Shakuhachi - Reibo Aoki (LP)

二世青木鈴慕
Reibo Kai - SAN 001
1984

トラック番号	タイトル	漢字	長さ	アーティスト
1	Chikurai Gosho (Complete)	竹籟五章	12'32	尺八: 二世青木鈴慕
	1. Funda ( Fragrant Buddha): The title of this movement refers to the perfume of incense hanging over the Kyoto temple, Seshuji. 2. Sochiku (Bracing Bamboo): This refers to the refreshing sound of bamboo. There are many tremolo effects, and a definite rhythm. 3. Kyorai (Hollow Bamboo): This section describes in music the sound of a mind empty of all thought and feeling. This is the heart of the composition, which uses strictly traditional musical' principles from early shakuhachi pieces. 4. Hachiku (Broken Bamboo): The bamboo flute, or shakuhachi, is "broken" in this movement. A break with the past is made through the extended use of the staccato, which is not used in classical music. This is a very short, rhythmic section. 5. Meian (Brilliance and Quiet): This part borrows the name of the Kyoto temple Meianji, which has an important position in the history of the shakuhachi. Its musical concept, however, is based on the contrast of bright and dark sounds.
2	Haru no Umi	春の海	06'54	尺八: 二世青木鈴慕箏: 上條妙子
	The title refers to the scenery of the seaside in spring. The sound of the swirling, rising and falling waves and the call of small birds is also described. However, this world renown piece, in a gradual expansion of meaning, has become known on its own merits as a clear expression of the music in a man's heart. What do people think after a glance at the broad expanse of the spring sea, which seems to have been calm for so long? I intend to contemplate the meaning of life as I play and listen to this piece. Music is not a reflection of something else. Every interpretation, every person - all are music.
3	Monogatari Hitotsu	物語一つ	06'47	三弦: 上條妙子
	Life is a drama without a plot. This instrumental piece describes in miniature the hours, days, months and years of life. I have attempted to condense and study a fragment of the complications of human psychology in this piece of only seven minutes. This is the little tiny tale of a man or a woman. It was first performed in April, 1982 at a concert sponsored by NHK (the Japanese Broadcasting System) entitled, Modern Music.
4	Byo	渺	10'12	尺八: 二世青木鈴慕
	From the time I first knew the great performer Mr. Aoki in 1960, I became the captive of his instrument, the shakuhachi. Though I have written several different kinds of ensemble pieces for the shakuhachi, this is my first attempt at a solo piece. The possibilities of this instrument alone! There is no other instrument like it in existence anywhere on this enormous earth, and it is probably for this reason that shakuhachi music has been continuously sought as a theme from the past. In the vast mountains and plains, the oceans, the universe and finally, in the endless worldliness of modern times, the absolutely solitary form of a man playing the shakuhachi is painted in sound like a scroll in my heart.
5	Shikyoku No 1	詩曲一番	14'49	尺八: 二世青木鈴慕箏: 白根きぬ子
	Composed for koto and shakuhachi, each of the long solo parts and the comparatively freely connected ensemble sections of this piece are played alternately, and with a traditional approach. The extended koto solo in the middle of the work recalls the danmono structure of early koto pieces and the shakuhachi solo suggests influence from the classical Kinko School composition, Akita Sugagaki. At the same time, the music reflects the effortless harmony to be found in nature, both past and present. From the time of its first performance, Poem I has become representative of the best of modern Japanese music. It was first presented at the 1970 World Exposition by Reibo Aoki on shakuhachi and Keiko Nosaka on koto. This recording was made in concert of Kinuko Shirane on koto, accompanied by Mr. Aoki.