KOTEN KAIKI 1999-2000

 

 

KOTEN KAIKI Part I

Traditional Source of Shakuhachi Music

Lecture Concert for Solo Shakuhachi

Performed by Masakazu Yoshizawa

Sunday, June 20, 1999, 2:00PM

Japanese American Cultural and Community Center, Cultural Room (5th Floor)

 

KOTEN KAIKI Part II

Sunday, October 17, 1999, 2:00PM

 

This lecture concert is the part two of a series on the history of the Shakuhachi. Mr. Yoshizawa will be playing historically important pieces, rarely performed, from the 16th century to the 19th century, featuring Fuke Shakuhachi, as well as some contemporary piece which have a strong traditional influence. This concert will feature an exhibit of Shakuhachi-related items.

 

KOTEN KAIKI Part III

Sunday, January 23, 2000, 2:00PM

Featuring Kinko ryu Honkyoku (Shakuhachi Solo Pieces) and ensemble pieces with Koto and Sangen from 18th century to early 20th century.

 

KOTEN KAIKI, Part IV

March 26, 2000

 

 

Review by Jay Johnson

 

The lecture was held in the Cultural Room of the Japanese American Cultural and Community Center. The brief review of the previous three lectures included the arrival of the shakuhachi to Japan in the 8th century from the Asian mainland.

 

Comparisons with mainland flutes was also presented. The shakuhachi was adopted by the royalty for use in court music, but was replaced by the hichiriki to reduce performance costs.

 

After a decline in students of the instrument, it was forbidden to be used outside of the temples. The shakuhachi became almost solely employed for meditation purposes. But as the monks traveled, they brought their flute with them. When the monks traveled, they disguised with a straw hat.

 

Eventually, this also became the disguise of the shogun’s spies. It was not until the later Edo period that the shakuhachi began to find its way into folk music and classical composition.

 

The current lecture began with the rise of schools to instruct students in the performance of the shakuhachi.

 

An excellent 7-page handout with diagrams helped to illustrate the points made by Mr. Yoshizawa. The diagrams traced the division of schools and movements through the years.

 

The handouts also included musical examples in Western and Japanese notation. Mr. Yoshizawa also performed different versions of the same passage of music; as interpreted by different schools. His enthusiasm will engage even the stodgiest listener. His examples extended to his own full length performance of several pieces.

 

The second half of the program was a performance with Guest Artists, Mrs. Kimiko Takahashi and Mr. Tateo Takahashi.

 

Mrs. Takahashi spent many years in Tokyo as a professional folk singer. She specializes in songs from her home prefecture of Aomori. She presented her material in a precise, unaffected style. Mr. Takahashi performs regularly in America and Japan. His preferred instrument is the Tsugaru shamisen; a more aggressive style of the instrument. He also perfected his art in Aomori.

 

They combined for authentic renditions of folk tunes. Due to their similarities in presentation, the reviewer was inclined to feel he was hearing one mind expressing itself on two hands and a voice. 

 

KOTEN KAIKI Part V

Sunday, June 11, 2000, 2:00PM

Featuring Shin Nihon Ongaku (now Japanese music) from 1930s to 1950s, and Gendai Hogaku (contemporary Japanese music) from 1950s to 1980s.