山本 邦山
RCA - JRZ-2575
1978

トラック番号	タイトル	漢字	長さ	アーティスト
1	Kangetsu	寒月	16'25	尺八: 山本 邦山 尺八: 川村 泰山 尺八: 石垣 征山
	This composition was written in February 1911. The entire composition consists of three movements. In solo parts of the first two movements every note features the tremendous scene of the moon shining in a winter night. The second movement, which begins with a keen high. pitched tone, is especially impressive. The composition makes a complete change in the third movement which contrasts with the first two movements. It is performed by ensemble in three parts at slow tempo and gives calmness and tranquility to listeners.
2	Kojo no Tsuki (Tozan)	湖上の月	08'57	尺八: 山本 邦山 尺八: 石垣 征山
	This composition was written in late autumn of 1922. The first movement begins with solo which is followed by ensemble at slow tempo. Frequent use of tremolo at the end of each phrase and the change of solo and ensemble are the characteristics of this movement. The second movement is written in three-eight time and has a lilting tempo. It features the scene that the moonlight reflecting on the surface of the lake trembles like ripplet.
3	Iwashimizu	岩清水	17'36	尺八: 川村 泰山 尺八: 山本 邦山
	TOZAN NAKAO composed this masterpiece of Tozan-ryu (the school of Tozan) at Iwashimizu- Hachimangu shrine in Kyoto in October 1904. This composition is mainly written for solo Shakuhachi, but the third movement is played by ensemble in two parts. The climax of the entire composition is the second movement which requires the interpreter varied techniques. The first movement features the autumnal appearance of Hachimangu shrine in a deep forest, the second movement the scene of spring water's streaming through rocks, and the third movement the scene of streamers' gathering to a river.
4	Yuzuki	夕月	09'52	尺八: 酒井師山 尺八: 山本 邦山
	TOZAN NAKAO composed many works with moon as their theme. This composition was written in Tokyo in April 1927. The first movement, written in four-four time and at slow tempo, begins with a sweet theme which appears several times alternately in varied forms. The second movement is written in three-four time. The tempo become faster and faster, and the dialogue becomes more and more frequent. The short coda which reminds us of the recurrence of the theme is very impressive.