Fuyu no Kyoku
冬の曲
| [Genres] | Sokyoku |
| [Stil] | Meiji Shinkyoku |
| [Schule] | Ikuta Ryû - 生田 |
| [Komponiert] | Yoshizawa Kengyō II - Koto |
Geschichte (Tsuge Gen'ichi):
| Fuyu no kyoku ('Ode to Winter') is another member of the so-called Kokin no kumi which includes four odes to the seasons, and Chidori no kyoku ('Song of Plovers'). All of the four waka poems sung in this piece are taken from Book Six (Songs of Winter) of Kokin waka shu. The piece is preceded by a brief prelude (maebiki), which is drawn from the gagaku piece called Bairo. Like tegoto of the other three pieces in this set, the long instrumental interlude (tegoto) inserted between the third and fourth waka was not originally composed by Yoshizawa Kengyo, but added later by Matsuzaka Shun'ei (1854-1920) of Kyoto. Among the four tegoto composed by Matsuzaka, this one is considered to be the best. |
Gedicht (Übersetzt von Tsuge Gen'ichi)
| The River Tatsuta: Weaving a brocade of foliage Using the early-winter rain Of the Tenth Month As the warp. Silver snow Falling thick and fast All over: Even the rocks Seem to be in full bloom. Through the deep silver snow He made his way To the holy mountain of Yoshino. Still no tidings from him - And I wait. Yesterday passed by, And today: As swift as the stream Of Tomorrow River The days and months flow on. | (maebiki) Tatsutagawa nishiki orikaku kaminazuki shigure no ame wo tatenuki ni shite Shirayuki no tokoto mo wakazu furishikeba iwao nimo saku hana to koso mire Miyoshino no yama no shirayuki fumiwakete irinishi hito no otozure mo senu (tegoto) Kinoo to ii keyoo to kurashite asukagawa nagarete hayaki tsukihi narikeri |
Fuyu no Kyoku spielt auf den folgenden Alben
| Album | Künstler | |
 | Fascination of the Koto 5 |
Stimme : Yonekawa Toshiko Koto : Yonekawa Toshiko Stimme : Satō Chikaki Koto : Satō Chikaki |
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Composed by Yoshizawa Kengyo II. He composed numerous koto pieces using the tanka poems included in the Kokin Waka Ryu. This particular piece represents the progression from early winter to the end of year. The composer invented the tuning specific to these pieces by adding semi-tone progressions to an enharmonic (without any half tone steps) tuning of the gagaku koto. We can understand the composer's attitude towards the restoratoin of koto musc by his use of the old, imperial collection of poems, his breaking away from shamisen music, and his use of gagaku elements.
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| Fukami Satomi - Sokyoku Jiuta Shu - 2 |
Stimme : Fukami Satomi Koto : Fukami Satomi Koto : Yoshimura Nanae | |
| Kikuhara Hatsuko Zenshu vol. 19 |
Stimme : Kikuhara Hatsuko Koto : Kikuyanagi Shōko Koto : Kikuniwa Tomoko | |
| Kokin Kumi Kyoku (Kokin Suite) vol. 2 (古今組曲 第二集) |
Koto : Ōkubo Masanori Koto : Nakashima Yasuko Stimme : Kagawa Miyoko Shakuhachi : Yamamoto Hōzan | |
| Musical Cosmos of Yonekawa Toshiko 2 |
Stimme : Yonekawa Toshiko Koto : Yonekawa Toshiko Stimme : Yonekawa Toshiko II Koto : Yonekawa Toshiko II |
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On winter As with Haru no kyoku this is one of the kokin gumi repertoire composed by YOSHIZAWA kengyo (1801/8-72). The song text is taken from the winter section of the Kokin waka syu. The poet is not known for the first song: for others KI no Akimine, MIBU no Tadamine, and HARUMITI no Turaki. The song text follows the order recorded in the Kokin waka syu and the changes through the seasons from early winter to the end of the year match the flow of music. The fairly long maebiki with kaete attached is said to be related to the gagaku piece Bairo and there is much use of hand technique, which copy the playing methods of the gakuso such as hayagaki and musubu te. Since MATSUZAKA Syun'ei wrote the supplementary tegoto and kaete some time before 1889, this is known today as a tegoto moto. The tegoto section is made up of makura, 1st dan, and 2nd dan (in other traditions, the sections are named: makura, hon tegoto, and tirasi). From the 1st dan to the end, a kaete part is added. In the three other pieces of the kokin gumi MATSUZAKA'S arrangement was made after the ainote of the original tune adds a separate instrumental part. In contrast to these, however, in this piece, Fuyu no kyoku, leaving out the last few beats, he incorporates the ainote after the 3rd song in the original tune (which begins with the osi awase technique on the 12th and 13th strings) into the middle of the makura. Here, a considerable instrumental part is supplemented. Then, the final part of the ainote of the original tune is added at the end of the 2nd dan as an introduction to the 4th song. The piece is tuned in kokin tyosi and, at the end of the makura, the 8th and 13th strings are lowered a semitone. The original tuning is returned in the 2nd dan. In the Nagoya tradition, which continues the tradition of YOSHIZAWA kengyo, the form in which the tegoto and kaete are added is claimed not to be the original and even today, the pieces are performed as in the original. However, despite this, even in the Nagoya tradition, at least with respect to Fuyu no kyoku, the maebiki matches the kaete currently used in other traditions. The person who added this kaete part is unknown: it may have been added prior to MATSUZAKA'S supplementary composition. Either way, as with MATSUZAKA'S tegoto and kaete, this piece excels amongst the 4 compositions in the kokin gumi. A flamboyant melody which makes use of such techniques as hayagake, uraren, awase zume and a fine kakeai, unfolds. Fuyu no kyoku has become noted as a piece which requires high techniques. Because of the meaning of the 3rd and 4th songs, it is also performed as a composition in Buddhist memorial services for the deceased. | ||
| Sankyoku Gassō Dai Zenshū (zoku) vol. 10 (続三曲合奏大全集10) |
Koto : Ōkubo Masanori Koto : Nakashima Yasuko Shakuhachi : Yamamoto Hōzan Stimme : Nozawa Masayo | |
| Sankyoku Gassō Dai Zenshū (zoku) vol. 12 (続三曲合奏大全集12) |
Shakuhachi : Mori Kozan Stimme : Mishina Chiyoko Koto : Mishina Chiyoko Stimme : Imai Tsutomu Koto : Imai Tsutomu | |
| Sokyoku Jiuta Taikei 39 |
Stimme : Yonekawa Toshiko Koto : Yonekawa Toshiko Stimme : Yonekawa Fumiko II Koto : Yonekawa Fumiko II | |