Hi Fu Mi - Die internationale Shakuhachi Gesellschaft

Hi Fu Mi

"Renkei Hashimoto performs Shakuhachi pieces which are meditative exercises rather than strict musical compositions."

Renkei Hashimoto
Pagma Verlag
2014

Track	Titel	Kanji	Länge	Künstler
1	Choshi (Taizan Ha)	調子		Shakuhachi: Renkei Hashimoto
	Basic tuning piece. A piece to warm up the instrument and to regulate the breath.
2	Hi Fu Mi Cho (Taizan Ha)	一二三調		Shakuhachi: Renkei Hashimoto
	Shakuhachi pupils of the komuso tradition usually learn this piece first. The melody remains in the lower octave (otsu), i.e. there is no overblowing into the upper octave (kan). Like Honte choshi, Hifumi was originally played to warm up the instrument and regulate the breath and combined with numerous pieces. Today it is often played before the composition Hachi gaeshi or as an individual work.
3	Hachigaeshi (Taizan Ha)	鉢返		Shakuhachi: Renkei Hashimoto
	Returning the Bowl (for alms) A piece to thank the rice alms received.
4	Chôshi (Yamato)	調子 (大和)		Shakuhachi: Renkei Hashimoto
	Tuning piece (Yamato version) In the historical province Yamato numerous emperor (Tenno-) residencies existed, i.e., in capital cities, particularly Heijo-kyo (710-784), today Nara. Yamato is said to be Japan's original heartland.
5	Kyushu Reibo (Taizan Ha)	九州鈴慕		Shakuhachi: Renkei Hashimoto
	Yearning for the Bell (Kyushu version) In traditional shakuhachi music there are a number of different pieces with the title Reibo (Yearning for the Bell). This is a reference to the hand bell of legendary Chinese Zen master Fuke, who rang this bell in the 9th century when collecting alms. On the Southern island Kyushu there existed several komuso temples. Perhaps this piece comes from the Itchoken temple before it was then also played at other places.
6	Murasaki Reibo	紫鈴慕		Shakuhachi: Renkei Hashimoto
	Yearning for the Bell (Muraskino version) This is a Reibo-version (see above), which the komuso tradition attributes to the famous Zen monk and poet Ikkyu Sojun (1394-1481), who lived in the Daitoku-ji temple in the Murasakino area in Kyoto. His eccentric and non-conformist persona - he called himself -crazy cloud- has been the subject of numerous stories and anecdotes in Japan up to today. In a number of his poems, Ikkyu mentions the shakuhachi as something that gives him comfort in his solitude, however, he does not relate the instrument to Zen meditation or to the legendary founder Fuke. It is not clear which shakuhachi Ikkyu played on, perhaps an instrument with only one bamboo node (hitoyogiri).
7	Ōshū Sashi	奥州薩字		Shakuhachi: Renkei Hashimoto
	Sashi (Oshu version) Oshu is another name for the historical province Mutsu in the North of Japan. The term sashi (to lift up, sacrifice) indicates that this piece, like Hachi gaeshi, was played during the alms-gathering rounds as an expression of thankfulness. It is also possible that sashi references the Sanskrit term satya (absolute truth, essence).
8	Hasu no Namida			Shakuhachi: Renkei Hashimoto
	The Tears of the Lotus Blossom (composition: Renkei Hashimoto) The composer writes: In Buddhism, the lotus blossom is an important symbol. As early as in ancient India it was adored as 'Mother of the Universe'. One believed that the lotus flower was the origin of all Gods. In Buddhism, the lotus represents a state of absolute selflessness and purity. It grows out of murky and muddy water, where it opens up its beautiful and pure blossom. This piece is dedicated to all humans who had to leave this world painfully behind.
9	Tamuke	手向		Shakuhachi: Renkei Hashimoto
	Offering The komuso monks did not play this piece during their walks but rather inside their temples during commemorations for the dead.