Daisan Fudo
第３風動
| [Genre] | Modern |
| [Style] | N/A |
| [Composed] | Kineya Seihō - Shakuhachi - 1970 |
History (Yokoyama Katsuya):
| Kineya Seiho, who composed this piece, was born in 1914 and is representative of composers in the Japanese traditional music circles of this time. He started his musical career as a nagauta shamisen player, but since World War II, composition has been the main focus of his work. He has published many masterpieces, some combining various Japanese traditional musical styles in an unconventional way, while others interweave techniques of various styles or master players as constructive elements in the composition. This piece, "Fudo No. 3", is for shakuhachi trio, composed in 1970. Three shakuhachi of different lengths are combined. The construction is that each shakuhachi sings a basically metric structure, and the three voices interweave, but some of the elegance of classical music is added too, as heard in the non-metric part and in the agogic changes which appear in the middle of the piece. The piece requires the players to have the ability to precisely reproduce pitches and lengths of notes prescribed by the composer. |
Daisan Fudo appears on the following albums
| Album | Artist | |
| Shakuhachi - The Art of Yokoyama Katsuya |
Shakuhachi : Yokoyama Katsuya | |
|
Kineya Seiho, who composed this piece, was born in 1914 and is representative of composers in the Japanese traditional music circles of this time. He started his musical career as a nagauta shamisen player, but since World War II, composition has been the main focus of his work. He has published many masterpieces, some combining various Japanese traditional musical styles in an unconventional way, while others interweave techniques of various styles or master players as constructive elements in the composition. This piece, "Fudo No. 3", is for shakuhachi trio, composed in 1970. Three shakuhachi of different lengths are combined. The construction is that each shakuhachi sings a basically metric structure, and the three voices interweave, but some of the elegance of classical music is added too, as heard in the non-metric part and in the agogic changes which appear in the middle of the piece. The piece requires the players to have the ability to precisely reproduce pitches and lengths of notes prescribed by the composer.
| ||