Nanae Yoshimura - The Art of the Koto, Volume 1
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Artist: Nanae YoshimuraComposer: Traditional
Composer: Kengyo Yatsuhashi
Composer: Koto Mitsuhashi
Conductor: n/a
Edition: Music CD
Audio: English (Unknown)
CD Release Date: 2000-08-01
Music Label: Celestial Harmonies
Soundtracks:
- Rokudan
- Midare
- Zangetsu
- Godan-ginuta
- Chidori
Music reviews of The Art of the Koto, Volume 1
Music Review: The Reigning King of all Koto CDs
Rating: 5 Stars
This is without doubt one of the best CDs of Japanese koto music out there; I'd give it six stars if I could. The sound quality is crystal clear, the performances inspired and superb, and the music simply beautiful to hear. Most of the selections on this CD are solid classics, standard pieces in the koto repertoire, so as a long-time fan of the koto I've heard many of them before, but the versions on this disc are such excellent renditions that they really came alive.
In terms of the selection, the first two tracks are compositions by Yatsuhashi Kengyo in the 1600's, and more or less mark the origins of koto music as we know it today. Track three moves us into the 1700's with a work by Mitsuzaki Koto, representing developments in koto music from the Osaka scene of the time. Tracks four and five feature developments during the mid-1800's with the work of Mitsuzaki Kengyo and Yoshizawa Kengyo. Again, all five are classics in their own right.
The liner notes for this album are the most extensive I've ever seen for a CD of Japanese music. It is readily apparent that a lot of work went into them, and one gets a real crash course in koto music from reading it--people new to the koto will learn what they need so as to have a pretty good idea what they're listening to, and people who've loved koto music for ages will still probably learn something new (I sure did, anyway). First the historical context of the music is quickly sketched, and then a succinct description of the instrument and its history (keyed to the music pieces on this disc) is given. Next each track is introduced and explained in fine, loving detail (and the main performer relates her rationale for the selection). Even the lyrics to the vocals on tracks three and five are given: first in the original Japanese (transcribed in romanji), then in a literal word-for-word translation, and then afterwards in a smooth idiomatic English rendition. So few CDs bother to do this; I was happily impressed. Musicological details for the music expert are included, too. Finally, each performer is introduced along with a quick summary of her career.
If you are new to the koto, this is definitely the best CD with which to start. But if you're a long-time koto fan don't pass this excellent CD up just because you already have "Rokudan"--I made that mistake for a while, and I'm glad I changed my mind and gave this CD a try. It will make you fall in love with the koto all over again.
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Description of The Art of the Koto, Volume 1
This recording, the first of four volumes reflecting on the history of the koto, brings together five representative pieces from the classical repertoire for the Japanese koto, composed between the mid-17th and mid-19th century. This corresponds roughly to the period of Japanese history known as the Edo, or Tokugawa period (1600-1868), when the country was ruled by the shoguns of the Tokugawa family from their castle in Edo, the former name of present-day Tokyo. The strict rule of an authoritarian administration and a rigid policy of national seclusion worked together to produce a relatively long period of freedom from the disruption of internal and external strife, during which the country changed and developed dramatically in social, economic and cultural terms.The music on this disc is largely a product of the daimyo, samurai and chonin merchant-class culture of the kamigata region of Kyoto and Osaka. This style of koto playing, known as the Ikuta school after the great master Kengyo Ikuta (1656-1750), also spread to and became popular in Edo and throughout the country soon after its emergence, but the new performance style championed by Kengyo Yamada (1757-1817) from the late years of the 18th century in Edo became extremely popular there, overwhelming the Edo representatives of the Ikuta school. Now the Yamada school is still largely confined to the area around modern Tokyo whereas many Ikuta school players, like Nanae Yoshimura, are also based there, and the Ikuta school dominates the koto-music scene in most other regions of the country.
The koto belongs to the family of long zithers, and as with many other Japanese instruments, it can be traced back to the Asian mainland. Its history in Japan spans more than twelve centuries. The slightly convex body of the instrument is a hollow shell made of kiri, or paulownia wood, and its strings are traditionally made of silk, although nylon strings are now in common use.
Booklet annotation is provided by Associate Professor Steven G. Nelson, the only Western member of staff at the new Research Centre for Japanese Traditional Music, Kyoto City University of Arts, Kyoto, Japan.
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