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Chidori no Kyoku

千鳥の曲

[ジャンル]箏曲
[作曲様式]Meiji Shinkyoku
[流派]Ikuta Ryû - 生田
[対象楽器]吉沢 検校 - 箏

発祥 (柘植 元一):

Chidori no kyoku ('Song of Plovers') is one of a set of compositions for voice and the koto entitled Kokin no kumi, in which a new tuning (and mode) for the koto, called kokin-joshi, was introduced.

Two waka poems are sung in this piece: the first waka is from the Kokin waka shu, a tenth century anthology of court poetry compiled by imperial command. The second one, sung after the tegoto (or instrumental interlude), is from the Kin'yo shu, a twelfth century anthology.

詩 (【翻訳者】 柘植 元一)

At Shionoyama
Frequenting the sand spit
Plovers call out:
'You, my lord,
May you live eight thousand years!'
'You, my lord,
May you live eight thousand years!'

At Awaji Island
The call of the plovers,
Flying to and fro.
How often they have awakened
The guard at Suma Pass!
How often they have awakened
The guard at Suma Pass!
(maebiki)

Shionoyama
sashide no iso ni
sumu chidori
kimi ga miyo woba
yachiyo tozo naku
kimi ga miyo woba
yachiyo tozo naku

(tegoto)

Awajishima
kayoo chidori no
naku koe ni
ikuyo nezamenu
suma no sekimori
ikuyo nezamenu
suma no sekimori

千鳥の曲 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
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This was originally a piece for Kokyu (a 3-stringed instrument found throughout Asia), and was arranged for koto by YOSHIZAWA Kengyo in 1855. It is amongst the most beautiful and most frequently played works of classical koto music. The piece can also be performed by a solo koto (the vocal part is taken by the koto player). The shakuhachi part has no independent function. Both text strophes, which have the form of the classical Japanese poem (waka) with 3 I syllables (5-7-5 + 7-7), are taken from different collections of poetry from the Heian-period (794-1185).

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(Music of Plovers)
Composed by Yoshizawa Kengyo in the early 19th Century. Consists of four parts, the first part gives an impression of Gagaku followed by a classical poem which reads:

The plovers which live
Out on the shore
Will chirp
"Forever, the Court"

The music in the third part is gay and refreshing. Then the second folk song type poem is sung:

The Watchman at Suma
Keeps dreaming all night
Because he hears
The crying of chidori.

The voice of plovers is played by sliding the nail piece on the string, twice and twice again, before the music ends. The music is played by two kotos and four shakuhachis.

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Chidori no Kyoku "Plovers" was originally composed for koto and voice by Kengyo Yoshizawa II (1800-1872). "Plovers" is one of the kokin gumi, a series of five pieces ("Spring", "Summer", "Fall", "Winter", and "Plovers") named after the Kokin Wakashu poetry collection from which their song texts are taken. Rather than use the usual format of koto and voice with added shakuhachi, we perform "Plovers" as a shakuhachi duet. Mr Linder plays the original koto line, composed sometime between 1831 and 37, while I play this unusual kaede obligato part written specifically for shakuhachi by Nomura Keikyu in 1925. Nomura was a figure in the prewar shakuhachi world, who lost his temper in an argument and stabbed a man to death. Because of this incident the "Plover" kaede and several other shakuhachi kaede for other koto pieces that he wrote, have been all but forgotten.

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This composition by Yoshizawa kengyo belongs to a group of works titled kokingumi. The title refers to song suites on waka texts, that is, brief poems of thirty-one syllables from the classical poetry anthology Kokin wakashu (tenth century). In Chidori no kyoku there are two waka. The first is by an anonymous poet; the second, by Minamoto no Kanemasa, and it is the only exception, having been taken from a later waka anthology, the Kin'yoshu (twelfth century). Both poems are about the chidori, the Japanese plover, a bird that lives at the sea with a piercing cry that sounds like chi-yo, chi-yo. They evoke associations with the Japanese word chiyo ("For thousands of generations!"), which is used to wish someone well.

The first waka, which appears in Kokin wakashu in the section containing the "poems of well-wishing," alludes to this. The second waka, by contrast, is a "winter song." Minamoto no Kanemasa, one of the most famous waka poets of the early twelfth century, evokes the disconsolate loneliness that the watchman at the border post in the Bay of Suma (now in Kobe). Not far away Awaji Island rises from the sea. No one can be seen here during the winter. All that can be heard is the cries of the little chidori birds, and they emphatically announce the end of the night to the watchman.

The musical allusions to gakuso court music are achieved primarily through the choice of the kokinjoshi tuning, whose structure (pentatonic without half-tone steps) is based on the banshiki-cho scale of gagaku court music. In formal terms the composition is like a tegotomono: the two song sections frame a longer tegoto (instrumental interlude).

Chidori no kyoku
Transliteration

[Maebiki]
(1)
Shionoyama
Sashide no iso ni

sumu chidori

[Ai]

Kimi ga miyo woba
ya-chiyo tozo naku

[Ai]

Kimi ga miyo woba
ya-chiyo tozo naku

[Tegoto]

(2)
Awajishima
kayo chidori no
naku koe ni

[Ai]

Ikuyo nezamenu
Suma no sekimori

[Ai]

Ikuyo nezamenu
Suma no sekimori

[Atobiki]


Song of the Plovers
Translation
[Prelude] -1-

(1)
On Shio Mountain,
on the cliffs of Sashide,
which jut into the sea,
the plovers nest:

[Brief instrumental interlude]

May the emperor's illustrious life
last eight thousand generations,
they cry!

[Brief instrumental interlude]

May the emperor's illustrious life
last eight thousand generations,
they cry!

[Long instrumental interlude] -2-

(2)
On Awaji Island
the plovers fly back and forth
their piercing cries:

[Brief instrumental interlude]

How many nights have they awakened
the watchman at border post of Suma!

[Brief instrumental interlude]

How many nights have they awakened
the watchman at border post of Suma!

[Postlude]

-1- Imitation of the gestures of the gakuso zither used in court music creates a festive atmosphere for the song of good wishes that follows.

-2- In the first half of this tegoto section, performed at a more rapid tempo, the gestures are intended to symbolize the sound of the waves; in the second half, the call of the plovers.

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