Time		Track		Description	Disc 2 [50:21]
22:00		01		Sakura gari [桜狩] "Cherry-Blossom Viewing" Nov 1940, Score 1455 This is a Sokyoku piece in the Uta mono style from the Yamada Ryu school. This piece was composed for koto by Yamada Kengyo (1757-1817). History (from Tsuge Gen'ichi): Sakarugari ('Cherry Viewing') was composed early in the nineteenth century at the zenith of Yamada Kengyo's career. With its exciting instrumental interludes, it is considered the most brilliant of Yamada's composition. This song is traditionally classified into the naka-yurushi ('intermediate diploma') category. The text, written by a certain princess of the Echizen clan, describes a peaceful cherry blossom viewing excursion of nobles in past times. Poem (translated by Tsuge Gen'ichi) Peacefully The Second Month has come Full upon us. Mountains, far as the eye can see, Enshrouded in mist; The light green filament boughs Of the willow weaving A spring brocade Unknown in the capital. White clouds? Blossoms? Let us follow The cherry blossoms, Our hearts full With anticipation. Departing from the blue, Geese fly back To Koshiji In the north To their mates; Their wings Fragrant with blossoms, They vanish in the clouds Leaving a plaintive cry behind. We halt for a moment, Reluctant That they should leave us. Carriages in procession, One after another ... To view the first blossoms. Those who have met Those who have not met All are friends of the blossoms. Acquainted, Unacquainted - All sit together Under the blossoms. Heedless of passing time We spend The long spring days In listless abandon. The flowery sleeves Of our long-loved robes Are fragrant with cherry blossoms. The fields, the hills - Nor valley nor vale Do the flowers Not reach. Tumbling Down the mountain ledges, A fall Of one thousand streams Like strands puppeted By the Goddess of Spring. Were there no falls We would cross over And cut the blossomed branches Before the temple bell Brings sunset. Let the mists not hide the blossoms Even if the wind blows.
17:45		02		Nasuno [那須野] 19 Jun 1946, Score 1456 This is a Sokyoku piece from the Yamada Ryu school. This piece was composed for koto by Yamada Kengyo (1757-1817). History (from Tsuge Gen'ichi): Nasuno, composed in 1807 by Yamada Kengyo, the creator of the Yamada style Sokyoku, holds an important position among his works. The story of this piece is based on the Noh play Sesshoseki, a dramatization of an old legend about a huge stone at the Nasuno plain in Tochigi Prefecture (to the North of Tokyo). The stone, 'Sesshoseki,' was believed to kill not only human beings and animals who came in touch with it, but also birds that flew over it. The legend says that the stone was once a female fox devil, Tamamo-no-mae, that was shot to death in Nasuno. Poem (translated by Tsuge Gen'ichi): At the lair of the fox Hidden by blooms Of the wild chrysanthemum - Dinning voices Of myriad insects, Reeds bending To the night winds. What a grim and fearsome scene! In the wild fields Burning passionately - fox fires (1) Burning with memories, Longing for the past - Tamamo-no-mae, Heedless of the dew In the bush clover, Her back to the moon, Laments bitterly. 'For many years The emperor Favored me When I was at court. Our pledge Of eternal love, Our bed of Plighted love - I have Never forgotten! Alone, now Alone, now The rain of my bitter tears Soaks my sleeve. To tell my story - In India I was The wife of King Hanzoku, The mistress of the Mound (2). In China I was called Pao Sze (3), In Japan I entered the service Of Emperor Toba, ... And came to be called Tamamo-no-mae. During a concert At the Imperial Residence, Early in the evening Before the moon rose, A sudden whirlwind Blew up sand And extinguished the lamp. At that moment, From my body A ghostly light Shown all around, And the emperor Fell ill. A withered Paulownia leaf Brought the autumn in; The glory of yesterday has changed To the uncertain flow of Tomorrow River. Hiding from this sad world In a deep basket-hat, I left the capital behind me, Traveled east Past the barrier gate Of Shirakawa, And settled on The Nasuno Plain. Finally my fleeting, Painful life Was ended by A pursuer's arrow head. Transformed into The Murderer Stone, I now am shunned By all the world.' Her tears of hail fall On the withered autumn reeds. Her hair as disheveled As the ghostly grass, Ephemeral, She has vanished from sight. (1) Phosphorescent glow. (2) King Hanzoku promised to build a mound using the heads of 1,000 kings as an offering to a pagan god; after collecting 999 heads he was converted to Buddhism and became a priest. (3) Consort of Emperor Yu Wang of the Chou Dynasty.
10:33		03		Hatsune no kyoku [初音の曲] "First Song of the Year" 24 Aug 1946 This is a Sokyoku piece in the Kumiuta style from the Yamada Ryu school. This piece was composed for koto by Yamada Kengyo (1757-1817). History (from Tsuge Gen'ichi): Hatsune no kyuko (First Song of the Year) is a unique and distinguished work in many respects. It was composed after Yasumuram the kengyo-general of the guild of blind men, had allegedly discouraged the composing of kumiuta without authorized permission. While it is the only work that Yamada, the founder of a new School of sokyoku, composed in the kumiuta form, it demonstrates a departure from conventional form. This kumiuta is performed only by Yamada School musicians. All six songs in this cycle are based on events from the The First Warbler (Hatsume) chapter of The Tale of Genji. The kumiuta begins with a special opening pattern called shirabe on the koto, composed of three beats, typical of the Yamada School style. Poem (translated by Tsuge Gen'ichi): Plum blossom fragrance Steeps the bamboo screen; The scent of the screen? Alive with spring The courtyard trees And flowers Beyond words! Beyond words! In Omi In Omi The mountain of renown Is none other than Mirror Mountain Reflected in the lake waters Of spring Its image is Unchanging. Today Is Nenohi (1) Of the New Year and, That there be A thousand springs, People gather pine seedlings- Their hearts At peace. Wonderful! The warbler nesting Amidst high, Flowering plum trees Flies back to the pine- And the nest she left- To visit her old home In the valley. In the gentle Perfume-coaxing Breezes Of the evening, The plum too At long last is blossoming. Such a delight to play Kono tono. (2) At dawn we dance The otoko-doka. (3) Todays wine Is not ordinary! And passing The cotton headdress We sing The Song of Ten Thousand Years. (1) Day of the Rat, according to the Sino-Japanese zodiac (2) Kono tono is the name of a saibara piece (vocal music of folk origin practiced in the ancient court with chamber ensemble). (3) Otoko-doka is a boys stamping dance for the New Year festivities.

Time		Track		Description	Disc 3 [52:40]
22:38		01		Kogo no kyoku [小督の曲] Mar 1939, Score 1457 This is a Sokyoku piece in the Uta mono style from the Yamada Ryu school. This piece was composed for koto by Yamada Kengyo (1757-1817). History (from Tsuge Gen'ichi): One of the Kengyo's 'Four Greatest Works,' this piece, Kogo no kyoku ('The Song of Kogo') stands on its dignity and requires the highly controlled technique characteristic of the Yamada style. The text is based on the story 'Kogo' in Book Six of 'The Tale of the Heike' (Heike monogatari). Kogo no Tsubone, a favorite mistress of Emperor Takakura, fled from the palace in fear of Taira no Kiyomori's plots against her, and hid herself in Saga, on the outskirts of the Kyoto plain. The heart-broken Emperor, sent Minamoto no Nakakuni, a trusted warrior, to find her one moonlit night in Autumn. Nakakuni rode through the wild plain hoping to hear the sweet sound of her koto which would reveal her whereabouts. Poem (translated by Tsuge Gen'ichi): 'A solitary stag cries In this mountain village,' Thus the ancients sang On the Saga Fields. In autumn, Among the many wild flowers In their varied hues, The insects cry sadly, The night grows dark, The pine-cricket calls to the moon, The tail-flower wags, And on the bush-clover, The jewel-bugs cling like dew! On the quavering reeds A noisy cricket chirps. Accompanied by the insect voices Nakakuni rides Upon a royal steed On night patrol, His flowered cloak dimly visible. In his mind the remembered form Of the person he seeks... There, in the thin mists Stands the courtesan-flower! Is it she, or is it not? As in that futile search Which took place (1) On the phantasmal Island of Yomogi He pulls up his horse In the shade of a bamboo grove... And rests. The pine winds Come, and bring the sounds Of plucked strings. This is not like the deer who follows The lovesick stag's cry, And yet, As once in the past, He takes his bamboo flute... By playing together He is determined, without question (It is she) Using her voice as a guide He comes upon a lonely hut Hidden in the Saga Fields. She plays The song of Sofuren (2) 'In Heaven ... Let us be twin birds That share a wing,' And then In the Banshiki mode, 'On Earth let us be twin pines With branches intertwined.' The Lady Kogo Hiding in seclusion - Her dwelling tomorrow The nunnery at Ohara. For the last time Before she takes the tonsure She plays a melody In a meek and gentle tone. Her feelings spill unchecked Over the rocky crags. Her tears Drench her sleeves. Were one there to behold, What might he think? The music of her strings Acts as a guide; In the moonlight that streams From distant skies, The imperial messenger Introduces himself. This is an Imperial edict From His Majesty. Across the distant fields, I have come through the wild brush, To present this letter Drenched in dew. Let is once again tie the knot Between the palace chambers And my retreat. Such is her answer, And as a token, she gives him A five-folded garment. In the early dawn Soon thereafter, The Emperor sends forth A royal palanquin. Ah, no return To the splendid days of old! Ah, no return To the splendid days of old! A vow that will last forever, Like the evergreen pine. (1) The search by a sorcerer in the service of the T'ang Emperor Hsuan Tsung for the whereabouts of the departed soul of his dead mistress, Yan Kuei-fei. (2) In Chinese pronunciation, Hsiang Fu Lien: i.e. 'Song of Love for one's Husband.'
29:59		02		Chogonka no kyoku [長恨歌の曲] "Song of Eternal Sorrow" 27 Dec 1946 This is a Sokyoku piece in the Uta mono style from the Yamada Ryu school. This piece was composed for koto by Yamada Kengyo (1757-1817). History (from Tsuge Gen'ichi): 'Chokonka no kyoku' (or Chogonka) is one of Yamada Kengyo's 'Four Greatest Works.' The song-text is a free translation of Ch'ang hen ko ('The Song of Everlasting Sorrow') by Po Chu-I (772-846), a Chinese poet, which deals with the tragedy of the Emperor Hsuan Tsung and Yang Kuei-fei, his favorite court lady during the T'ang dynasty of China. In his grief over the death of Yang Kuei-fei, who was murdered during An Lu-shan's uprising, the emperor sends a sorcerer in search of the whereabouts of the departed soul of his mistress. The sorcerer finally meets her soul on the island of eternity. She tells the long story of her regret and everlasting love for the emperor. Poem (translated by Tsuge Gen'ichi): Long ago, In T'ang China, There lived an emperor Who treasured Beautiful women. The daughter of the Yang family Had the honor to be summoned By his majesty. And to become the object Of his deepest affections. Day and night- She attended him, Always At his side. In the palace Were three thousand Graceful maidens, But the imperial favor Was concentrated On one flower of spring. Soon the blossom faded- A sorcerer was sent By the emperor To search for her departed soul. Poling a boat Sleeping each night He journeyed to A far-off island, In the land of eternity The sorcerer found A soaring palace Glittering In five-hued clouds. Inside, alluring Fairy-maidens dwell. Most beautiful of all Is Yang Kuei-fei - Her snowy skin And flower-face Like a branch of pear blossoms Drenched with spring rain. When she saw the sorcerer Her words and tears Overflowed With sweet memories Of the past, And washed the balustrades. 'I recall The past in Li Shan. Ah, how happy I am - Someone from the capital! Though embarrassed, I recall lovers' talk Of a bygone night. I want to lament For our vows of love - Vanished like the dew. If I may regret - How blindly You love me, Like a deep inlet. But I resent the little time we had ... Like the thin ice of spring. At night, when We long for each other, Cherish the heart of she That trusts you, Who, waking from sleep Does not smooth over Her disheveled hair. My feelings are As deep-dyed As the crow's wings. Fate unraveled The deep-dyed threads Of our lover's vow - In vain I returned To this Island of Immortality. I grow melancholy When I recall the past, Still longed-for, Recall dancing to Rainbow Skirt and Feather Jacket. 'Unique! Turning her sleeves, The dancing-girl! Unique! Turning her sleeves, The dancing-girl!' Did he know the heart Of the one who turned Her sleeves? Anyway, I cannot see the emperor In the mortal world - I am a bird On the Island of Eternity. Bitter world though it was, How I long for the past! This is the story Of the past I long for!' In telling the old story, Months and days pass by. At last she entrusts Her ornamental hairpin To the sorcerer As a token of everlasting love For the emperor. A better keepsake Than a letter. The sorcerer returns To the capital At midnight of the Seventh Day of the Seventh Month, The vow to share a wing in the sky And a branch on earth, has Now become an empty dream. Though the heavens Be eternal, Though the earth Grows old, Will it ever end - This never ending grief? Ceaselessly, Endlessly, The story of her lament Remains to this day.

Time		Track		Description	Disc 4 [64:18]
25:39		01		Yuya [熊野] 4 Feb 1947, Score 1488 This is a Sokyoku piece from the Yamada Ryu school. This piece was composed for koto by Yamada Kengyo (1757-1817). History (from Tsuge Gen'ichi): Together with Aoi no ue, Chokonka no kyoku and Koho no kyoku, Yuya forms the 'Four Greatest Works,' composed by Yamada Kengyo. The song text is taken from the latter half of the Noh play Yuya, which is attributed to Zeami (1363-1443). The story is based on an episode in Book Ten of 'The Tale of the Heike.' Yuya, the daughter of a tavern-owner at a way station, won the favor of Taira no Munemori (1147-85), the powerful keeper of the seals at court, and is summoned to Kyoto, the capital. Yuya's old mother, who was left in the distant eastern province, becomes seriously ill. Yuya asks Munemori for leave, but he will not grant it because of his selfish love. Poem (translated by Tsuge Gen'ichi): The voice of the bell At Kiyomizu Temple Echoes the evanescence of all things, The ephemerality of this world, As the Gion Monastery bell Might have sounded. At the Jishu-Gongen Shrine, The color of the cherry blossoms Tells us the nature Of the Twin Sal Trees. These are several Of many illustrations Of the principle of morality, Of the way of the world. Buddha too, once Renounced the world - Leaving behind The name of the Mount of Eagles, The scene of his austerities Half invisible above the clouds, At Katsurabashi Temple Which we see in the distance Among the 'Laurel Bridges' Of clouds on its summit, Is that heavenly mist Or new cherry-blossoms at The nearby Gion Grove? And these banks Of the Shimogawara. When we look Far to the south, The Ima-Gumano Shrine In the spring haze - Yuya-Gongen newly enshrined, His grace and benevolence Mighty as in Kumano Of Kishu Province (1). Autumn On Mount Inari: Lightly tinged maple leave Which once were green, And in flowery spring At Kiyomizu Temple Where sits Kanon The Merciful Bodhisattva, The blossoming of Thousands of spring cherries! Despite the mountain's names - 'Sounding Wings' and 'Storm' A snow of flowers falls silently. Who can know The depth of my sorrow? Yuya: May I have the honor Of serving you some wine? Munemori: Why not, Yuya. Show us a dance, Will you? Y: Who knows My deep sorrow? Oh, look! All at once A passing shower has come, Scattering the blossoms - How unexpected. ... M: Indeed, The blossoms Are scattered By this shower! Y: Alas, What a heartless shower! 'Spring rain Falling - is it tears? Falling - is it tears? Is there anyone Who would not regret The fall of the cherry blossoms?' M: Such a significant tone To your words! What do you mean? If I take it up and read it - 'What shall I do? Though it seems a pity To miss spring in the capital. My old blossoms in the east May have already fallen.' M: Indeed, you are right! I am sorry for you. You may take your leave At once. Go to your home In the east Y: What!? Would you grant me Permission to leave? M: By all means. You must be on your way Immediately. Y: Oh, how happy I am! This is more than I deserve. This is entirely due to The divine favor of Kannon. Everything is settled - How glad I am! Everything is settled - How glad I am! If I were there to accompany you To the capital, Sir, You might conceivably Change your mind. Allow me to say farewell here As I am. The evening birds Are calling. On the road east, On the way home, Yuya stops to rest At the barrier of Mt.Osaka. The barrier keeper also Takes care of her, And he lets her through - She has left the mountains behind The wild geese Who forsake the blossoms of the capital Fly to the north I, too, am going home Back to my home in the east - Farewell... Back to my home in the east - Farewell. (1) The god Kumano-Gongen of the Kishu Province (present Wakayama Prefecture) attracted many pilgrims, including the imperial family, because of his powerful divine grace. In 1160 for convenience of imperial pilgrimage, the object of worship was moved to the capital, enshrined in a new sanctuary to the south, and its new shrine was called Ima-Gumano ('New Kumano' or Kumano in Kyoto'). The Chinese character for Yuya are also pronounced as 'Kumano.' So the characters 'Kumano-Gongen' can also be pronounced 'Yuya-Gongen.
38:36		02		Aoi no Ue [葵の上] 25 Jun 1946 (Yamada Ryu) This is a Sokyoku piece in the Uta mono style from the Yamada Ryu school. This piece was composed for koto by Yamada Kengyo (1757-1817). History (from Tsuge Gen'ichi): Aoi no ue, Yamada Kengyo's masterpiece, is considered the most profound work in the Yamada style repertoire. Its rhythmic texture - a quick alternation of tension and relaxation - is highly dramatic. Also, being over 40 minutes long, this piece demands highly-polished technique, energy, and endurance on the part of the performers. Aoi no ue is based on a Noh play of the same title. In fact, its text is taken almost intact (though the final one-third is cut), from the no play. The play is based on 'The Tale of Genji,' in particular, an episode from the 'Heartvine' (Aoi) chapter. Princess Rokujo was once courted by Genji, whose affection, however, soon shifted to other women. Rendered helpless by her noble upbringing and pride, the princess was overcome by jealousy, which eventually to the form of a revengeful ghost. The ghost stole out of her body, without her realizing it, to torment Lady Aoi, Genji's wife who was about to give birth to a son. Poem (translated by Tsuge Gen'ichi) Riding the three vehicles Of Law Others may escape The burning house. Mine is but a cart in ruins Like Yugao's house; I know not How to flee my passion. Like an ox-drawn cart, This weary world Rolls endlessly (On the wheels Of retribution.) (On the wheels Of retribution.) Like wheels of a cart Forever turning Are birth and death in all living things; Six Worlds and Four Births You must journey; Strive as you will, there is no escape. What folly to be blind To the frailty of this life, Like the banana stalk without a core, Like a bubble on the water! Flowers of yesterday are But a dream today. How sad my fate! Upon my sorrow Others heap Their spite. Unforgettable, Unforgivable. To find a moment Of respite, Now the ghost Has come, Drawn by the sound Of the birch-bow. Ah, how shameful That even now The eyes of others I should shun As on that festive day. Though all night long I gaze upon the moon, I, a phantom form, Remain unseen by it. Hence, By the birch-bow's upper end, I shall stand to tell My sorrow. Whence comes The sound of the birch-bow? Though by the mansion-gate I stand, Having no form, People pass me by Without notice. How strange! I see, Though I know not who, A lady Gentle-born Riding in A ragged coach, And one who seems A waiting-maid, Clutching the shaft Of the ox-less coach And weeping, Swathed in tears. Oh! Pitiful sight! Is this the evil spirit? Who it is I now can guess. Tell me straight Your name. Tell me straight Your name. In this world Where all, like lightning Passes, There should be none For me to hate Nor no fate For me to mourn, Why did I leave The way of truth? Attracted By the birch-bow's Sound, Here I now Appear. Am I unknown To you yet? I am the ghost Of Princess Rokujo. In those olden days When I walked the world, On spring mornings ... I was invited To the flower feasts Of the Palace, And on autumn nights I viewed the moon In the royal garden. Gaily thus, I spent my days In bright hues And scents. Fallen in life, I am today no more Than a morning-glory that Withers with the rising of the sun. My heart knows No rest from pain; Bitter thoughts grow Like fern shoots Bursting forth In fields. To vent My vengeance, Here Have I appeared. Know you not In this life, Charity is Not for others? Be harsh To another, And it will recoil Upon you. Why do you cry? My curse is Everlasting. My curse is Everlasting. Oh, how I hate you! I will punish you. What shame! For Princess Rokujo, Gentle-born, To you vengeance And act as One low-born, Are you not ashamed? Stop And say no more. Say what you will, I must strike her now. So staying I walk towards the pillow Of Lady Aoi And strike her. Now that things have come To such a pass, There is nothing more to do. So saying, she walks Towards the Princess Rokujo. For this you will soon suffer. Present vengeance is the retribution Of past wrongs you did to me. The flame of consuming anger Scorches only my own self. You shall feel The fullness of its fury. This loathsome heart! This loathsome heart! My unfathomable hate Causes Lady Aoi to wail In bitter agony. But long as is Her life In this world, Her love Of the Shining Prince Will never end- The Shining Prince, Lovelier than A firefly That flits across The marshland. I shall be to him A stranger, Which I was once, And I shall pass away Like a dewdrop On the mugwort leaf. When I think of this, How bitter I feel! Even were I living, Our love is already an old tale, Never to be revived Even in a dream. Yet all the while My longing grows more Till I am ashamed to see My love-torn self. In ragged coach, Standing by her pillow, I shall place the Lady Aoi And secretly Bear her off, And secretly Bear her off. (1) The preceeding English translation has been adapted from The Nippon Gakujutsu Shinko Kai's translation of the Noh play Aoi no ue (Japanese Noh Drama, Vol. 2, Tokyo 1959).

Time		Track		Description	Disc 5 [52:42]
19:26		01		Chikubushima [竹生島] 19 Jun 1946, Score 1487 (Yamada Ryu) This is a Sokyoku piece in the Uta mono style from the Yamada Ryu school. This piece was composed for koto by Chiyoda.
33:13		02		Uya no Tsuki [雨夜の月] 28 Jun 1946, Score 1495 (Yamada Ryu) This is a Sokyoku piece from the Yamada Ryu school. This piece was composed for koto by Nakanoshima Kengyo (1904-1984).

Time		Track		Description	Disc 6 [53:04]
18:08		01		Matsukaze [松風] "Wind in the Pines" 23 Nov 1946, Score 1452 (Yamada Ryu) This is a Sokyoku piece in the Uta mono style from the Yamada Ryu school. This piece was composed for shakuhachi by Koide Ichijyuro. This piece was composed for koto by Nakanoshima Kengyo (1904-1984). History (from Tsuge Gen'ichi): In the late Edo period, a princess from the Date family (of Uwajima, Shikoku) was married to a titled man of the Matsudaira family (of Shimabara, Kyushu). Upon the unexpected early death of her husband, she, being an accomplished koto player, received a fine koto as a gift to console her in her deep sorrow. The koto bore the name Matsukaze ('Wind in the Pines'). The young widow spent the rest of her life playing the koto and writing waka poetry. Poem (translated by Tsuge Gen'ichi) The shadow Of the judas tree in the moon Lengthens. Wind blows Along a sandy path Which is so polished In the bright moonlight, It seems like day. The spreading vista Has neither cherry blossoms Nor fall foliage. Autumn grows old At the thatched-roof hut by the bay. The fishergirl Is unable to sleep. Aged by the saltwater, Her garments chill her. And the sound of the fulling-block Is so sorrowful! Like the sedge mat of Tofu Village, You took up most of the room in bed. I was content with the rest. Recalling the happy times gone by When we were so close To one another, I feel even more Wretched. My sleeves drenched With wave upon wave of tears. Pulling his sleeves ... As he was leaving, I wished 'If only the Autumn nights were longer.' Tears of regret at parting Never cease. Names recalling the sea In speaking of the koto. The wind blowing Through the pines on the beach. Sound of nature - And the wild geese Above the clouds Join in the music. Descending. They add their voices. The sound of the waves Purifies my heart 'Music of the Autumn Winds' Must have resembled this. How delightful! My splendid koto Accompanied by the sound of The 'Wind in the Pines' Should have been played To prove a thousand years Thy life may last, As long as its strings, Never ending! Mount Mikasa Would enjoy thy love Even eight million years.
14:45		02		Fushimi [伏見] Jan 1953 This is a Sokyoku piece from the Yamada Ryu school. This piece was composed for koto by Nakanoshima Kengyo (1904-1984). History (from Tsuge Gen'ichi): This piece, written in the joruri (narrative) style, is unique to the Yamada style sokyoku. Tomimoto-bushi (1) was introduced into the present piece by Nakanoshima Kengyo, an accomplished musician in this style, as well as in sokyoku. The text deals with the 1868 Battle of Toba-Fushimi just before the completion of the Meiji Restoration. This battle was fought at Fushimi, a suburb of Kyoto, between the samurai supporters of the new imperial rule and the forces of the Tokugawa regime. (1) One of the vocal genres of Edo-joruri shamisen accompaniment. Poem (translated by Tsuge Gen'ichi) Let us recall Those days of old, The Restoration Of Imperial Rule: It was winter The Twelfth Month Of the third year of Keio; On the ninth day, In the skies Over the capital, The spring sun Shone darkly - The country seethed With anarchy Vague shapes On their pitch-black saddles Shouted battle cries - Their armored sleeves Shining Like the stars. The stars, Whose light faded away With the glory Of the Tokugawa In the early dawn. At Toba Fushimi In the mountain winds Of Ouchiyama The brocade banners Fluttered. The commander Stepped forth And warriors Took new courage - Their cries resounding Like thunder Across The battlefield. The wounded cried out ... In agony; Smeared with blood They fell, Their corpses piled Like scarlet leaves, Enemy And friend Indistinguishable In the early dawn Upon the trampled Battlefield. His life as fragile As the dew, The warrior, Sword in hand, Never forgets His sovereign - How pitiful Is his fate! In the battle's fury That made all Heaven and Earth Tremble, Flames raged though Yodo Castle. The clouds above Suddenly vanished, Trailing away Into thin wisps of smoke. Now, In the peaceful springtime Of Imperial Rule, While telling This tale Of times Gone by, Many men of old Fill their sake cups And enjoy The festivities Fully.
20:08		03		To be determined 23 Nov 1946, Score 1403

Time		Track		Description	Disc 7 [46:07]
13:47		01		Kasuga mode [春日詣] 27 Dec 1942, Score 1454 This is a Sokyoku piece from the Yamada Ryu school. This piece was composed for koto by Yamato Kengyo (1782-1863).
6:01		02		Aki no nanakusa [秋の七草] "Seven Flowers of Autumn" Apr 1939, Score 1207 This is a Sokyoku piece in the Maybe Meiji Shinkyoku style from the Yamada Ryu school. This piece was composed for koto by Yamato Shorei III. History (from Tsuge Gen'ichi): This lovely piece, Aki no nanakusa ('The Seven Flowers of Autumn'), is one of the compositions selected as teaching material by Ongaku Torishirabe-gakari (the Music Study Committee), and published under the title Sokyoku shu ('Collection of Japanese Koto Music' Vol. 1) in 1888. It is reported that this piece was actually composed by Yamato Shorei (1844-89) in 1884 and revised by Yamase Shoin (1845-1908), both members of the committee. In the course of the interlude (ainote), the first section of Rokudan is heard as the counterpart. Poem (translated by Tsuge Gen'ichi): What are the flowers That bloom In autumn fields? Count on your fingers And see! Wearing brocade, Is the bush clover (1). Then plume grass (2) Arrowroot (3) and ominaeshi (4). Agueweed (5) - who hung up His hakama? The wild pink (6) - like children Indulged by parents. The morning-glory (7) - brought to life By the dew. It was these seven Flowers of autumn (8) That the ancients First loved. The beauty of these seven Of the autumn fields - Their names now Are famed. The seven flowers of autumn Bring fragrance to the fields. (1) Hagi or lespedeza. (2) Obana or miscanthus sinensis. (3) Kuzubana or kudzu vine. (4) Patrinia scabiosaefolia. (5) Fujibakama. (6) Nadeshiko or dianthus superbus. (7) Asagao. (8) These 'Seven Autumn Flowers' were praised by Yamanoe no Okura (660?-733?), a Man'yo poet
13:53		03		Usu no koe [臼の声] May 1944, Score 1302 This is a Sokyoku piece in the Uta mono style from the Yamada Ryu school. This piece was composed for koto by Yamato Shorei III.
12:23		04		Shiki no asobi [四季の遊] May 1911, Score 1404 This is a Sokyoku piece from the Yamada Ryu school. This piece was composed for koto by Yamato Shorei III.

Time		Track		Description	Disc 8 [44:45]
13:56		01		Shojo no tsuru [松上の鶴] Jul 1939, Score 1452 This is a Sokyoku piece in the Uta mono style from the Yamada Ryu school. This piece was composed for koto by Yamato Manwa.
20:04		02		Suma no arashi [須磨の嵐] Nov 1940, Score 1498 This is a Sokyoku piece in the Uta mono style from the Yamada Ryu school. This piece was composed for koto by Yamato Manwa.
10:41		03		Omi hakkei [近江八景] Mar 1943, Score 1303 This is a Sokyoku piece in the Uta mono style from the Yamada Ryu school. This piece was composed for koto by Yamato Manwa.

Time		Track		Description	Disc 9 [54:45]
12:13		01		Miyako no haru [都の春] Jul 1939, Score 1401 This is a Sokyoku piece from the Ikuta Ryu school. This piece was composed for koto by Yamase Shoin. History (from Tsuge Gen'ichi): This piece is considered one of the most brilliant tegoto-mono pieces in the Yamase style koto repertoire. Yamase was engaged as the first professor of koto music, at the Tokyo Academy of Music, and composed the present work for the inauguration ceremony concert of the institute in 1890. The title means 'Spring in the Capital.' Poem (translated by Tsuge Gen'ichi): The brilliant light Of sunrise: Not a shadow remains, Not a streak in the sky. The winds from the Kamo River Are still; Spring has come To the capital. The trees, the meadows Of field and mountain... All are in flower. The high slopes of Mt. Fuji And the province of Michinoku, Once heaped high With white snow Are now bare. Melting, It flows In widening streams Into the Bay of Naniwa. After long journeys From points far and wide Across calm seas, Ships put into harbor. We are restored To the flourishing age Of our merciful Great emperors. Our voices in song Shall rise forever! Our voices in song Shall rise forever!
14:05		02		Kaka ju senzai Jul 1940 This is a Sokyoku piece from the Yamada Ryu school. This piece was composed for koto by Imai Keisho.
28:24		03		Kato-bushi (Sambaso) [河東節 (三番受)] May 1940 This is a Kato-Bushi piece from the Yamada Ryu school. This piece was composed for koto by Edo Handayu.

Time		Track		Description	Disc 10 [66:54]
12:44		01		Okayasu ginuta [岡康砧] Apr 1938, Score 1402 This is a Sokyoku piece from the Yamada Ryu school. This piece was composed for koto by Okayasu Kosaburo. History (from Tsuge Gen'ichi): The origin of this kimuta-mono piece is unclear. 'Okayasu' is said to refer to the name of the alleged composer, Okayasu Kosaburo, a shamisen virtuoso of the early eighteenth century. 'Ginuta' comes from kinuta, a wooden block used in former times to press and soften newly woven cloth. An earlier version of the present piece is found in the repertoire of the Fujie School kokyu (Japanese fiddle). Towards the end of the nineteenth century, it was arranged for koto and shamisen ensemble by Yamamuro Yasuyoshi (1839-1907), who was head of the Fujie School and at the same time, expert in the performance of Yamada School sokyoku. Since then, it has gained popularity in the Yamada School sokyoku repertoire. In this composition the sound of the kimuta is conveyed in the long tegoto (interlude). The soft tapping of this block on autumn nights was a favorite musical and poetic symbol. Poem (translated by Tsuge Gen'ichi) In the moonlight The fulling block Sounds out the evening chill. Against the clouds Wild geese trace Bridges of the koto. Fulling block in the night, Through a cold autumn drizzle - Fulling block in the night, Through a cold autumn drizzle - Harmonizes With my playing.
8:03		02		Shiki no shirabe [四季の調] "Music for Four Seasons" Apr 1940 This is a Sokyoku piece from the Yamada Ryu school. This piece was composed for koto by Imai Keisho. History: Music for Four Seasons is a rather modern piece from the Yamada School of the koto. The technique of the Yamada is somewhat similar to that of Nagauta with its brilliant and strong touch on the koto strings. Daigo no Hanami which includes singing almost like that of the Nagauta and Shiki no shirabe are representative pieces of the Yamada School.
12:55		03		Shin ginuta (Shin kinuta) [新砧] 9 Jun 1947 This is a Maybe Sokyoku - Jiuta piece. History (from Kitahara Kozan II): This anonymous piece belongs to the Kinuta form, (which means "fabric fulling"), like others such as Godan-kinuta, Sandan-kinuta, etc. Its title originates from the repertoire of Noh theatre, and refers to the love of a wife for her husband, who has been gone three years to deal with legal matters in the Capital. The shamisen depicts her, working at fulling fabrics while she waits for his return, and describes her feelings, while the koto evokes through a single, sustained note, both the long wait and the repetitive rhythm of her work. This piece has been conserved and passed down by the Yamada school. It comprises four sections, and requires considerable technical skills from the instrumentalists, which is why it is now less frequently played at concerts.
13:05		04		Shin zarashi (sarashi) [新晒] 10 Dec 1952 This is a Sokyoku piece from the Yamada Ryu school.
20:04		05		Shin zarashi (sarashi) 2 19 Jul 1957

Time		Track		Description	Disc 11 [50:38]
5:43		01		Godan no shirabe [五段の調] "Composition in Five Parts" 1951
6:59		02		Rokudan no shirabe [六段の調] "Composition in Six Parts" Jul 1937, Score 1201 This is a Sokyoku piece in the Dan mono style from the Ikuta Ryu school. This piece was composed for koto by Yatsuhashi Kengyo (1614-1685). History: Music of Six Steps (Rokudan-no-shirabe) is a representative style of koto music composed by Yatsuhashi Kengyo (kengyo is an honorary title given to blind koto masters) who died in 1685. Yatsuhashi was an epic figure in the history of the koto, and his compositions have been widely handed down. Music of Six Steps is an "absolute" music consisting of six sections of 52 beats. Though this piece was originally composed for the koto, it later became fashionable to play it on the shamisen (three-stringed guitar-like instrument). The popularity of Rokudan was such that succeeding composers often adapted the melody. This is a solo koto piece believed to have been composed by YATSUHASI kengyo (1614-85), though a different tradition has it that the composer was KITAZIMA kengyo (?1690). The piece is also known as Rokudan. As the name suggests, except the 4 beats at the beginning of the 1st dan, there are 52 beats in each dan. The original tune of the 1st dan is presumed to be derived from Sitiku syosin syu (published 1664) or Sitiku taizen (published before 1687) and it was already performed then as an ensemble for koto, shamisen, and hitoyogiri shakuhachi. It is thought that the present form of six dan, in which there is pronounced variation, developed from repeating the dan of this original version three times. From a standpoint of the training system of specialists, Rokudan no shirabe is transmitted as a koto kumiuta omotegumi tukemono. However, as a koto piece, it has achieved the most popularity and has been variously arranged for shamisen and shakuhachi or has had kaete versions added. As sangen pieces, there are the Rokudan sugagaki (composed by HUKAKUSA kengyo) and the kaete Sansagari Rokudan (composed by KUNIYAMA koto). Similarly, in the kaete for koto there are, for example, the Nakazora Rokudan and the Kumoi Rokudan (Sansagari Rokudan in the transposed version for koto). A variety of instrumental variations are possible such as a shakuhachi and kokyu ensemble. There are many examples of complete Rokudan pieces which quote the entire Rokudan or pieces which use only a part of Rokudan. In the maebiki of MITUZAKI kengyo's Akikaze no kyoku or in Aioi no kyoku, a piece in the Meiji shinkyoku repertoire, it is possible to have an ensemble of the full Rokudan. In MITSUZAKI kengyo's Godan ginuta, however, the 5th dan of Rokudan is used and, in such pieces as the Hototogisu, Sumiyosi and Usu no koe of Yamada ryu sokyoku the 1st dan of Rokudan is performed in the ainote. This is an indication of how much Rokudan is enjoyed by so many people. The melody follows the dan and gradually the degree of variation increases so that Rokudan may be seen as a variation on a theme. The fundamental techniques of koto playing are effectively included so that it can also be used as a practice piece. It is the oldest classic koto piece with a simple form. As a performance, it is most suitable to play solo on the koto, because it enables a performer to display subtle tone colors most effectively. Yet, for the performer, it is also one of the most difficult pieces to play. The tuning is in hirajyoshi throughout the piece.
6:51		03		Kumoi rokudan Jul 1937 This is a Sokyoku piece in the Dan mono style from the Ikuta Ryu school. This piece was composed for koto by Yatsuhashi Kengyo. History: Rokudan, as one may know, was composed by Kengyo Yatsuhashi (1614-1685). Kumoi Rokudan, one of the revisions of Rokudan was composed by Chiyoda Kengyo of the Yamada School of koto. Kumoi refers to high pitch. Therefore the music is played by two kotos, one in the kumoi (high pitch), the other hirajoshi (basic) tone.
7:09		04		Kumoi rokudan (2) 27 Jul 1957
7:16		05		Shichidan (no shirabe) 1951 This is a Maybe Sokyoku - Jiuta piece in the Dan mono style.
7:40		06		Hachidan no shirabe [八橋 検校] "Composition in Eight Sections" Jul 1937, Score 1304 This is a Sokyoku piece in the Dan mono style from the Ikuta Ryu school. This piece was composed for koto by Yatsuhashi Kengyo (1614-1685). History (from Kitahara Kozan II) The title of this piece "Hachi dan" ("Eight sections") refers to its being composed according to the traditional "section" (dan) rule. There are 104 beats in each section, grouped into 52 two-time measures; to the first section are added a few supplementary measures to serve as an introduction. The composer, Joshu Yatsuhashi, founded his own school and established the standards of some 17th century musical forms, such as the Kumiuta (vocal suite), and the Danmono (instrumental pieces, to which the present piece belongs), as well as the chords for the instruments involved. The piece presented here can be played as a solo of koto, or as a duet involving either koto and shamisen, or two koto.
8:56		07		Kudan (no shirabe) 18 May 1946 This is a Maybe Sokyoku - Jiuta piece in the Dan mono style. History: While Rokudan refers to the music of six steps, Kudan consists of 9 steps, composed sometime after Rokudan. Kudan, however, is regarded as one of the most important examples of the Ikuta School, and usually is played only by masters of that school.

Time		Track		Description	Disc 12 [50:20]
8:18		01		Midare rinzetsu [乱] Jul 1937 This is a Sokyoku piece in the Dan mono style from the Ikuta Ryu school. This piece was composed for koto by Yatsuhashi Kengyo (1614-1685). History (from Bell, Clive): This melody was a decisive factor in establishing the Koto as a solo instrument. It demands a free and unrestricted interpretation, and shows that although the composer lived in a feudal society he possessed a freedom which makes his composition almost modern.
8:41		02		Kumoi midare [雲井乱] 25 Jun 1946 This is a Sokyoku piece in the Dan mono style from the Ikuta Ryu school. This piece was composed for koto by Yatsuhashi Kengyo (1614-1685).
8:18		03		Kumoi midare (2) 27 Jul 1957
12:44		04		Kumoi no kyoku [雲井の曲] "Song of the Distant Sky" 19 Jul 1946 This is a Sokyoku piece in the Kumiuta style from the Ikuta Ryu school. This piece was composed for koto by Yatsuhashi Kengyo (1614-1685). History (from Tsuge Gen'ichi): The title means 'Song of the Distant Sky.' One of the 'Thirteen Yatsuhashi Song Cycles,' this song cycle is considered to be his masterpiece. His originality is most significant in this piece. A new tuning of the koto was introduced here, possibly for the first time. Thus, the tuning was named kumoi-joshi after the title of the piece. The texts of all six songs deal with unsuccessful love, but each complete in itself and they are not interrelated. After the fifth song, an instrumental interlude, 'Kin no shirabe' is inserted. Poem (translated by Tsuge Gen'ichi) Since we can meet Only secretly My heart Is filled with longing. Chika no Shiogama (1) Is a place near only in name The distance which separates us Consumes my soul and body. Will you never leave my heart? And yet your heart Long ago left me. Not about my lot Do I worry But about yours. The man who has become The talk of the town. Only rarely Do we meet Only tears Dampen my sleeve. On the morrow We shall be separated; Tears flow At the thought. Idle thoughts In the rain Call back days gone by. Adding to my melancholy The night wind through the pines Rustles Then taps On my lowly cottage door. Like a boat without a rudder I drift, Aimless and alone. The sound of waves Crashing on The rocky shore Breaks my heart, Into a thousand pieces. Every one knows that Even the thunder god, Roaring in the distant sky, Strikes from afar. This being so, Why should my love Not be fulfilled By the gods? (1) This place name literally means 'Nearby-Salt-Kiln.'
12:14		05		Hagoromo no kyoku [羽衣の曲] 18 Aug 1946 This is a Sokyoku piece in the Kumiuta style from the Ikuta Ryu school. This piece was composed for koto by Kitajima Kengyo (died 1690). History (from Tsuge Gen'ichi): One of the most profound of the kumiuta that are classified into the deep interior (oku) category of the koto music repertoire (1), this song cycle Hagoromo no kyoku (Celestial Robes) is played frequently as part of the first musical event of the New Year Hikizome, a traditional ceremony that accompanies the First Reading, the First Writing and other ceremonies that begin the New Year in Japan. (1) Kumiuta are traditionally classified into four categories according to the degree of profundity and stylistic proficiency required and sometimes the technical difficulties involved. These are omote (lit. "outside"), ura (lit. "inside"), naka (lit. "interior"), oku (lit, "deep interior"). By way of illustration, it may be helpful to imagine these categories as representing the structure of the imperial palace or a Shinto shrine with outer and inner walls, and further inside, the outer and inner sanctuaries. It should also be mentioned that these categories represent stages of a students progress in the learning of the koto repertoire, and are regulated by the issuing of diplomas along the way. Poem (translated by Tsuge Gen'ichi): The imperial grace is Proof that the dynasty is Unshakeable, Not to be swept away Even once Like the Great Rock At the touch of the goddess In celestial robes. The heavens spread Unclouded This first day Of spring, This peaceful morning, Soft as the clouds, As the Emperor celebrates The stars. Amid the gentle sounds Of white waves Stirred on the stream at Nara By the evening breeze The rites of purification Quiet the hearts of the gods: A testimony to The arrival of summer. The dew of the chrysanthemums Gathered By the ancient hermit Is fragrant on his sleeve. May he greet A thousand autumns As easily as he brushes The dew drops away. See out on the surface Of Lake Biwa How the moon rests Between the waves Cold, crystalline, At the break of day The bridge at Seta stretches White with snow. For ten thousand years The pine and bamboo Have grown together, Their deep green Never changing, As if they had promised One another Never to grow old.

Time		Track		Description	Disc 13 [53:19]
19:00		01		1. Un poco sostenuto - Allegro
10:33		02		2. Andante sostenuto
5:09		03		3. Un poco allegretto e grazioso
18:33		04		4. Adagio - Allegro non troppo ma con brio

Time		Track		Description	Disc 14 [43:14]
12:35		01		Cha no yu ondo [茶音頭] "Tea Ceremony Song" Jun 1944, Score 1305 This is a Jiuta piece in the Tegotomono style from the Ikuta Ryu school. Cha No Yu Ondo is also known as: Chaondo. This piece was composed for koto by Yaezaki Kengyo (1776?-1848). History (from Tsuge Gen'ichi) The title means 'Tea Ceremony Song.' This is a popular jiuta piece of the Kyoto style, sometimes called Cha-ondo by the Ikuta School musicians. Poem (translated by Tsuge Gen'ichi) In all the world The best place for flowers Is Yoshino Mountain; For scarlet leaves, Tatsuta: And for tea, Uji, Southeast of the capital. But most beautiful of all Is a certain spot Southwest of the capital. Who's your cup of tea? Once brewed, and steeped in gossip, Like the many shades of green tea, One's love will deepen. Compared To the waiting pine The teahouse wall Is low, but Their feelings are the same When they adorn one's chambers. When an unadorned heart, Pure as a silken cloth, Questions an indecisive lover, The answer may be As contrary As staggered shelves. Why is it so? When we meet My heart is as straight As a bamboo perfume ladle, But yours is bent Like the handle of a tea-dipper. We ease our cares Talking about old times, Until we become an old couple As in a fairy tale; But the water in our tea kettle Will never grow cold- Our fates are bound together For a thousand, Ten thousand ages.
20:21		02		Sasa no tsuyu (Sake) [笹の露] Apr 1937 This is a Maybe Sokyoku piece from the Yamada Ryu school. This piece was composed for shakuhachi by Kikuoka Kengyo.
10:15		03		Yugao [夕顔] "Evening Faces" 8 Sep 1946 This is a Jiuta piece in the Tegotomono style from the Ikuta Ryu school. This piece was composed for koto by Yaezaki Kengyo. History (from Tsuge Gen'ichi): This is a lovely jiuta piece of the Kyoto style composed in the early nineteenth century. The song text is based on the story of Yugao ('Evening Faces') from 'The Tale of Genji.' Genji, a lad of seventeen, is on the way to visit his old foster mother. He stops to admire a fence clustered with evening glories. A young girl appears, and on behalf of her mistress (Yugao) presents some of the flowers to Genji on a perfumed fan. Entranced by the simple beauty of the girl, he resolves to see her again. He takes her with him one night to a secluded mansion, but after a brief interlude of love, Genji's previous lady, Rokujo, sends her jealous spirit to kill Yugao, and Yugao dies in his arms. Poem (translated by Tsuge Gen'ichi): Who lives here? He has a servant inquire In the twilight, Genji's cart comes to a halt. Let's peek Through a crevice In the high hedge-fence By this tasteful house To which persons rarely come. Holding a fan Permeated with faint scent ... Of fragrant incense, The owner of the house Offers Genji a blossom Of the 'Evening Faces' Glittering with pale dew. In a brief dream, he is Bound together with Yugao, A flower ever more beautiful. When he awakes, He feels keenly The chilly winds of midnight.

Time		Track		Description	Disc 15 [60:22]
19:24		01		Azumajishi Nov 1944, Score 1484
21:04		02		Shochikubai Nov 1944, Score 1489
19:52		03		Nebiki no matsu Aug 1944