門となる。宮城会教師試験を首席で合格する。現在、宮城会師範。東京藝術大学音楽学部邦楽科卒業。NHK古典芸能鑑賞会などに出演。JICA国際協力サロンにて、日本文化講師を務める。
Born in Hokkaido, Maeda Maki moved to Tokyo and became a direct disciple of the Miyagi family. She passed the Miyagi-kai teacher's exam at the top of her class and is currently a licensed instructor of the Miyagi-kai. She graduated from the Department of Traditional Japanese Music at Tokyo University of the Arts and has appeared in programs such as NHK’s Classical Performing Arts Appreciation Society. Additionally, she serves as a lecturer on Japanese culture at JICA’s International Cooperation Salon.
リンジー・ドゥガン - 尺八 (琴古流)
Lindsay Dugan - Shakuhachi (Kinko-ryū)
オーストラリア出身。尺八演奏家。横山勝也氏、柿堺香氏に師事。シドニー音楽院(2008年)、東京藝術大学(2014年)で修士号、メルボルン大学(2024年)で博士号(民族音楽)を取得。竹心会師範資格を持ち、東京を拠点に活動中。日本のテレビや国立劇場での演奏経験あり。
Originally from Australia, Lindsay came to Japan in 2004 to study shakuhachi with Yokoyama Katsuya and Kakizakai Kaoru. He holds masters degrees in shakuhachi performance from Sydney Conservatorium of Music (2008) and Tokyo University of The Arts (2014), and a Ph.D in Ethnomusicology from the University of Melbourne (2024). He is a licensed instructor in the Chikushin-kai, and is presently based in Tokyo as a professional shakuhachi player. He has performed live on Japanese tv, and at the National Theatre of Japan.
