発祥 (柘植 元一):

詩 (【翻訳者】 柘植 元一)

冬の曲 は下記のアルバムに収録されています

	アルバム	アーティスト
	Fascination of the Koto 5	歌 : 米川 敏子 箏 : 米川 敏子 歌 : 佐藤 親貴 箏 : 佐藤 親貴
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.
	Fukami Satomi - Sokyoku Jiuta Shu - 2	歌 : 深海さとみ 箏 : 深海さとみ 箏 : 吉村 七重
	Kikuhara Hatsuko Zenshu vol. 19	歌 : 菊原 初子 箏 : 菊柳勝子 箏 : 菊庭知子
	Kokin Kumi Kyoku (Kokin Suite) vol. 2 (古今組曲 第二集)	箏 : 大久保雅礼 箏 : 中島 靖子 歌 : 香川雅紫都 尺八 : 山本 邦山
	Musical Cosmos of Yonekawa Toshiko 2	歌 : 米川 敏子 箏 : 米川 敏子 歌 : 二代米川敏子 箏 : 二代米川敏子
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)	箏 : 大久保雅礼 箏 : 中島 靖子 尺八 : 山本 邦山 歌 : 野沢 雅世
	Sankyoku Gassō Dai Zenshū (zoku) vol. 12 (続三曲合奏大全集12)	尺八 : 森 故山 歌 : 三品千代子 箏 : 三品千代子 歌 : 今井勉 箏 : 今井勉
	Sokyoku Jiuta Taikei 39	歌 : 米川 敏子 箏 : 米川 敏子 歌 : 二世 米川 文子 箏 : 二世 米川 文子