Sekishun
惜春
[Genre] | Moderno |
[También Conocido Como] | Lamenting the Passing of Spring |
[Compuesto] | Yokoyama Katsuya - Shakuhachi - 1975, 1981 |
Yokoyama Katsuya - Koto |
Historia (Yokoyama Katsuya):
A duet for koto and shakuhachi composed by Yokoyama in 1981. The most well-known piece written for this combination is Miyagi Michio's composition "Haru no umi" ('Spring Sea') (1929). "Haru no umi" was originally written for flute, not shakuhachi. However, as the number of shakuhachi players who can play determined notes precisely and expressively has grown, the tune has become an important one for shakuhachi players as well. Yokoyama, being wall aware of the tune's existence, set the tuning of the koto to match "Haru no umi" and succeeded in creating a subtle ensemble of the two instruments proper to chamber music. |
Sekishun aparece en los siguientes álbumes
Álbum | Artista | |
Challenging Eternity Disk 09 | ||
Duos for Shakuhachi and Koto |
Koto : Sawai Tadao Shakuhachi : Yokoyama Katsuya | |
Koto and Shamisen Gendai Meikyoku Shū 06 |
Koto : Nakashima Yasuko Voz : Yuize Shin'ichi Shamisen : Yuize Shin'ichi Shakuhachi : Yamamoto Hōzan | |
Picture Dreams |
Shakuhachi : Riley Kōho Lee Koto : Odamura Satsuki | |
Lamenting the Passing of Spring - was composed in the same tuning as the famous piece, 'Spring Sea', to evoke a feeling of deja vue. The piece expresses the joy of experiencing the season of awakening as well as the sadness of knowing that it is soon over.
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Shakuhachi - The Art of Yokoyama Katsuya |
Shakuhachi : Yokoyama Katsuya | |
A duet for koto and shakuhachi composed by Yokoyama in 1981. The most well-known piece written for this combination is Miyagi Michio's composition "Haru no umi" ('Spring Sea') (1929). "Haru no umi" was originally written for flute, not shakuhachi. However, as the number of shakuhachi players who can play determined notes precisely and expressively has grown, the tune has become an important one for shakuhachi players as well. Yokoyama, being wall aware of the tune's existence, set the tuning of the koto to match "Haru no umi" and succeeded in creating a subtle ensemble of the two instruments proper to chamber music.
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