Echigojishi (nagauta)
越後獅子
| [Genre] | Nagauta |
| [Composed] | Shamisen - 1811 |
History:
| Naga-uta (literally "long song") is a form used principally to accompany Kabuki dances; such songs are however also frequently performed as concert pieces. The instruments used for Naga-uta are usually shamisen, flute, ko-tsuzumi, o-tsuzumi and taiko. The title "Echigojishi" refers to a lion-dance from the Echigo province in north-western Japan which at the beginning of the 19th century was known throughout the land. The piece is not held together by a single plot, but consists of a number of short texts in each of which either a reference is made to a particular folk-art of Echigo province, or else folk-songs are quoted. The formal structure of the music corresponds to that of the Kabuki dance. The individual sections differ in their scoring, tempi and character, as well as in their dramaturgical function. "Echigojishi" contains many instrumental interludes which are sometimes played on a solo shamisen, sometimes by a group of instruments. The shamisen is tuned to Sansagari. A flute-and-drum ensemble sets the festive atmosphere and then provides a back-drop against which two shamisen play the prelude and then the famous sarashi duet which, when danced, features two long white streamers whirled about by the dancer in a spectacular display that rivals the virtuosity of the musicians. "Echigojishi" was performed in Edo for the first time in 1811. Originally created for the Kabuki stage, it is now usually performed as a concert piece. |
Echigojishi (nagauta) appears on the following albums
| Album | Artist | |
| Ensemble Nipponia - Kabuki and other Traditional Music | ||
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Echigojishi is a lyrical piece about a provincial entertainer who makes his living in the city streets performing a folk-style lion dance. A flute-and-drum ensemble sets the festive atmosphere and then provides a back-drop against which two shamisen play the prelude and then the famous sarashi duet which, when danced, features two long white streamers whirled about by the dancer in a spectacular display that rivals the virtuosity of the musicians.
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| Living National Treasure - Shamisen |
Shamisen : Kineya Gosaburo | |
| Musical Anthology of the Orient, Unesco Collection Vol 3 | ||
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Naga-uta (literally "long song") is a form used principally to accompany Kabuki dances; such songs are however also frequently performed as concert pieces. The instruments used for Naga-uta are usually shamisen, flute, ko-tsuzumi, o-tsuzumi and taiko. The title "Echigojishi" refers to a lion-dance from the Echigo province in north-western Japan which at the beginning of the 19th century was known throughout the land. The piece is not held together by a single plot, but consists of a number of short texts in each of which either a reference is made to a particular folk-art of Echigo province, or else folk-songs are quoted. The formal structure of the music corresponds to that of the Kabuki dance. The individual sections differ in their scoring, tempi and character, as well as in their dramaturgical function. "Echigojishi" contains many instrumental interludes which are sometimes played on a solo shamisen, sometimes by a group of instruments. The sham is en is tuned to Sansagari. "Echigojishi" was performed in Edo for the first time in 1811. Originally created for the Kabuki stage, it is now usually performed as a concert piece. | ||
| Selections from Koto, Shamisen and Shakuhachi |
Shamisen : Toyokichi Group | |
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In Japan, Shishi is a symbolic animal often used for driving out evil spirits. On new year days, it is an old tradition that boys of the Echigo District, accompanied by their protector, dress up as a Shishi to perform dances for driving evil spirit out of private homes for a reward. This is called Echigo Jishi in their native place. This music was composed in 1811 for a Kabuki dance with the theme of Echigo Jishi. The original music is classified into Naga-Uta with Shamisen accompaniment. It was further followed by a composition for Fue, Tsuzumi, Taiko, etc. This record contains only a portion of the most famous melody performed by Shamisen. The latter paragraphs are arranged rumba rhythm.
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| Venerated Patterns | ||
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Among the snatches of Japanese melodies (e.g., the folksong Oedo Nihombashi, the national anthem Kimi Ga Yo) incorporated into the score of Puccini's Madame Butterfly (1904) is this Shamisen accompaniment for voice from a middle section of the Nagauta piece Echigo Jishi (1811). It Is played In a Shamisen tuning called san sagari (lowered third string) and the piece depicts seasonal street entertainers at work in the urban centers of the time. The lion refers to the headgear In the design of a lion's face worn by these migrants who travelled each winter from Echigo (former name of northeastern Japan) when the short growing season there ended. This section of Echigo Jishi is used by Puccini more than once in his opera-in Act I when Goro sings of the approaching crowd of girls from which Butterfly makes her initial onstage entrance, In the same act when she sings of the circumstances which led her to the life of a geisha (professional entertainer), in the ensuring dialogue after Yamadori's entrance in Act II, as well as the opening notes of the Intermezzo between Acts II and III.
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