Sui Zen - Blowing Meditation on the Shakuhachi - 05

Ronnie Nyogetsu Reishin Seldin
KiSuiAn
2004

トラック番号	タイトル	漢字	長さ	アーティスト
1	Kokû (Nezasa Ha)	虚空 (根笹)	10'18	尺八: Ronnie Nyogetsu Reishin Seldin
	The Neza-Sa-Ha version of Koku, Nezasa No Koku, is recorded with the piece Shirabe as a prelude, in NezaSa-Ha tradition. Koku, - one of the Koten, the original three pieces has been discussed in depth earlier. This version, played here on a 2.4 instrument, is the last piece learned in the upper level of Neza-Sa-Ha pieces. It is the longest, and perhaps the most meditative of this repertoire. Compared with other versions of Koku, it has a different quality in the sounds evoking the ringing bell. Listen for special features repeated in this Koku. First, sense the rhythmic, swaying tone. Also notice the koro-koro, a warbling produced by alternately opening and closing the bottom two holes. This alternates four pitches: ri, ro-meri (or hi go, chu-meri), ro, and tsumeri. Also listen for the characteristic komibuki endings to notes, a lowering of the lowest tone of the flute, ro, which is produced by closing all of the holes, to an even lower tone, ro-meri; produced by an additional lowering of the head and changing of the mouth position. This piece is supposed to be played in 117 breaths, and is said to represent Akasagarbha, who, because his joy and wisdom are boundless, was considered to be the Bodhisattva of space.
2	Nagashi Reibo	流鈴慕	09'26	尺八: Ronnie Nyogetsu Reishin Seldin
	Nagashi refers to walking around, or walking and stopping at a person's house. Therefore, the title of this piece refers to the practice of priests wandering about and playing the flute while begging. Nagashi Reibo, in keeping with the promise of its title, has a gentle, wandering quality. It evokes the komuso's intent to have no resting place, but just flow through ,this life. There is a legend that this piece was outlawed after it was discovered that many older residents of a certain ward in Edo were dying after hearing komuso playing it at dusk. This piece was almost lost in the 1800's because Ban Yuzoh, who was its keeper, taught it to only two persons, Ishioka Yoshitaro, and Nyui Getsuei. Jin Nyodo learned it from one of Getsuei's students. Musically, it appears to be closely related to Mukaiji, and may be a descendant of the original form of Mujaiji. It contains a melody similar to that seen in Tori-Kadotsuke which appears to be a member of the same musical family. Nagashi Reibo was Kono-Gyoksui's favorite honkyoku. The piece, as well as Gaikyoku-Zan Getsu, were requested by Kurahashi Yodo to be played at his death.
3	Esashi Oiwake	江差追分	03'16	尺八: Ronnie Nyogetsu Reishin Seldin
	This example of folk music is from the northern part of Japan, and is about the difficulties of life of fisherman. Oiwake music is common in the Japanese folk repertoire, and has a repetitive, clapping sound. Like most of the folk repertoire, it has characteristic trills, and stays within a pentatonic (five-tone) scale.
4	Miyama Higurashi	深山蜩　（みやまひぐらし）	01'22	尺八: Ronnie Nyogetsu Reishin Seldin
	This modem honkyoku in the Shin Shakuhachi Gaku style from the Azuma School was composed by Fukuda Rando in 1928. It is a popular virtuoso performance piece, and is a good example of his characteristically melancholy, yet lively style. Fukuda Rando was the teacher of Yokoyama Ranpo, who was the father of Yokoyama Katsuya, a very famous present-day shakuhachi player. The title means "Sound of Crickets in the Inner Mountains." Miyama means "deep in the mountains," and higurashi is "the sound of crickets." This sound, treasured in traditional Japanese aesthetics, evokes the late summer to early autumn season. The melody is evocative of folk music, and could be categorized as a honkyoku that is shinkyoku (new music) in a minyo (folk music) tradition.
5	Haru no Umi	春の海	03'38	尺八: Ronnie Nyogetsu Reishin Seldin
	This piece was written around 1920 by Michio Miyagi. The name means, "Sea in Spring," and is played on a 1.6 length instrument, as is much of the new music. This is a reduced version of the score, and only the shakuhachi part, but you can still tell that this is different from traditional Japanese music. The full piece shows a distinct influence by Western music; it is metric, melodic and pretty, with harmony and choral structure. Traditional gaikyoku, including jiuta and sokyoku, have parallel lines that sometimes interrelate, but no harmony as such. In traditional music, the different lines may each reach and release tension at their own time, in their own universe. This piece requires the use modem flute tonguing techniques, which do not exist in traditional shakuhachi music.
6	Sokaku Reibo	巣鶴鈴慕	07'27	尺八: Ronnie Nyogetsu Reishin Seldin
	This Kinko School version of the piece is also called Tsuru No Sugomori and has 12 dan, or sections. It has become the most popular and widely played of the crane works. Kinko Kurosawa was inspired by the many different versions of Tsuru No Sugomori played by the Fuke priests in different temples, especially by Ryoan in the Kyuku Temple near Kyoto, and Zansui (Ichigetsu-ji) in Shimosa. Kurahashi Yodo said that this piece can be thought of as having four sections, "Sound of the Bell," "Mother Crane Comes Home to the Nest," "They Fly Together," and "Back to the Nest." He said that it is important to remember that a baby that stays in the nest will not get a chance to experience the world.
7	Tsuru no Sugomori (Fudaiji)	鶴の巣籠	08'24	尺八: Ronnie Nyogetsu Reishin Seldin
	There are 13 different versions of this piece, which deals with the family life of cranes. It has been popular since at least 1748, as it is referred to in the stage directions for both the Bunraku and Kabuki plays titled "Kanade hon Chushingura". They combine a program music format with a Zen parable. Cranes symbolize both longevity and family strength. The activities of the birds demonstrate the familial virtues of love and devotion. Like the pelican in Western religious iconography, the Japanese crane is said to be willing to pierce its own breast to feed its young. According to Japanese folklore, "pheasants in the burning field and cranes in the night" will shelter their young by sacrificing their own bodies. This is symbolic of the mercy of Buddha. All versions of Tsuru No Sugomori have sections representing different stages of the birds' lives. All have strong rhythm and melody. The sound of the birds is imitated in complex trilling patterns. The "koro-koro" pattern (made by alternately tapping the two lowest holes,) when played with a "tamanae" (gargling growl sound that can be made by the tongue or throat,) can give an amazingly realistic rendition of the actual call of the cranes found in northern Japan. Other repetitive sounds represent the beating of wings. All versions are secular entertainment pieces, gaiten kyoku, and not for Buddhist religious practices or ritual or ceremonial occasions. This version is believed to have been derived from a version transmitted to Jinbo Masanosuke, who played the famous Jimbo Sanya. It is the version played in Fudaiji, a komuso temple in Hamamatsu. Jin Nyodo learned it from some of his disciples, including Hikichi Kozan, and Horiguchi Zeku. This version, which he transcribed, may also have been influenced by versions from more than one temple, adding sanya-derived material to an original crane piece. The sections depict the arrival of a pair of cranes, who rejoice in finding a nesting place, build a nest, hatch their egg, lovingly raise the hatchling, who then learns to fly and departs. The cranes then feel grateful that they have been able to fulfill their duty, and their lives end peacefully. Listen for the voices of the parent cranes, echoed by the tentative, and then increasingly strong and confident voice of the young.
8	Mujunshin Kyoku	無住心曲	07'35	尺八: Ronnie Nyogetsu Reishin Seldin
	This was written down by Jin Nyodo in 1937, probably at the time of his trip to mainland China, searching for the spot where the legendary Fuke-Zenji was transported to heaven, leaving behind only an empty coffin and the sound of his bell. When he visited the tomb of Confucius, he supposedly improvised this melody, played it a few times, and wrote it down that night. It is considered his major work, along with Daiwagaku. Both are called "shokyoku" (born pieces) because he said that they emerged on their own, and were not composed, as such. The title, which is taken from the Diamond Sutra, is reminiscent of the komuso 's life. "Just at the point where one has no place to dwell (muju), such a spirit (shin) is born." Therefore, it means "A heart with no abode," or "an unattached spirit," and is reminiscent of the komuso's prescribed standard reply to a question concerning his destination, "I have no resting place." Jin Nyodo is said to have remarked that it conveys the spirit of a lonely old person who has lost everything, and in so doing, has found his true self. Mujushin Kyoku uses a unique tsuzumi-buki note shape, a technique introduced by Jin Nyodo. Listen for notes that are hourglass-shaped; they start forcefully, then weaken. A tsuzumi is an hourglass-shaped drum. But this technique is not just named for the shape of the drum. Its sound, also, tends to start large, become small, and then swell again.
9	Jakushin	寂心	03'29	尺八: Ronnie Nyogetsu Reishin Seldin
	This is the only honkyoku composed by Ronnie's teacher, Kurahashi Yodo. It was composed over a period of about five years, and there are two written versions in existence. But for him, it was always a piece in progress. Before he died, he said of this piece, "It is not yet completed." This version is similar to the version given in Kurahashi's last performance of it before his death. "Jyaku" refers to the death of a Buddhist priest, who calmly and silently exits the world for Nirvana beyond, leaving behind his grieving followers, who are filled with thoughts of loneliness and desolation. Kurahashi said that it captures the solitary spirit of an old man.
10	Makoto Shinjitsu		07'03	尺八: Ronnie Nyogetsu Reishin Seldin
	Makoto Shin Jitsu means "with a heart of true sincerity." It was composed by Ronnie Seldin in 1987, and premiered at Carnegie Recital Hall. It was written to commemorate the 100th anniversary of the passing of Miki Nakayama, the foundress of the Japanese religion, Tenrikyo. It is played here on a 2.4 flute, and is one of about 15 compositions by Nyogetsu.
11	Omae		06'42	尺八: Ronnie Nyogetsu Reishin Seldin
	This neo-honkyoku is another one of Ronnie Nyogetsu Reishin Seldin's compositions. The name may be translated as, "Special Angel," and deals with the grief felt at the end of a relationship, and the loss of the accompanying hopes and illusions.