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Haru no Kotobuki

春の寿

詩 (【翻訳者】 山口理)

Ascending into the sky
the spring haze all over
(short interlude)
indeed a landscape to watch
From the clad tops of mountains,
cranes visit the thousands of pine trees
with their wings layered like clothes
(short interlude)
just in front of our eyes
Talking about the old days
are the aged couple in privacy
How auspicious longevity is
to keep the elegant manliness
and to surpass the age someday
reaching the immortal mountain
of Horaisan as famed from ago
(instrumental interlude - introduction)
(instrumental interlude - main section)
Truly rich and noble for years
longing for longevity for years
learning the teachings of immortality
praying for longevity on this day
May the echoes in the valleys
invite the sounds of temple bells
lasting long like many months and days!

春の寿 は下記のアルバムに収録されています

アルバム アーティスト
Play ButtonMusical Cosmos of Yonekawa Toshiko 2 歌 : 米川 敏子
箏 : 米川 敏子
歌 : 二代米川敏子
三弦 : 二代米川敏子
尺八 : 山口 五郎
Felicity in spring

The poet and composer of this tegoto mono piece are unknown. As it is seldom performed by any other lineage, it was probably developed around, the birth place of the koto arranger YONEKAWA Kin'o (present day Takahashi in Okayama prefecture). It is thought to be a piece transmitted only from this lineage. Apart from this piece in the lineage of YONEKAWA, there are many other pieces such as the previous Kinuta, No asobi, Matsu no kotobuki and Tokiwa no iro which are not transmitted by any other lineage. They display the particular characteristics of the tradition in that area and, as additional koto parts by Kin'o preserved up to the present day, they make a valuable collection. The song text is structured in the classic style of auspicious pieces and, in describing gentle spring scene, they relate felicitous themes and legends such as Hagoromo, the old man and woman related to the no drama Takasago (this is drawn from a connection with Onoe no Matsu, and Horai san a legendary mountain in China. It is probably a piece composed to celebrate some person's felicitations. The line "arisi mukasi no" towards the end of the maeuta is sung as dokugin (unaccompanied recitation) and changes the mood of the piece. From here, a tegoto mono is inserted and the legend of Horai san is treated. The tegoto section has a comparatively simple structure and a short makura is added. In particular, the sangen part with sukui techniques flows on a markedly continuing delicate rhythm. There are also many repetitions of the same note and melodic pattern. In contrast to this, in the koto, there is a section which treats the sangen as a kind of ostinato. And a skilful kaete with a strong sense of independence is added. The sangen is tuned in hon tyosi and, in the ato'uta it changes to ni agari. The koto is in hira zyosi with the 9th string raised a tone. At the end of the first ai, the 8th string is lowered a semitone and the tuning becomes han kumoi tyosi. In the middle of the tegoto the 8th string is both raised and lowered. In the ato'uta, the tuning changes to hira zyosi. This recording is a standard trio with the shakuhachi as the added instrument: the shakuhachi part follows the arrangement of the first generation AOKI Reibo (1890-1955).