"Modern works for shinobue and nohkan"

西川 浩平
Nami Records - WWCC-7280
1995

トラック番号	タイトル	漢字	長さ	アーティスト
1	Satto	颯踏	09'48	篠笛: 西川 浩平
	A work for Japanese flute and Japanese drum. It was performed for the first time in 1975 at the 25th regular concert of Pro Musica Nipponia. The first movement uses Nohkan to evoke religious images of prayer and dance.
2	Satto	颯踏	09'52	篠笛: 西川 浩平
	The second movement uses Shinobue to bring about the native feeling of festivals and dances. Percussion instruments were also used in each movement, for a religious effect in the first movement and an ethnic effect in the second movement, to efficiently express the composer's Japanese image.
3	Hinaburi	ひなぶり	10'42	箏: 山田明美 篠笛: 西川 浩平
	Short piece for flute and 20-string koto (Japanese Harp). Severio Gazzelloni played flute in the first performance at the 6th Keiko Nosaka Koto recital in 1975. As the title HINABURI means "rural", the piece opens with a flute solo in pastoral style. Next, an expression of praising grace is presented by the koto, and little by little it turns into a rhythm of Awa dance, finally continuing into a whole section of improvisation. The work is deftly completed by a scherzo.
4	Aoba no Fue	青葉の笛	12'04	篠笛: 西川 浩平
	Extracts from Heike Monogatari Heike Monogatari was written in the Kamakura period (l3C) and it is one of the representative works of Japanese literature. It has been a significant source of Japanese traditional music called Katarimono, a form of story-telling through song, usually accompanied by the Biwa (lute). One part of the Heike Monogatari, "AOBA-NO-FUE", was written with the theme of the heartlessness of war. The flute arrangement by Kohei Nishikawa appeals to the character’s sentiment in the story, expressing well the sorrow in the world.
5	Hekitan No. 1	碧潭 ( へきたん )　 第一番	16'55	箏: 山田明美 篠笛: 西川 浩平
	This work was composed for the 16th regular concert of Kan (a group of composers), and was first performed by Kohei NISHIKAWA (Shinobue) and Teiko Kikuchi (17-strings bass koto). Accurate, skillful technique is required for the performance of this piece and each part (Shinobue and 17-strings koto) is composed of strongly independent phrases. Interesting Japanese traditional instruments are prominent when the two parts are combined. As a whole, one hears a quiet tension dominating, but listening closely, the romantic sentiment of the composer progressively becomes more audible.