Poema (translated by Yamaguchi Osamu)

Ume Dojoji aparece en los siguientes álbumes

	Álbum	Artista
	Musical Cosmos of Yonekawa Toshiko 2	Shamisen : Yonekawa Toshiko Koto : Yonekawa Toshiko II Voz : Imafuji Fumiko
A plum at Dojoji An ensemble for sangen and koto composed in 1974 by YONEKAWA Toshiko with the commission of HANAYAGI Sigeka, who also choreographed the dance. The first performance was given as a dance piece. In the same year on June 5 at the 7th "Waka no kai" with the musicians as in this CD. The song text is taken from a jiuta sansagari hauta (anonymous) which is no longer performed. The song text of the original composition first appeared in Taisei ito no husi (published 1794), and this appears to have been performed up to the Tenpo era (1830-1844). Apart from the section after the line "yobu mo sakebu mo" which matches the sansagari hauta Shin Dojoji included in Kinsen waka no ito (published 1751), there are sections cut out and large parts which have been considerably shortened and corrected. The piece occupies an important position in various versions connected with Kisyo Dojoji. The story, in which the grudge of a young, beautiful girl turns her into the body of a snake, and the temple bell and her partner are completely burned up, is popular and has been taken up in the world of kabuki and zyoruri, has been variously dramatized and produced numerous pieces collectively called Dojoji mono. There are many of these which have altered into performance types completely different from that of no. It has achieved a common understanding among people to the extent that the legend of Dojoji is recalled directly from the various titles which include the word "Dojoji". The basic theme is the bell and the common theme is the tenacious love of a girl. This version, Ume Dojoji, provides only a glimpse of the Dojoji story and, as a whole, has changed into a story about a courtesan. The word "ume" indicates one rank of a courtesan. From the line "ume no hanagasa" the story proceeds to the deluded love of the girl turning to a spirit. Here, it has some common features with Aoi no ue in no, and, therefore, a short quotation of the text is included. The sangen is in hon tyosi and from "ume no hanagasa" it changes to niagari. From "ikite kono yo ni" the tuning is returned to hon tyosi. Against this, the koto moves from kumoi zyosi to hira zyosi and again to kumoi zyosi. In this piece, emphasis is placed on expressing the meaning of the song. The sangen and the koto include two ainote which express a mysterious atmosphere and at the same time supports both moderately and effectively the technique of the singing. By adding subtle light and shades on the koto to an expressive song supported by the rich tone color of the sangen, this piece is one of dignity.