WSF2018 Schedule

Find out what happens during each day in each venue and room at the WSF2018

Tuesday 31 July – GALA OPENING CONCERT at UNION CHAPEL

20h00 – 21h30

Gala Opening Concert

Concert Programme:

  1. ZENYOJI Keisuke, shakuhachi – Mukaiji
  2. TANABE Shozan, shakuhachi; MIYAZAKI Mieko, koto – Midare (YATSUHASHI Kengyo, arr. TANABE Shozan) première
  3. SUTO Shuho, shakuhachi – Sanya Seiran
  4. David Kansuke II WHEELER, shakuhachi; FUJIMOTO Akiko, shamisen; SATO Kikuko, koto – Onoe no Matsu (MIYAGI Michio)
  5. KURAHASHI Yodo II, shakuhachi – Kyorei
  6. John Kaizan NEPTUNE, shakuhachi; Ligeti Quartet: Mandhira de SARAM, violin; Patrick DAWKINS, violin; Richard JONES, viola; Val WELBANKS, cello – Forest Trail and Currents (J. NEPTUNE)
  7. Aomori Min’yō Association & The Min’yō Team – Min’yō (folk songs)
  8. FURUYA Teruo, KAKIZAKAI Kaoru, MATAMA Kazushi shakuhachi – Watatsumi no Iroko no Miya (FUKUDA Rando)
  9. KAWASE Yosuke, shakuhachi; SASAKI Chikano koto; HAGIOKA Yuko koto;
    WATANABE Okahana, shamisen – Usu no Koe (YAMATO Shorei III)
  10. Riley LEE, shakuhachi; Christopher Yohmei BLASDEL, shakuhachi – Shika no Tōne

Mixed Programme

Wednesday 1 August 2018

9h00 – 9h40

Robuki

General gathering and announcements relevant for the day ahead followed by robuki.

WSF2018 Team

10h00 – 11h10

Large Workshop: ZENYOJI Keisuke - Mukaiji

In this workshop, participants will try out a performance technique that focuses on the fact that we can recognize a loose, periodic rhythm even in shakuhachi honkyoku pieces, which are generally thought to be free-rhythm pieces. We will of course practice the techniques used in Mukaiji’s characteristic phrases, also placing emphasis on analysing musical structure.

Intermediate

Great Solos

11h30 – 12h40

Large Workshop: KURAHASHI Yodo II – Akita Sugagaki

KURAHASHI Yodo II writes: “I consider the Shakuhachi Koten Honkyoku (Classical Honkyoku) to be ‘the music of rules’. The Kinko-ryū honkyoku in particular were composed following some very sophisticated rules. Of course, you can still perform these well without knowing the rules behind them. However, the Kinko-ryū honkyoku rules themselves are very interesting. These rules deepen the mystery of this honkyoku, while allowing you to enjoy it like you would a game whose rules you know well.”

Intermediate

Great Solos

13h00 – 14h00

Lecture: SHIMURA Zenpo – Concerning Features of Famous Historical Shakuhachi: Instrument Construction

After having taken X-ray photos and CT scans of numerous famous, top-quality historical shakuhachi, 3-D prints were made, in order to create replicas of them. In this lecture SHIMURA Zenpo will talk about the findings concerning these instruments which arose from this project. He will also discuss his own observations derived from simply playing these historical, high- quality instruments.

ElementaryIntermediateAdvanced

The THING

14h00 – 15h10

Large Workshop: KAWASE Yosuke – Usu no Koe 1/2

‘Usu no Koe’ 臼の声, (‘Sound of a wooden mochi making mortar block’). This piece was originally a jiuta composition Natsugoromo by FUJIO Koto (active around 1772-81), which YAMOTO Shorei arranged into a Yamada-ryū piece and premiered in 1879. The song depicts the fragrance of ‘Usu’ and the four seasons.

Intermediate

Golden Oldies

15h30 – 16h40

Large Workshop: KAWASE Yosuke – Usu no Koe 2/2

KAWASE Yosuke presents the second part of the workshop on ‘Usu no Koe’. Again with Yamada string accompaniment.The second part of the workshop on ‘Usu no Koe’, 臼の声, (‘Sound of a wooden mochi making mortar block’). This is piece was originally a jiuta composition Natsugoromo by FUJIO Koto (active around 1772-81), which YAMOTO Shorei arranged into a Yamada-ryū piece and premiered it in 1879. The song depicts the fragrance of ‘Usu’ and the four seasons.

Intermediate

Golden Oldies

17h00 – 18h00

Lecture: Aomori Min’yō Association & The Min’yō Team - The Essence of Min'yō

In this lecture, the musical and cultural bases of min’yō will be discussed.

ElementaryIntermediateAdvanced

Golden Oldies/Min'yō

9h00 – 9h40

Late registration

Another chance for you to register for the WSF2018. Don’t forget to bring your print-out of your ‘completed order’ email receipt and a passport sized photo with you.

WSF2018 Team

10h00 – 11h10

Workshop: ISHIKAWA Toshimitsu – Ichijo

‘Ichijo’ is a famous piece, and certainly anyone who hears it will be moved, but in truth it is a difficult piece due to many meri notes (half-steps in Tozan-ryū terminology). In this workshop, we will use YOKOYAMA Katsuya’s ‘Meri note etude’ as a way to grapple with them.

Advanced

New Sounds

11h30 – 12h40

Workshop: ISHIKAWA Toshimitsu – Kangen Hisho

‘Kangen Hisho’ (HIGO Ichiro) is a masterpiece with unrivalled power and beauty. In this workshop we will analyse the piece using CD recordings of YOKOYAMA Katsuya’s premiere peformance and performances by his students FURUYA Teruo and SUGAWARA Kuniyoshi, in order to gain an insight into its charm.

Intermediate

New Sounds

13h00 – 14h00

Lecture: Gunnar Jinmei LINDER – Assessment of Methods of Transmission of Kinko Ryū honkyoku

In this lecture, Gunnar Jinmei LINDER will discuss the historical background to the transmission of Kinko honkyoku, and the transition that has taken place more recently. He will also address the issue of method, and develop some of his ideas about the pros and cons of the direct method that has been and, more or less, still is the standard.

ElementaryIntermediateAdvanced

Great Solos

14h00 – 15h10

Workshop: John Kaizan NEPTUNE – Shakuhachi Improvisation or 'Composing Upon The Instant' 1/2

For all levels; bring a 1.8, and let’s explore how to approach organising sound freely in many styles.  Ideas covered will include ‘telling a story’, rhythm, scales, and dramatic devices.

ElementaryIntermediateAdvanced

New Horizons

15h30 – 16h40

Workshop: John Kaizan NEPTUNE – Shakuhachi Improvisation or 'Composing Upon The Instant' 2/2

The second part of NEPTUNE’s workshop – For all levels; bring a 1.8, and let’s explore how to approach organising sound freely in many styles.  Ideas covered will include “telling a story”, rhythm, scales, and dramatic devices.

ElementaryIntermediateAdvanced

New Horizons

17h00 – 18h00

Lecture: SEKI Ichiro – Japonism in Europe and Modernism in Japan 1/2

In this lecture, SEKI Ichiro examines some Japanese melodies inserted into the comic opera The Mikado by Arthur Sullivan and into Madame Butterfly by Puccini. These works were influenced by Japonism in Europe during the Meiji Era (1868-1912); the westernised versions will be compared with the original melodies. SEKI will also investigate Japanese composers TAKI Rentaro, MIYAGI Michio, HISAMOTO Genchi and FUKUDA Rando, who studied Western classical music and created new Japanese music during this period. Participants will listen to their music and analyse the scores.
The second part of SEKI’s lecture will be Saturday 4 August at 13h00 in RHB 167.

ElementaryIntermediateAdvanced

New Sounds

10h00 – 11h10

Workshop: KAWASE Yosuke – Yugao

‘Yugao’ (‘夕顔, ‘Evening Glory) KIKUOKA Kengyo (1792-1847). This jiuta piece in the Kyoto style with a song text from the 11th century ‘Tale of Genji’ was composed originally for shamisen and voice, to which YAEZAKI Kengyo (d.1848) later added a koto part. The 17-year old Prince Genji falls in love with ‘Yugao’, but she dies in his arms, killed by the evil spirit of Genji’s former lover. Supported by the string players KIKUCHI Nakao and KITAMURA Keiko.

Intermediate

Golden Oldies

11h30 – 12h40

Workshop: Aomori Min'yō Association & The Min'yō Team – How to play various min’yō, I

This session will feature pieces that do not require complex fingering (half-holing etc) or meri (changing of blowing angle). ‘Kokiriko bushi’, from Toyama Prefecture, traditionally accompanies village dancers playing percussion instruments, including the kokiriko rhythm-sticks. ‘Hyūga kobiki uta’ is a lumberjack song from Miyazaki Prefecture. Like virtually all the min’yō in these workshop sessions, these two songs have become common as ‘stage min’yō’, i.e. performed in concerts. Originally no shakuhachi would have been used, but now the min’yō world has strongly embraced shakuhachi. Free-rhythm songs such as ‘Hyūga kobiki uta’ are now accompanied only by shakuhachi and are thus called takemono, ‘bamboo pieces’.

ElementaryIntermediateAdvanced

Golden Oldies/Min'yō

13h00 – 14h00

Lecture: SEIAN Genshin – Myōan Shakuhachi and the Practice of suizen - the World of Ichi on jōbutsu

Talk about the Myōan tradition by SEIAN Genshin, the 42nd kansu of Myōanji Temple in Sanuki, Japan. Myōan shakuhachi was founded by KYOCHIKU Zenji, and the practice of Myōan shakuhachi is called suizen. The aim is self-refinement and one’s liberation from earthly desires and woes. SEIAN Genshin’s teacher, the 40th kansu FUAN Shoshin, often said to his pupils: ‘All this talk about “Ichion Jōbutsu”! The important matter is to throw oneself completely into the first sound. In Myōan shakuhachi there is only playing with one mind in that one crucial moment. One also has to train the belly to be able to play as if there is only one opportunity, whether it is on a large stage or not. Myōan shakuhachi is not about fancy techniques but about spiritual learning, refining one’s heart and mind, and training the belly’. In this lecture SEIAN Genshin will speak about the Myōan shakuhachi pieces transmitted at Myōanji temple and play a few of them. He will also discuss the Myōan shakuhachi pieces (which one could say are close to the source of the shakuhachi in their approach) and the role of Myōanji in the past and future.

ElementaryIntermediateAdvanced

Great Solos

14h00 – 15h10

Workshop: SUGAWARA Kuniyoshi – Kaei

In order to play a melody beautifully, how can we most efficiently change the fingering? Using methodology that has the aim ‘play so you sing with the shakuhachi’, participants will study the piece Kaei by HOKI Makoto. Koto accompaniment by MIYAZAKI Mieko.

IntermediateAdvanced

Golden Oldies

15h30 – 16h40

Workshop: Aomori Min'yō Association & The Min'yō Team – How to play various min’yō, II: meri notes

In this workshop we will study pieces with simple fingerings but now with meri notes. ‘Kuroda bushi’ was sung at drinking parties among the samurai of Fukuoka Prefecture, hence the opening lyrics: “Drink sake!”. ‘Komoro mago uta’ is a packhorse drivers’ song from the Komoro region of Nagano Prefecture. Like virtually all traditional work songs sung today, this one has lost its original context due to mechanisation, new forms of transport and so forth.

ElementaryIntermediateAdvanced

Golden Oldies/Min'yō

17h00 – 18h00

Screening: Shakuhachi and the City : NONAKA Katsuya – Future is Primitive

Shakuhachi and skateboarding. They seem to have nothing to do with each other. But they actually have many things in common and also share the same problem. The problem is not just for shakuhachi or skateboarding. It relates to all of us living in this modern world. Through the interviews with shakuhachi players and skaters, this documentary reveals the common things and the problem they share. Viewers will ask themselves this question: “What should we do for the future?”

As time goes by and in this modern civilisation, where are the roots leading us?

ElementaryIntermediateAdvanced

New Horizons

10h00 – 11h10

Workshop: OKUDA Atsuya – Shin'ya 1/2

This complex piece is said to have been transmitted by TAKIKAWA Chuka, of the Ikkan-ryū. The original piece is called ‘San’ya Sugagaki’ – not ‘three valleys’, however, but rather ‘three nights’. The old piece was rearranged and renamed to ‘Shin’ya’. On the one hand it expresses a deep tranquility, on the other it also indicates the way to a bright dawn as a symbol of enlightenment. From the title, one would imagine that the piece will depict a quiet night, but it nevertheless is a fast piece with many changes in its flow, and with one key modulation.

Elementary

Great Solos

11h30 – 12h40

Workshop: OKUDA Atsuya – Shin'ya 2/2

The second part of OKUDA Atsuya’s workshop on ‘Shin’ya’.

Elementary

Great Solos

14h00 – 15h10

Workshop: Riley LEE - Ajikan (阿字観, 'Insight into the Sound “Ah”')

It has been said that ‘Ajikan’, whose composer and year of composition are unknown, was formerly entitled ‘Sashi’ and retitled ‘Ajikan’ by MIYAMOTO Nyozan in 1887. ‘Ajikan’ is also the name of the most important of the religious austerities of Esoteric or Shingon Buddhism. The kan of ‘Ajikan’ refers to ritual meditation. There are three types of kan: shō (‘life’), ji (‘word’), and jissō (‘reality’).

Intermediate

Great Solos

15h30 – 16h40

Workshop: CODJO, Hélène; LIFERMANN Daniel – Shirabe Renbo

In this workshop, a duet will be taught that is based on the original ‘Honte Choshi’ with a second part in the pure Hijiri style, exploring expressivity and a large range of colour tones.

Intermediate

Great Solos

17h00 – 18h00

Lecture: Riley LEE – Breathe!

Dr. Riley Lee developed these exercises over four decades of teaching and performing. In the workshop you will become more aware of your breath. Assumptions underlying these exercises:  There is a healthy (optimal) way to breathe; most of us usually are not breathing in this way. Simple breathing exercises can benefit almost everyone by increasing the time we breathe optimally.

ElementaryIntermediateAdvanced

MInd/Body

10h00 – 11h10

Workshop: David Kansuke II WHEELER – Kinko Sankyoku Ornamentation

The shakuhachi did not join the sankyoku ensemble until long after the majority of its repertoire had been composed. This workshop will look at how a performer can make an interesting and constructive contribution to this ensemble. It will address phrasing, timing, breathing and volume control in the context of using ornamentations that emulate shamisen techniques, as well as those that originate in the honkyoku tradition.

ElementaryIntermediateAdvanced

Golden Oldies

11h30 – 12h40

Workshop: Christopher Yohmei BLASDEL – Chidori

‘Chidori no Kyoku’ (Song of the Plovers). This piece was composed by YOSHIZAWA Kengyō II (1800ー1872). The lyrics, taken from the Kokin Waka-shū 10th C. collection of Imperial Court poetry, consist of two songs about plovers. The tegoto instrumental section features a counterpoint melody by the shakuhachi, composed by YAMAGUCHI Goro.

String accompaniment is provided by YOKO Reikano Kimura. (Ikuta Ryū style)

ElementaryIntermediate

Golden Oldies

14h00 – 15h10

Workshop: ISO Genmyo – Zen Meditation and Kyushu Reibo

In this workshop we will begin by sitting zazen (on chairs) in order to prepare our breathing. Then we will play robuki. ISO Genmyo will then lecture on ‘Kyushu Reibo’ from the Itchoken lineage. ISO Genmyo is the Head Priest of the Itchoken Temple and Myoan Ryū koten honkyoku player.

ElementaryIntermediateAdvanced

Mind/Body

15h30 – 16h40

Workshop: MIZUNO Komei – Kurokami

‘Kurokami’ (黒髪, ‘Black Hair’) (KOIDE Ichijuro I, d.1800 / KINEYA Sakichi ,I d.1807). This jiuta composition which became popular towards the end of the 18th century, depicts the loneliness of a woman sleeping alone, pining for her absent lover as the snow piles up outside. The vocal line requires considerable skill in order to express the emotive quality of the piece. String accompaniment by KURAHASHI Ayako.

Elementary

Golden Oldies

10h00 – 11h10

Workshop: NOMURA Hozan – Asakaze

Asakaze (‘Morning Wind’) was composed by NAKAO Tozan in 1938. It begins as a solo. Soon after dawn, the sun rises and the piece depicts the sensation of a refreshing wind in the morning. Afterwards, the music transforms into a rhythmic duet. In the latter half of the piece the use of canon and the arrangement of melody is of great interest.

IntermediateAdvanced

Great Solos

11h30 – 12h40

Workshop: TAJIMA Tadashi – Koten Suzuru

This is the old form of ‘Tsuru no Sugomori’, separated into five sections and composed into a formal piece. The characteristic techniques of Sugomori such as koro-koro are used, but other than these techniques TAJIMA Tadashi believes that the piece is not that difficult to perform, and is suitable it is suitable to be included in the repertoire. Working with ‘Koten Suzuru’, TAJIMA Tadashi will discuss these techniques and background knowledge.

Advanced

Great Solos

13h00 – 14h00

BEGINNERS WORKSHOP with Horacio CURTI

Beginners Activity 1

14h00 – 15h10

Workshop: NOMURA Hozan – Kan Otsu 1/2

‘Kan-Otsu’ was composed by YAMAMOTO Hozan in 1973. The name indicates the symbols for high and low pitch in shakuhachi scores. The musical concepts of kan, otsu, koten (classical) and gendai (contemporary) are incorporated into five movements with the following tempi: moderate, fast, moderate, fast and moderate. Each theme is expanded with octave leaps.

Advanced

Great Solos

15h30 – 16h40

Workshop: NOMURA Hozan – Kan Otsu 2/2

The second part of the workshop. NOMURA Hozan introduces ‘Kan Otsu’, a modern piece composed for shakuhachi by YAMAMOTO Hozan.

Advanced

Great Solos

17h00 – 18h00

BEGINNERS WORKSHOP with Horacio CURTI

Beginners Activity 2

10h00 – 11h10

Workshop: Horacio CURTI – Improvisation with Sound Materials

The development of our sound should not be a tedious task but a joyful exploration of the riches the instrument has to offer, while researching our own ideals. We will work with sound and strategies to improve it as well as reflecting on important aspects of posture both in relation to sound and to musical performance.

Intermediate

New Horizons

11h30 – 12h40

Workshop: Véronique PIRON – Breton Influences: Finis Terrae

‘Finis-Terrae’ (End of Earth) is the name of the most western part of Brittany (West of France), the place of Vèronique PIRON’s roots, and the title of her very first composition (2008). It is an encounter between some simple melodies (from traditional songs) and rythmical patterns (from bagpipes), specially matching with the specific language of the shakuhachi.

ElementaryIntermediate

New Horizons

14h00 – 15h10

Workshop: FURUYA Teruo, KAKIZAKAI Kaoru & MATAMA Kazushi – Basics of playing YOKOYAMA Katsuya Koten Honkyoku

This is a workshop on the fundamental techniques for performing koten honkyoku: forming a sound, practicing meri (half tone / whole tone), kamuri, reading sheet music, understanding symbols, and so on..

ElementaryIntermediateAdvanced

Great Solos

15h30 – 16h40

Workshop: TANABE Shozan – Kari (solo version)

‘Kari’ was composed by YAMAMOTO Hozan in 1968. The piece was inspired by the sight of kari – migratory wild geese – flying in order to seek cold weather, which inspired YAMAMOTO to sense the journey of life. The birds’ cries and the flapping of wings are expressed by iki yuri (breath vibrato). The composer, who was also TANABE Shozan’s teacher, arranged and notated a solo version he had performed earlier together with a pianist playing Simon & Garfunkel’s ‘Scarborough Fair’.

Intermediate

New Sounds

17h00 – 18h00

Lecture: Clive BELL – New Shakuhachi in the UK and Harry Potter Snakes

Clive BELL’s shakuhachi career has ranged from the Harry Potter movie soundtrack to improvised collaboration with sound sculptor NAKAJIMA Rie at Cafe Oto – via Karl JENKIN’s Requiem. How comfortable is the shakuhachi – or the player – in these varying contexts? Clive shares his thoughts.

ElementaryIntermediateAdvanced

New Horizons

10h00 – 11h10

Lecture: John Kaizan NEPTUNE – Taming the Wild Bore: Fundamentals of Shakuhachi Acoustics 1/2

How many times have you looked down inside a shakuhachi and wondered: “Just where does that sound come from? Why does every piece of bamboo have a unique sound?” The movement of air inside a shakuhachi is extremely complex, but there is beauty and order to the natural universe that is magical. Part 2 of John Kaizan NEPTUNE’s lecture/demonstration follows at 11h30.

ElementaryIntermediateAdvanced

The Thing

11h30 – 12h40

Lecture: John Kaizan NEPTUNE – Taming the Wild Bore: Fundamentals of Shakuhachi Acoustics 2/2

Continuation of NEPTUNE’s lecture/demonstration about his approach to making shakuhachi.

ElementaryIntermediateAdvanced

The Thing

14h00 – 15h10

Workshop: José Seizan VARGAS – Talking with the Wild, Jinashi Making Practical Examples 1/2

In this workshop, we will work with existing flutes, to improve the tuning, response, balance, tone and volume of the jinashi shakuhachi, demonstrating some techniques involved, like moving holes, testing and touching inside the bore, utaguchi adjustments, etc. Participants are encouraged to bring their flutes and try the techniques themselves, or to have their jinashi flutes tested and perhaps adjusted. Part 2 at 15h30.

ElementaryIntermediateAdvanced

The Thing

15h30 – 16h40

Workshop: José Seizan VARGAS – Talking with the Wild, Jinashi Making Practical Examples 2/2

José Seizan VARGAS presents the second part of his practical workshop about jinashi shakuhachi.

ElementaryIntermediateAdvanced

The Thing

17h00 – 18h00

Workshop: TAKAHASHI Toyomi – Bamboo, the Plant, and Bamboo Harvesting

In this lecture, TAKAHASHI Toyomi will explain what kind of plant bamboo is and how bamboo is utilised in his life in Japan. He will explain how to look for suitable bamboo for making shakuhachi in a bamboo forest, how to dig it up, and clean it afterwards, introducing his own methods.

ElementaryIntermediateAdvanced

The Thing

10h00 – 18h00

Shakuhachi Bazaar WSF2018

A WSF is also a great opportunity to stock up, for example, on difficult to obtain shakuhachi CDs, notation and, with many of great makers being present, an excellent time to purchase a new instrument or other merchandise.

The Shakuhachi Bazaar WSF2018 in RHB 150 provides materials from a variety of sellers and is open all day. There, you will also be able to get that official WSF2018 T-Shirt!

Shop RHB150

13h00 – 14h00

Lunchtime Concert

Concert Programme:

  1. Aomori Min’yō Association & The Min’yō Team – Min’yō (folk songs)
  2. MIURA Ryuho, shakuhachi – Daha
  3. Aomori Min’yō Association & The Min’yō Team – Min’yō (folk songs)
  4. Elisabeth Reian BENNET, shakuhachitba
  5. SEKI Ichiro, shakuhachi – Kikyo Genso Kyoku (FUKUDA Rando)

Golden Oldies/Mixed Programme

20h00 – 21h30

Evening Concert


Concert Programme:

  1. KURAHASHI Yodo II, shakuhachi – Jinbo Sanya
  2. FUJIYOSHI Etsuzan, shakuhachi – Shirahone Reibo
  3. OBAMA Akihito, KAWAMURA Kizan, KURODA Reison, shakuhachi – A Sketch of Gray Wind (SATO Toshinao)
  4. SUGAWARA Kuniyoshi, shakuhachi – Kata Ashi Torii No Eizo (SATO Toshinao)
  5. NOMURA Hozan, shakuhachi – Yoru no Omoi (NAKAO Tozan)
  6. Christopher Yohmei BLASDEL, shakuhachi; KIMURA Yoko Reikano, koto – Chidori no Kyoku (YOSHIZAWA Kengyo)
  7. Riley LEE, shakuhachi – Sokkan
  8. KAWASE Yosuke, shakuhachi – Shin no Kyorei

Mixed Programme

21h45 – 22h45

Open Mic Concert

Concert Programme:

The open mic concert on day 1 is open to participants who are not invited teachers or performers at WSF2018. Time is limited, as the space is only available for 1 1/2 hours. Participants may apply to perform directly after registration on the morning of 1st August.

In order to maximise the number of performers, each player or group will have a maximum of 5 minutes performing time and 1 minute to move on and off stage.

Mixed Programme

17h00 – 18h15

Afternoon Concert

Concert Programme:

  1. FUJIYOSHI Etsuzan, shakuhachi – MIYAGAWA Nyozan den Shirabe & Ajikan
  2. KODAMA Hiroyuki, shakuhachi – Betsuden Shika no Tōne
  3. LEE Chuan-Hung, shakuhachi – Tsuru no Sugomori
  4. Michael Chikuzen GOULD, shakuhachi – Bosatsu (TANIGUCHI Yoshinobu)
  5. HOSHIIDA Ichizan, shakuhachi – Kogetsu chō
  6. YAMADA Fumio, shakuhachi – Tōri, Kadozuke

Great Solos

13h00 – 14h00

Lunchtime Concert

Concert Programme:

  1. SUGAWARA Kuniyoshi, shakuhachi; MIYAZAKI Mieko, koto – Kaei (HOKI Makoto)
  2. Daniel Seisoku LIFERMANN, shakuhachi; Hélène Seiyu CODJO, shakuhachi – Hamori (ATSUKI Sumi)
  3. TANABE Shozan, shakuhachi, tba, koto – Two Moments for Solo Shakuhachi (Marty Regan, 2012)
    I. Shedding Silent Tears; II. Gaze of the Needle
  4. KIKUCHI Naoko, koto – Tori no yo ni (SAWAI Tadao)
  5. KURODA Reison, shakuhachi – Ran-gyoku (HIGO Ichiro)
  6. Suizan LAGROST, shakuhachi; MIYAZAKI Mieko, koto – Ichikotsu (YAMAMOTO Hozan)

New Sounds

Thursday 2 August 2018

9h00 – 9h40

Robuki

General gathering and announcements relevant for the day ahead followed by robuki.

WSF2018 Team

10h00 – 11h10

Large Workshop: SUGAWARA Kuniyoshi – Ito to Take no Toki 1/2

‘Ito to Take no Toki’ by SAWAI Hikaru. In this workshop, participants can enjoy the fun of playing rhythms and in ensemble, arising from the style of SAWAI Hikaru, who was also a rock guitarist. The second part of the workshops follows immediately afterwards at 11h30.

Koto and jushichigen accompaniment provided by KIKUCHI Naoko and KITAMURA Keiko.

Intermediate

New Horizons

11h30 – 12h40

Large Workshop: SUGAWARA Kuniyoshi – Ito to take no toki 2/2

SUGAWARA Kuniyoshi presents ‘Ito to Take no Toki’ by SAWAI Hikaru. The second part of the workshop.

Koto and jushichigen accompaniment provided by KIKUCHI Naoko and KITAMURA Keiko.

Intermediate

New Sounds

13h00 – 14h00

Lecture: David Kansuke II WHEELER – The Shakuhachi Diaspora

International and World Shakuhachi Festivals commenced at the Kokusai Shakuhachi Kenshūkan in Bisei, Okayama Pref., Japan in 1994. This presentation will review the history of these up to London 2018. It will also address the many ways that the shakuhachi is embraced and adopted around the world, looking at both traditional as well new developments and contexts.

ElementaryIntermediateAdvanced

MIXED Themes

14h00 – 15h10

Large Workshop: MIZUNO Komei – Shika no Tōne 1/2

Shika no Tōne (鹿の遠音,’The Distant Call of the Deer’). This very famous Kinko Ryū honkyoku, which is often played as a duet, depicts the sounds of the male and female deer calling to each other in the mountain valleys amidst the falling maple leaves in late autumn as they search for a partner with which to mate. The beginnings and endings of each phrase are connected, producing a harmonious and beguiling effect. Session 1 of 2.

IntermediateAdvanced

Great Solos

15h30 – 16h40

Large Workshop: MIZUNO Kohmei – Shika no Tōne 2/2

Second part of  MIZUNO Kohmei’s class on ‘Shika no Tōne’.

IntermediateAdvanced

Great Solos

17h00 – 18h00

Lecture: Riley LEE – Hachigaeshi/Returning the Bowl – What Does That Really Mean?

Most honkyoku have many layers of meaning and can provide us with much food for thought. ‘Hachigaeshi’ (鉢返し) is both a stand-alone piece and the name of a section that occurs in numerous other honkyoku. The literal translation of the title of this piece only hints at the deep insights into the nature of things that are its inspiration.

ElementaryIntermediateAdvanced

Great Solos

9h00 – 9h40

ESS Meeting

The Annual General Meeting of the ESS committee and ESS members.

ESS Members

10h00 – 11h10

Workshop: FURUYA Teruo, KAKIZAKAI Kaoru & MATAMA Kazushi – Ukigumo 1/2

‘Ukigumo’ (Koten honkyoku, transmitted by YOKOYAMA Katsuya). ‘If the wind blows, the cloud moves; if it doesn’t blow, it doesn’t move; the floating cloud relaxes and entrusts itself to the wind’. This is said to have been written by IKKYU Zenji, and is believed to be the supreme state of mind for the komuso. It is considered to be desirable to play this piece in a gentle, fluttering fashion. Participants in this workshop will learn to play this piece without excess force or torpor. The workshop’s second part follows immediately afterwards at 11h30.

Advanced

Great Solos

11h30 – 12h40

Workshop: FURUYA Teruo, KAKIZAKAI Kaoru & MATAMA Kazushi – Ukigumo 2/2

FURUYA Teruo, KAKIZAKAI Kaoru & MATAMA Kazushi present the second part of their workshop on ‘Ukigumo’, a koten honkyoku, transmitted by YOKOYAMA Katsuya.

Advanced

Great Solos

13h00 – 14h00

ESS Meeting

Continuation of ESS meeting if necessary.

ESS Members

14h00 – 15h10

Aomori Min’yō Association & The Min’yō Team – Practicing urabuki (key change), II

This workshop focuses on playing urabuki in several keys. ‘Hietsuki bushi’ is a song from Miyazaki Prefecture. Some of the lyrics relate to the relocation of some of the Heike warriors to this region in the late 12th century. ‘Akita nagamochi uta’ is a wedding song from Akita prefecture. It’s considered one of the three great traditional wedding songs, along with ‘Sansa shigure’ and ‘Otachizake’.

ElementaryIntermediateAdvanced

Golden Oldies/Min'yō

15h30 – 16h40

tba

No activity scheduled yet.

17h00 – 18h00

Lecture: Frank DENYER – The Music of Frank DENYER

Frank DENYER is one of the most important non-Japanese composers for shakuhachi, having written numerous pieces, many of which were performed and recorded by IWAMOTO Yoshikazu. In this lecture, DENYER discusses his works for shakuhachi and his compositional aesthetic.

ElementaryIntermediateAdvanced

New Horizons

10h00 – 11h10

Workshop: NOMURA Hozan – Kogarashi 1/2

In 1923, the Great Kanto earthquake hit the area around Tokyo, and a large part of Tokyo became a burned field. NAKAO Tozan loved Shiba Park, and as he stood at a high point in it, gazing at what looked like barren trees in winter, he felt a chill wind piercing his skin. His heart, though, became filled with a warm feeling. He then composed the piece ‘Kogarashi’ (‘cold, wintry wind’) expressing his deep emotions. The piece has the structure A-B-A.
Session 1 of 2, continues at 11h30.

Intermediate

Great Solos

11h30 – 12h40

Workshop: NOMURA Hozan – Kogarashi 2/2

NOMURA Hozan presents the second part of his workshop on ‘Kogarashi’.

Intermediate

Great Solos

13h00 – 14h00

Lecture: IZUMI Takeo – Shakuhachi players in art: history and flow

If you hear the word ‘shakuhachi’ you immediately think of komusō. When was this connection first made? Historically speaking, this is unknown. As the Fuke sect to which the Komusō belonged in the Edo period forged documents, it is hard to pinpoint the truth. Instead we can change our viewpoint and use dated artwork featuring shakuhachi players to try and find an answer.

ElementaryIntermediateAdvanced

Great Solos

14h00 – 15h10

Workshop: HOSHIDA Ichizan – Momiji 1/2

HOSHIDA Ichizan presents ‘Momiji’, a modern Tozan Ryū honkyoku composed by NAKAO Tozan in 1929. The second part of the workshop follows immediately afterwards at 15h30.

ElementaryIntermediate

Great Solos

15h30 – 16h40

Workshop: HOSHIDA Ichizan – Momiji 2/2

Second part of HOSHIDA Ichizan’s workshop on ‘Momiji’, a modern Tozan Ryū honkyoku composed by NAKAO Tozan in 1929.

ElementaryIntermediate

Great Solos

17h00 – 18h00

Screening: Shakuhachi and the City: Thorsten KNAUB – Listening Station

The short film ‘Listening Station’ intertwines video footage filmed in and around the former US listening station at Teufelsberg near Berlin (Germany) with the musical improvisation performed on shakuhachi inside the main dome of the station to create a multi-layered description and exploration of the building, its location and inherent sonic properties.

Screenings at 17h00 + 17h30

ElementaryIntermediateAdvanced

New Horizons

10h00 – 11h10

Workshop: Gunnar Jinmei LINDER – Kiku no Tsuyu 1/2

Gunnar Jinmei LINDER presents ‘Kiku no Tsuyu’ composed by HIROHASHI Kōtō (b. 1740?) with songtext by FUKUSHIN. ‘Kiku no Tsuyu’ is a short hauta-style piece, which is technically quite accessible but demanding in its mode of expression. The title means ‘Dewdrops on the Chrysanthemum’, alluding to the vanity of life, especially an unhappy lovelife, symbolised by the shortlived morning dewdrops. Some interpret it as a requiem for a past lover. The second part, at 11h30, will be with shamisen accompaniment.

Elementary

Golden Oldies

11h30 – 12h40

Workshop: Gunnar Jinmei LINDER – Kiku no Tsuyu 2/2

The second part of Gunnar Jinmei LINDER’s workshop on ‘Kiku no Tsuyu’. FUJIMOTO Akiko or SATO Kikuko will provide shamisen accompaniment.

Elementary

Golden Oldies

13h00 – 14h00

Lecture: KODAMA Hiroyuki – Bamboo and Breath

The neiro (timbre/tone colour) of jinashi shakuhachi – learning from nature by focusing on one’s own breath. When breathed into, the bamboo resonates. It responds to the breath with various sounds. When it does not like one’s breath, it falls silent. The sound of the bamboo changes when the breath changes, the breath is there before the sound appears – the bamboo contains the sound and is quiet until the breath initiates the sound. At the end of the lecture KODAMA will do suizen on a 3.7 length shakuhachi.

ElementaryIntermediateAdvanced

The Thing

14h00 – 15h10

Workshop: KURAHASHI Yodo II – Jinbo San'ya 1/2

‘Jinbo San’ya’. JINBO Masanosuke arranged this song in 1895. That was almost 123 years ago. Having said that, this song is actually extremely modern. That means that this song has no rules. The sounds are put together like a mosaic, creating a contemporary and complex song. KURAHASHI Yodo II writes: “Since I am coming all the way to London, I will attempt this extremely difficult piece before I leave.” This is the the first part of the workshop, the second part follows immediately afterwards at 15h30.

Intermediate

Great Solos

15h30 – 16h40

Workshop: KURAHASHI Yodo II – Jinbo San'ya 2/2

The second part of KURAHASHI Yodo’s workshop on ‘Jinbo San’ya’.

Intermediate

Great Solos

10h00 – 11h10

Workshop: Aomori Min’yō Association & The Min’yō Team – How to play various min’yō, III: meri notes

Now we will learn the blowing techniques of different meri notes, and experience different rhythms. ‘Aizu Bandai-san’ is a bon (ancestral festival) dance song from Fukushima Prefecture. A characteristic spoken part – a sort of ‘rap’ passage – is added. ‘Chakkiri bushi’ was a ‘new folk song’ (shin-min’yō) composed in 1927, commissioned by Shizuoka Railway to attract tourists to Shizuoka Prefecture. It has some interesting key changes. Since 1988 there has been a national contest for this song – a phenomenon now common for many min’yō. Session 1 of 2, second part follows immediately afterwards at 11h30.

ElementaryIntermediate

Golden Oldies/Min'yō

11h30 – 12h40

Workshop: Aomori Min’yō Association & The Min’yō Team – Practicing urabuki (key change) I

Now we will learn how to play urabuki, which is a changing of fingerings to shift the pitch by a fourth up or down, thus avoiding having to change to a different-length shakuhachi to suit a different singer’s voice. ‘Sansa shigure’ is a dignified celebratory song from Miyagi Prefecture. Some theories relate the piece to the famous local feudal lord DATE Masamune (1567-1636). ‘Sotoyama bushi’ is a tranquil song from Iwate Prefecture.

ElementaryIntermediate

Golden Oldies/Min'yō

14h00 – 15h10

Workshop: Gunnar Jinmei LINDER – Kaede no Hana

Gunnar Jinmei LINDER introduces ‘Kaede no Hana’, composition by MATSUZAKA Shun’ei (1854–1920) with songtext by OZAKI Shishio (1834–1909). ‘Kaede no Hana’ is one of the koto pieces of the national romantic era. The title means ‘Maple Flowers’ and refers to the blooming of these small flowers in April, and when the flowers fall they become propellered seeds. The songtext depicts nature in early summer in Arashiyama outside Kyoto.
Koto accompaniment is provided by KIKUCHI Naoko.

Intermediate

Golden Oldies

15h30 – 16h40

Workshop: Horacio CURTI – Posture and Sound Development

The development of our sound should not be a tedious task but a joyful exploration of the riches the instrument has to offer, while researching our own ideals. We will work with sound and strategies to improve it, as well as reflecing on important aspects of posture both in relation to sound and to musical performance.

ElementaryIntermediateAdvanced

Mind/Body

10h00 – 11h10

Workshop: Zac ZINGER – 5 Holes, 12 Notes: Chromaticism on Shakuhachi

Jazz player Zac ZINGER’s workshop explores the chromatic possibilities of the shakuhachi. Though the shakuhachi wasn’t built to play modern Western music, the limits of the instrument are constantly being tested in new music and contemporary styles. This workshop will introduce strategies and techniques to overcome the difficulties of playing chromatic music on a five-hole shakuhachi.

ElementaryIntermediateAdvanced

New Horizons

11h30 – 12h40

Workshop: Elizabeth BROWN – Learn Loons, from Isle Royale Shakuhachi Duos

‘Loons’ from Isle Royale Shakuhachi Solos. Learn this piece directly from the composer. Both Western and Kinko notation will be supplied. Elizabeth BROWN will also talk about hearing shakuhachi with Western-conditioned ears, and how it influences her compositions.

ElementaryIntermediateAdvanced

New Horizons

13h00 – 14h00

BEGINNERS WORKSHOP with Michael Soumei COXALL

Learn the basics and more.

Beginners Activity 3

14h00 – 15h10

Workshop: Jim FRANKLIN – Shakuhachi and Live Electronics

In this workshop, Jim FRANKLIN will discuss the basics of performing the shakuachi with live eletronic processing. Participants will have the hands-on opportunity to try out playing the shakuhachi with analogue and digital processing, and are welcome to bring a laptop with the software PD (Pure Data) loaded and functional, in order to develop ideas from the class. No previous experience in this area is necessary.

ElementaryIntermediateAdvanced

New Horizon

15h30 – 16h40

tba

17h00 – 18h00

BEGINNERS WORKSHOP with Michael Soumei COXALL

It is never to late to start the shakuhachi.

Beginners Activity 4

10h00 – 11h10

Workshop: Daniel Seisoku LIFERMANN, Hélène Seiyu CODJO – Wasan

In this workshop Daniel Seisoku LIFERMANN and Hélène Seiyu CODJO will teach a duet composed by FUKUDA Teruhisa. This piece expresses a deep feeling of peace.

Intermediate

New Sounds

11h30 – 12h40

Workshop: Suizan LAGROST – Ichikotsu

‘Ichikotsu’ was composed in 1966 by YAMAMOTO Hozan. This famous piece introduces the western practice of dividing pieces into movements, in this case all based on D (壱越). Thanks to his perfect knowledge of the instruments, YAMAMOTO succeeds in revealing the most charming aspects of the koto and the shakuhachi.

Koto accompaniment by MIYAZAKI Mieko.

Advanced

New Sounds

14h00 – 15h10

Workshop: IZUMI Takeo – San'ya

‘San’ya’ is one type of shakuhachi honkyoku, which can be written in many ways, including 三谷, 山谷 and 山也. This workshop will be based on WATAZUMI Dozo’s arrangement of ‘Tsugaru Kinpū Ryū Sanya Sugagaki’ and is believed to express a land in the farthest distance.

ElementaryIntermediateAdvanced

Great Solos

15h30 – 16h40

Workshop: Steve NOBLE - Free Improvisation: London Meets Japan

This workshop presents a chance to listen and discuss the use of contemporary percussion and extended techniques in an improvisational context – opening up the possibilities of what can be done with one drum and an open mind! Participants are welcome to join in or simply listen.

ElementaryIntermediateAdvanced

New Sounds

17h00 – 18h00

Lecture: KURODA Reison – The Future of Tradition

The well-known piece ‘Haru no umi’ by MIYAGI Michio links traditional melodic lines for shakuhachi and koto and the musical sentiment of the Japanese people after being influenced by Western music. ‘Ran-gyoku’ by HIGO Ichiro is a famous contemporary piece for shakuhachi solo with a shamanistic sound and musical themes inspired by bears. Using these two pieces as examples, KURODA will explain how the sensitiveness of shakuhachi-playing developed into what it is today. In order to to exemplify possibilities for the future, he will present special techniques developed through working with composers.

ElementaryIntermediateAdvanced

New Sounds

10h00 – 11h10

Workshop: Suizan LAGROST – Tips & Tricks

Posture, breathing, air speed, resonance: how can we make the shakuhachi an easy instrument? All schools and styles welcome.

ElementaryIntermediateAdvanced

Mind/Body

11h30 – 12h40

Lecture: TAKAHASHI Toyomi – How a shakuhachi is made

In this lecture/demonstration TAKAHASHI Toyomi presents his approach to making shakuhachi.

The Thing

14h00 – 15h10

Lecture: Philip HORAN – My Journey on the Shakuhachi Making Path

Lecture/Workshop. The opening section of this class will consist of a short presentation exploring the contribution of Irishman, John James QUIN to the art of Japanese lacquerwork. The central part of the workshop will explore how the construction of shakuhachi affects timbre by examining alternative fingerings. The final part will be an opportunity for participants to play two arrangements using different lengths of shakuhachi: the Irish ‘Kimigayo’ and a piece influenced by Saint Patrick’s ‘Shika no Tōne.’

ElementaryIntermediateAdvanced

The Thing

15h30 – 16h40

Workshop: Philip HORAN – Irish/Celtic music for shakuhachi

This workshop will include a demonstration of different genres of Celtic music performed on shakuhachi. Participants will be taught some Irish dance tunes. The use of alternative fingerings to minimise the movement of fingers in fast passages will be explained and illustrated.

IntermediateAdvanced

New Horizons

17h00 – 18h00

Lecture: YOSHIKAWA Shigeru – Physics and Shakuhachi Acoustics

The (koto), satsuma biwa, and shakuhachi are made of paulownia (kiri), mulberry (kuwa), and bamboo (madake), respectively. Why and how are these specific woods traditionally used for these musical instruments? Woods common in musical instruments are typically softwoods, hardwoods, and monocots (bamboo). Based on the characteristics of vibration, its transmission, and its radiation, various woods are classified, and “the right wood in the right place” for strings, woodwinds, and percussions as well as the peculiarity of Japanese instruments is considered.

ElementaryIntermediateAdvanced

The Thing

10h00 – 18h00

Shakuhachi Bazaar WSF2018

A WSF is also a great opportunity to stock up, for example, on difficult to obtain shakuhachi CDs, notation and, with many of great makers being present, an excellent time to purchase a new instrument or other merchandise.

The Shakuhachi Bazaar WSF2018 in RHB 150 provides materials from a variety of sellers and is open all day. There, you will also be able to get that official WSF2018 T-Shirt!

Shop RHB150

13h00 – 14h00

Lunchtime Concert

Concert Programme:

  1. SUTO Shuho, shakuhachi – Shirabe, Sagariha
  2. José Seizan VARGAS, shakuhachi – Shizu
  3. YOSHIKAWA Shigeru, shakuhachi – Kokū
  4. KAWAMURA Kizan, shakuhachi – Mine no Tsuki (NAKAO Tozan)
  5. ISO Genmyo, shakuhachi – Oborozuki (TSUNODA Rogetsu)
  6. TAJIMA Tadashi, shakuhachi – Tsuru no Sugomori

Great Solos

20h00 – 21h30

Evening Concert

Concert Programme:

Foyer, pre-concert: Perry Young – Breath

  1. KAKIZAKAI Kaoru, shakuhachi – San’an
  2. Aomori Min’yō Association & The Min’yō Team – Min’yō (folk songs)
  3. OKUDA Atsuya, shakuhachi – Kyū Myōan Shinpo Ryū Betsuden Tsuru no Sugomori
  4. Clive BELL, shakuhachi; Jim FRANKLIN, shakuhachi/ live electronics – Improvisation for two shakuhachi and live electronics
  5. SHIMURA Zenpo, shakuhachi – Takiochi
  6. John Kaizan NEPTUNE, shakuhachi; NOMURA Hozan, shakuhachi; TANABE Shozan, shakuhachi; OBAMA Akihito, shakuhachi – Roots and Branches (J. NEPTUNE)
  7. FURUYA Teruo, KAKIZAKAI Kaoru, MATAMA Kazushi, shakuhachi – Dai San Fudo (KINEYA Seiho)
  8. MIZUNO Kohmei, shakuhachi; KURAHASHI Ayako, shamisen – Kurokami (KOIDE Ichijuro I, d.1800 / KINEYA Sakichi)

Mixed Programme

21h45 – 22h45

Late-Evening Concert – A concert programme curated from participants' proposals

Concert Programme:

  1. Tatiana RIVERA, shakuhachi; Dmitry KALININ, shakuhachitba
  2. Joke VERDOOLD, shakuhachi; Albert Jan SCHOUTEN, violin – Inori no Wa (J. VERDOOLD) première
  3. JIN Huxing, shakuhachi – Flute in Love
  4. Rachel RUDICH, shakuhachitba
  5. Danilo TOMIC, shakuhachi – 1. Line-crossing Ceremony, 2. Quiescence After Storm, 3. Cape of Good Hope

Mixed Programme

17h00 – 18h15

Afternoon Concert

Concert Programme:

  1. KURAHASHI Yodo II, shakuhachi – Mujushin Kyoku (JIN Nyodo)
  2. James Nyoraku SCHLEFER, shakuhachi – Brooklyn Sanya (J. SCHLEFER)
  3. Vlastislav MATOUSEK, shakuhachi; Christopher Yohmei BLASDEL, shakuhachi; Kiku DAY, shakuhachi; Jim FRANKLIN, shakuhachi; Veronika MATOUSEK, voice – Aleatorica for 4 Shakuhachi, with (parallel) Via Prophetiae (V. MATOUSEK)
  4. TAKEO Izumi, shakuhachiSan’ya (Mountain Valley)
  5. SABU Orimo, shakuhachi – Improvisation
  6. Suizan LAGROST, shakuhachi – Three Haikus (John PALMER)
  7. Christopher Yohmei BLASDEL, shakuhachi – Byō (HIROSE Ryohei)

Tribute to Ronnie Nyogetsu SELDIN / Mixed Programme

13h00 – 14h00

Lunchtime Concert

Concert Programme:

  1. James Nyoraku SCHLEFER, shakuhachi; Kenneth WOODS, cello – Sidewalk Dances (J. SCHLEFER)
  2. Marco LIENHARD, shakuhachi; Steve COHN, shakuhachi; HIROTA Joji, taiko – Trio Improvisation
  3. OBAMA Akihito, shakuhachi; Steve NOBLE, percussion – Duo Improvisation
  4. Anne NORMAN, shakuhachi – Whispered Shadows/影のささやき (A. NORMAN) première
  5. ENOMOTO Shusui, shakuhachi; Tim HODGKINSON, clarinet/lap steel guitar – Duo Improvisation

New Horizons

Friday 3 August 2018

9h00 – 9h40

Robuki

General gathering and announcements relevant for the day ahead followed by robuki.

Also first rehearsal for the specially commissioned group piece ‘A Thousand Bamboo in a Dancing Wind’ by Verity LANE.

WSF2018 Team

10h00 – 11h10

Large Workshop: KAWASE Yosuke – Shin no Kyorei 1/2

‘Shin no Kyorei’ (‘True Empty Bell’), also known as ‘Kyorei’, is the first of the three central works of the honkyoku repertoire. This workshop will focus on the many specific techniques that are used in the Kinko Ryū version, including koro-koro, ha-ra-ro, octave switching between ha notes, muraiki and more. The second part of the workshop follows immediately afterwards at 11h30.

ElementaryIntermediateAdvanced

Great Solos

11h30 – 12h40

Large Workshop: KAWASE Yosuke – Shin no Kyorei 2/2

The second part of the workshop. KAWASE Yosuke is a Kinko Ryū Chikuyusha shakuhachi performer, son of KAWASE Junsuke III.

ElementaryIntermediateAdvanced

Great Solos

13h00 – 14h00

Lecture: KURUHASHI Yodo II – The JIN Nyodo Lineage

Between 1914 and 1924 JIN Nyodo travelled the length and breadth of Japan, from Tohoku to Kyushu, collecting (and memorizing) local and tradional honkyoku which threatened to be forgotten with the popularity of sankyoku. His greatest achievement was in preserving these pieces in the form of scores for future generations. This achievement remains relatively unknown. In this lecture KURAHASHI Yodo II will examine JIN Nyodo’s achievements and his thought processes behind them.

ElementaryIntermediateAdvanced

Great Solos

14h00 – 15h10

Large Workshop: SUGAWARA Kuniyoshi – Renzan 1/2

This work was written for composer SAWAI Tadao’s brother, the distinguished shakuhachi player SAWAI Tanzan, who passed away at an early age. This duet for two shakuhachi is SAWAI’s only work which does not include koto or shamisen. It has more or less disappeared from the repertoire, but SUGAWARA Kuniyoshi has been able to reinstate it. This is the first part of the workshop, the second part follows immediately afterwards at 15h30.

‘Renzan’ is a modern piece from the Sawai School and was composed for shakuhachi by SAWAI Tadao in 1969.

Intermediate

New Sounds

15h30 – 16h40

Large Workshop: SUGAWARA Kuniyoshi – Renzan 2/2

This is the second part of the workshop presented by SUGAWARA Kuniyoshi on the piece ‘Renzan’, a modern piece from the Sawai School and was composed for shakuhachi by SAWAI Tadao in 1969.

Intermediate

New Sounds

17h00 – 18h00

Panel Discussion: Shakuhachi - the Future

Panel Discussion: Shakuhachi – the Future. Panel members include YAMAGUCHI Shugetsu, Cornelius BOOTS, Frank DENYER, Lindsay DUGAN, SEIAN Genshin, Kiku DAY. (to be confirmed)

ElementaryIntermediateAdvanced

Mixed Themes

10h00 – 11h10

Workshop: Suizan LAGROST – Iwashimizu

NAKAO Tozan was a highly religious man who prayed every morning, whether at home or when travelling. He particularly liked the temple, Iwashimizu Hachimangū, in Ōsaka, which inspired in 1904 the piece, ‘Iwashimizu’, one of the foremost honkyoku pieces of the Tozan school repertoire.

Advanced

Great Solos

11h30 – 12h40

Workshop: FURUYA Teruo, KAKIZAKAI Kaoru & MATAMA Kazushi – Shingetsu

‘Shingetsu’ (心月). YOKOYAMA Katsuya Koten Honkyoku. Commencing with a virtually inaudible pianissimo, the sound’s faint movements develop. This melody contains no intermediate stops or pauses, like the moonlight glittering on ripples in a lake. After recording this piece, YOKOYAMA Katsuya said, “I want about three times more breath.” The piece is played slowly, quietly, and with great care.

Elementary

Great Solos

13h00 – 14h00

Lecture: NOMURA Hozan – Development of Tozan Repertoire in 20th Century

NAKAO Tozan (1876-1956) learned Myōan shakuhachi. He then began to add shakuhachi parts to sō kyoku (koto pieces) and jiuta (shamisen pieces) and before long he began the task of composing new pieces for shakuhachi. He began composing shakuhachi duets and soon he also composed many pieces that feature harmonies, ostinato, canon etc. – e.g., pieces that have been influenced by Western music. This influence continues to the present day.

ElementaryIntermediateAdvanced

New Sounds

14h00 – 15h10

Workshop: Aomori Min’yō Association & The Min’yō Team – Following the path of Haiya bushi, I

A song family, apparently born in Kyushu in the far south, has been traced all over Japan by scholars. We’ll try some versions, starting in Kyushu, then moving up the Japan Sea coast with sailors: ‘Ushibuka haiya bushi’ is a boisterous, rhythmic song from a fishing village in Kumamoto Prefecture. ‘Sado Okesa’, a distant, less vibrant variant of it, is from the island of Sado in Niigata Prefecture.

ElementaryIntermediateAdvanced

Golden Oldies/Min'yō

15h30 – 16h40

Workshop: Aomori Min’yō Association & The Min’yō Team – Following the path of Haiya bushi, II: into Tsugaru! Songs from Aomori Prefecture

‘Tsugaru aiya bushi’ (notice the similar nonsense syllables: haiya and aiya) is accompanied by tsugaru-jamisen, a shamisen style developed in Aomori Prefecture’s Tsugaru region, now hugely popular among young Japanese and even abroad. This song is one of the ‘five great Aomori min’yō’. Another of the five is ‘Tsugaru jongara bushi’, again featuring the amazing tsugaru-jamisen style. By contrast, ‘Tsugaru yamauta’ is a takemono – shakuhachi accompaniment only. All of these songs have a wide variety of lyrics, as indeed have most min’yō.

ElementaryIntermediateAdvanced

Golden Oldies/Min'yō

17h00 – 18h00

Lecture: Marty REGAN – The Music of Marty REGAN

Since 2000, American composer Marty REGAN had focused his creative efforts in expanding the repertoire for traditional Japanese instruments. In this engaging lecture, he will present his works for shakuhachi, tracing the development of his style from early works derived from elements found in various genres of traditional Japanese music, to more recent ‘hybrid musical soundscapes’ that draw from a wide variety of influences. Special attention will be paid to discussing the challenges and potential rewards inherent when combining the shakuhachi with Western orchestral instruments.

ElementaryIntermediateAdvanced

New Horizons

10h00 – 11h10

Workshop: David Kansuke II WHEELER – Onoe no Matsu

While orginally composed as a jiuta (shamisen-accompanied song), it was with the addition of a virtuoso koto part in 1918 and an alternative shakuhachi part later, that Onoe no Matsu came to occupy a special and exciting place in the sankyoku musical canon. This workshop will present techniques for bringing out the greatest richness possible via the shakuhachi perfromance. String accompaniment by FUJIMOTO Akiko and SATO Kikuko.

Advanced

Golden Oldies

11h30 – 12h40

Workshop: HOSHIDA Ichizan – Fundamentals of Shakuhachi Playing

This is a workshop about the basic techniques required to play the shakuhachi well: 1. how to hold the shakuhachi, and the body’s posture; 2. how to inhale; 3. making the breath last; 4. about strength and softness of volume; 5. concerning the instrument’s influence on the strength and softness of volume.

ElementaryIntermediateAdvanced

Mind/Body

14h00 – 15h10

Workshop: YAMADA Fumio – Zen Buddhism and Shakuhachi I: Priest FUKE

Zen and the Shakuhachi I: Priest FUKE (Kinpū Ryū 調 Shirabe). Dr. YAMADA, a professor of Chinese Philosophy, first leads us in a discussion of the enigmatic Tang Dynasty Zen priest FUKE whose poem inspired later shakuhachi players in Japan. ‘Come bright, and I’m bright; come dark, and I’m dark…’ Put in context, Zen isn’t as difficult to understand as it’s often made out to be, but it certainly has depth. After our discussion, we’ll use the remaining time to put into practice what we’ve gleaned from FUKE’s poem by learning ‘Shirabe’, the most fundamental Kinpū Ryū piece. It is used to tune body, mind, and breath; if you listen as you play, you’ll find that it can tell you a bit about yourself as well.

ElementaryIntermediateAdvanced

Golden Oldies

15h30 – 16h40

tba

17h00 – 18h00

Screening: Shakuhachi and the City : NONAKA Katsuya – Future is Primitive

Shakuhachi and skateboarding. They seem to have nothing to do with each other. But they actually have many things in common and also share the same problem. The problem is not just for shakuhachi or skateboarding. It relates to all of us living in this modern world. Through the interviews with shakuhachi players and skaters, this documentary reveals the common things and the problem they share. Viewers will ask themselves this question: “What should we do for the future?”

As time goes by and in this modern civilisation, where are the roots leading us?

ElementaryIntermediateAdvanced

New Horizons

10h00 – 11h10

Workshop: ISO Genmyo – Kumoi Jishi

This workshop will start with zazen (sitting on chairs) in order to prepare our breathing, followed by robuki. After that, ISO Genmyo will lecture on ‘Kumoi Jishi’ from the Itchoken lineage. ISO Genmyo is the Head Priest of Itchoken Temple Myoan Ryū.

Elementary

Great Solos

11h30 – 12h40

Workshop: TAJIMA Tadashi – San'ya

This is a representative piece of the ‘San’ya’ family. It is beautifully balanced, both stylistically and structurally. TADASHI Tajima believes that it embodies the true essence of the characteristics of shakuhachi. In this workshop, he will use ‘San’ya’ to lecture on composition, as well as on basic knowledge and technique.

Advanced

Great Solos

15h30 – 16h40

Workshop: FUJIYOSHI Etsuzan – Itchoken Kyushu Reiboi

In this workshop we will look at ‘Kyushu Reibo’ – a piece that clearly demonstrates the unique characteristics of honkyoku from Kyushu region with a clear but multi-faceted changes of merihari (liveliness) in ‘u’ and in the yuri. In order to assist everybody in understanding the principles of irete (入れ手), the fundamental theory and the piece will be lined up and explained.

Elementary

Great Solos

17h00 – 18h00

Workshop: Christopher Yohmei BLASDEL – Shakuhachi, Aikido and Body Awareness

This workshop will focus on how to relax while using the body more effectively. Participants will utilize simple techniques from the martial art Aikido to help focus attention on body awareness and how to relieve tension while playing and moving. (Besides playing shakuhachi, BLASDEL is also a 4th degree blackbelt in Aikido!).

ElementaryIntermediateAdvanced

MInd/Body

10h00 – 11h10

Workshop: Adrian FREEDMAN – Seijaku & Pranayama

Adrian FREEDMAN will introduce his piece ‘Seijaku’, which blends elements of honkyoku style with lyrical phrases in the Aeolian mode. The essence of this piece lies in the extended long notes and in the silences between the notes. Adrian will demonstrate some yogic Pranayama breath control exercises and other breathing techniques that can assist with playing long notes and with tone control.

IntermediateAdvanced

New Horizons

11h30 – 12h40

Workshop: Aomori Min’yō Association & The Min’yō Team – Following the path of Ise ondo

Ise ondo was linked to pilgrimages to Ise Shrine in Mie Prefecture; pilgrims often carried the song home, where different local versions developed. Versions are still sung as far north as Aomori Prefecture; we’ll try one such song, ‘Tsugaru gannin bushi’.

ElementaryIntermediateAdvanced

Golden Oldies/Min'yō

14h00 – 15h10

tba

15h30 – 16h40

Workshop: YAMAGUCHI Shugetsu – Between Jinashi and Jiari

Workshop/lecture. Historically, shakuhachi were initally jinashi. By the end of the Meiji era, however, it began to be a standard to add lacquer below the second node from the top. The procedure of cutting the bamboo into two was made to adjust the length, but it also made it easier to add ji to the whole length of the bore. The tradition of adding ji and completely coating the bore continues up to the present. Today, though, there are many dedicated jiari shakuhachi fans. It is certainly possible to tune a jinashi so it is well-balanced. YAMAGUCHI Shugetsu will explain the advantages of both jiari and jinashi shakuhachi while presenting a workshop on shakuhachi-making.

ElementaryIntermediateAdvanced

The Thing

10h00 – 11h10

Workshop: Michael Chikuzen GOULD – Bosatsu

‘Bosatsu’ is a compilation made by TANIGUCHI Yoshinobu. It consists of signature riffs from various honkyoku; starting with a pilgrimage song ‘Goreika’, then folk music, then parts of ‘Tsuru no Sugomori’, ‘San An’, ‘Yamagoe’, an Edo lullaby, and ending with the pilgrimage. TANIGUCHI sensei composed the links between the riffs. This piece could perhaps be called a “highlight reel” of various honkyoku.

Intermediate

New Sounds

11h30 – 12h40

Workshop: KURODA Reison – Ran-gyoku

‘Ran-gyoku’ is a well-known contemporary shakuhachi piece, and as always with HIGO’s pieces, there is an underlying shamanistic motif; this piece is inspired by the bear. The composer has stated that he aimed at creating a space where a magnanimous conversation between oneself (the player) and the bamboo can take place – the goal is to liberate oneself.

Intermediate

New Sounds

13h00 – 14h00

BEGINNERS WORKSHOP with Gunnar Jinmei LINDER

Make your first steps, it is rewarding.

Beginners Activity 5

14h00 – 15h10

Workshop: KURODA Reison – Haru no Yo

This shinkyoku tegotomono piece was composed for shakuhachi by MIYAGI Michio in 1913. KURODA Reison will teach the shakuahchi part, and participants will also be able to attempt to play it along with koto. Koto accompaniment by KITAMURA Keiko.

Intermediate

New Sounds

15h30 – 16h40

Workshop: KAWAMURA Kizan – Techniques for Tozan Ryū shinkyoku and ensemble pieces

In Tozan Ryū, different techniques are used when playing shinkyoku or ensemble pieces rather than when playing honkyoku. This workshop will focus on techniques used by YAMAMOTO Hozan. Participants will play a piece while studying the techniques used.

ElementaryIntermediateAdvanced

New Sounds

17h00 – 18h00

BEGINNERS WORKSHOP with Gunnar Jinmei LINDER

The first sound will come.

Beginners Activity 6

10h00 – 11h10

Workshop: Marco LIENHARD – Taiko and Shakuhachi

This workshop explores how the shakuhachi has been used as part of the renaissance of Taiko in Japan: an unlikely combination of instruments, but it could be considered a Japanese form of “jazz”.

ElementaryIntermediateAdvanced

New Horizons

11h30 – 12h40

Workshop: Steve COHN – Approaches to Improvisation with Shakuhachi

Steve COHN’s workshop will focus specifically on his style of improvisation. Participants will harmonize with others and learn his extended techniques for example vocalizing and playing at the same time. There is bending, sliding, going in and out of octaves, patterns and riffs etc. Four scales will be introduced: pentatonic, blues, honkyoku and chromatic. Feel free to bring other instruments as well.

ElementaryIntermediateAdvanced

New Horizons

14h00 – 15h10

Workshop: OBAMA Akihito – Shōsōin Shakuhachi: History and Recent Experiments

If one goes back in shakuhachi history, one will arrive at the ancient shakuhachi that came to Japan from China during the 8th century. However, even today the timbre and the performance pieces of that ancient instrument is still a mystery. While outlining the history, OBAMA will perform a gagaku piece ‘Sokumakusha’, which is said to have been performed during the 8th century, on a replica of one of the ancient shakuhachi. Additionally, he will demonstrate pieces he has composed for this replica shakuhachi.

ElementaryIntermediateAdvanced

New Horizons

15h30 – 16h40

Workshop: Cornelius BOOTS – 'Bamboo Gospel': Expanding into Deep Blues, Rock and Metal with Solo Shakuhachi

Solo, unaccompanied shakuhachi offers multiple dimensions of sound, musicality and expressiveness.  In addition to the well-worn paths of melody and space, shakuhachi also enjoys texture, pulse and dynamism. By playing riffs, gestures, structures and alternate roles (beyond melody) from blues, rock and metal, we boldly expand into new and engaging possibilities. (*includes brief circular breathing transmission/vital breath explanation.)

ElementaryIntermediateAdvanced

New Horizons

17h00 – 18h00

Lecture: TANABE Shozan – How to Teach Beginners Shakuhachi

TANABE Shozan has taught many shakuhachi enthusiasts at short courses. He noticed that many of them had picked up bad habits, making useless movements, or had not acquired proper playing techniques without realising it themselves. Everything one learns at the beginning is essential. TANABE Shozan will explain about important basic topics, fundamental movements and techniques, such as: producing a sound, playing all sounds with care; basic practice in order to link one note with another, shaping the melody; how to play meri notes efficiently and the importance of modoshi; how to make efficient yuri (pitch changing yuri) with head movement, volume changing yuri with iki yuri (breath yuri); and how not to mix staccato and tonguing.

ElementaryIntermediateAdvanced

Mixed Themes

10h00 – 11h10

Workshop: SHIMURA Zenpo – How to Choose a Jinashi Shakuhachi and Methods of Ascetic Practice learned from Chō Chōkan

It is possible to find jinashi shakuhachi made by various people, from masters to beginner makers. There is a widespread but false perception that the jinashi shakuhachi ‘cannot be tuned’, ‘doesn’t have a big sound’ or ‘is hard to play’. There is, however, a great variety within the category of jinashi shakuhachi. All players have their own personal goals, for which they have to find a matching instrument. SHIMURA Zenpo will share advice based on his personal experience in choosing a jinashi shakuhachi and in practice methods. ‘Chō chōkan shakuhachi’ (ultra-long shakuhachi) is a word coined by SHIMURA, meaning shakuhachi longer than 2.9. SHIMURA considers shakuhachi between 2.1 (B) to 2.7 (G) as chōkan (long shakuhachi). The second part follows immediately afterwards at 11h30.

ElementaryIntermediateAdvanced

The Thing

11h30 – 12h40

Workshop: SHIMURA Zenpo – How to Choose a Jinashi Shakuhachi and Methods of Ascetic Practice learned from Chō Chōkan 2/2

Second part of SHIMURA Zenpo’s workshop about selecting a jinashi shakuhachi.

ElementaryIntermediateAdvanced

The Thing

14h00 – 15h10

Lecture: TAKAHASHI Toyomi – Shakuhachi Repair

In this lecture/demonstration, TAKAHASHI Toyomi will explain, with the aid of many images, methods of how to repair a cracked shakuhachi – the most common shakuhachi problem. It is his aim to help shakuhachi players to be able to deal with a cracked shakuhachi. Lecture attendees will therefore be invited to actually try to bind a cracked shakuhachi. Participants may also bring their own shakuhachi in order to make bindings on them.

ElementaryIntermediateAdvanced

The Thing

15h30 – 16h40

Workshop: KAKIZAKAI Kaoru – Tricks and Tips

Techniques that help you improve your sound, and improve your control of meri and kari, will be presented, with nothing hidden or any secrets kept.

ElementaryIntermediateAdvanced

Mind/Body

17h00 – 18h00

Lecture: MIURA Ryuho – How My Shakuhachi are Made, the Contemporary Shakuhachi

Historically, shakuhachi making has developed based on the instrument makers’ experience. In the West, the rational application of research into the acoustics of musical instruments has resulted in improvements in instrument construction. In this lecture, MIURA Ryuho introduces his personal shakuhachi-making methods.

ElementaryIntermediateAdvanced

The Thing

10h00 – 18h00

Shakuhachi Bazaar WSF2018

A WSF is also a great opportunity to stock up, for example, on difficult to obtain shakuhachi CDs, notation and, with many of great makers being present, an excellent time to purchase a new instrument or other merchandise.

The Shakuhachi Bazaar WSF2018 in RHB 150 provides materials from a variety of sellers and is open all day. There, you will also be able to get that official WSF2018 T-Shirt!

Shop RHB150

13h00 – 14h00

Lunchtime Concert – Focus: Frank DENYER

Concert Programme:

  1. KAWAMURA Kizan, shakuhachi; tba, percussion – Wheat (Frank DENYER)
  2. Emmanuelle ROUAUD, shakuhachi; TAKAHASHI Gaho, koto – I thought about Eva (Henri ALGADAFE) première
  3. Véronique PIRON, shakuhachi; Lydia DOMANCICH, piano – Treuzell (Footbridge) (L. Domancich / V. Piron, 2018) première
  4. Kiku DAY, shakuhachi – Woman with Jinashi Shakuhachi (Frank DENYER)
  5. ZENYOJI Keisuke, shakuhachi – Yō (TAKAHASHI Kumiko)
  6. KURODA Reison, shakuhachi – Winged Play (Frank DENYER)

New Horizons

20h00 – 21h30

Evening Concert

Concert Programme:

  1. David Kansuke II WHEELER, shakuhachi; FUJIMOTO Akiko, shamisen; SATO Kikuko, koto – Mama no Kawa (KIKUOKA Kengyo)
  2. OBAMA Akihito, shakuhachi – Getsumei Sansui (OBAMA Akihito)
  3. Christopher Yohmei BLASDEL, shakuhachi; Koto: WATANABE Okahana, koto; SASAKI Chikano, koto; HAGIOKA Yuko, shamisen – Nasuno (YAMADA Kengyo)
  4. ISHIKAWA Toshimitsu, shakuhachi – Ichijo (KINEYA Seiho)
  5. Aomori Min’yō Association & The Min’yō Team – Min’yō (folk songs)
  6. FUJIYOSHI Etsuzan, shakuhachi – TAKAHASHI Kuzan den Oshū Reihō
  7. MATAMA Kazushi, shakuhachi – Daha
  8. Richard STAGG shakuhachi, Octandre Ensemble – Ajikan or After the Rain (Frank DENYER)

Mixed Programme

21h45 – 22h45

Late-Evening Concert – A concert programme curated from participants' proposals

Concert Programme:

  1. Dietmar Ippu HERRIGER, shakuhachi; ISO Genmyo, shakuhachi – Itchoken Shika no Tōne
  2. TAKAHASHI Renkaizan, shakuhachi; TAKAHASHI Gaho, koto; TAKAHASHI Utaiku, shamisen – Kurokami
  3. Rob FOSTER, shakuhachitba
  4. Marek Kimei MATVIJA shakuhachi – Ōshū Saji

Mixed Programme

17h00 – 18h15

Afternoon Concert

Concert Programme:

  1. Michael Chikuzen GOULD, shakuhachi – Suzuru
  2. SUTO Shuho, shakuhachi – Matsukaze no Shirabe, Matsukaze
  3. NOMURA Hozan, shakuhachi – Iwashimizu (NAKAO Tozan)
  4. YAMADA Fumio, shakuhachi – Hachigaeshi
  5. Hélène Seiyu CODJO, shakuhachi; Daniel Seisoku LIFERMANN, shakuhachi – Renbo Sugomori (arrang. FUKUDA Teruhisa)
  6. SEIAN Genshin, shakuhachi; Daniel RIBBLE, shakuhachi – Myōan Shika no Tōne

Great Solos

13h00 – 14h00

Lunchtime Concert

Concert Programme:

  1. DAN Shinku, shakuhachi – Minamoto no Unkai den Ajikan
  2. TAJIMA Tadashi, shakuhachi – Yamagoe
  3. MIZUNO Kohmei, shakuhachi; FUJIMOTO Akiko, shamisen; SATO Kikuko, koto – Kaji Makurat (YAEZAKI Kengyo / KIKUOKA Kengyo)
  4. Horacio CURTI, shakuhachi – Sokkan
  5. ISHIKAWA Toshimitsu, shakuhachi – Shingetsu

Great Solos/Golden Oldies

Saturday 4 August 2018

9h00 – 9h40

Robuki

General gathering and announcements relevant for the day ahead followed by robuki.

Second rehearsal for the specially commissioned group piece ‘A Thousand Bamboo in a Dancing Wind’ by Verity LANE.

WSF2018 Team

10h00 – 11h10

Large Workshop: SUGAWARA Kuniyoshi – Dosei 1/2

Participants in this workshop will learn techniques of fierce and strong expressions on the shakuhachi (muraiki, attack forms), by playing Dosei (SAWAI Hikaru). KIKUCHI Nakao provides koto accompaniment. The second part of the workshop follows immediately afterwards at 11h30.

Advanced

New Horizons

11h30 – 12h40

Large Workshop: SUGAWARA Kuniyoshi – Dosei 2/2

The second part of the workshop. SUGAWARA Kuniyoshi’s teaches the piece ‘Dosei’ by SAWAI Hikaru.  KIKUCHI Nakao provides koto accompaniment.

Advanced

New Horizons

13h00 – 14h00

Lecture: KAWAMURA Kizan – Tozan Ryū Honkyoku Techniques

Techniques appearing in Tozan Ryū honkyoku such as yuri, atari and momite will be explained. After going through the various techniques, the use of these techniques within the context of honkyoku playing will be explained. Then we will play together the techniques that have been learned.

ElementaryIntermediateAdvanced

Great Solos

14h00 – 15h10

Large Workshop: FURUYA Teruo, KAKIZAKAI Kaoru & MATAMA Kazushi – Kokū 1/2

‘Kokū’ (虚空), YOKOYAMA Katsuya koten honkyoku. This koten honkyoku piece has been transmitted for over 750 years and is venerated as one of the oldest (the others being ‘Kyorei’ and ‘Mukaiji’). The piece expresses the mental state of mu (nothingness) in which one is not caught up in anything whatsoever. It has a highly refined form, with a feeling of strength and confidence. The workshop’s second part follows immediately afterwards at 11h30.

Advanced

Great Solos

15h30 – 16h40

Large Workshop: FURUYA Teruo, KAKIZAKAI Kaoru & MATAMA Kazushi – Kokū 2/2

This is the second part of the workshop about honkyoku ‘Kokū’.

Advanced

Great Solos

17h00 – 18h00

Lecture: David HUGHES & Aomori Min'yō Association – About Min'yō

Expert min’yō researcher David HUGHES will examine in this lecture the origins and musical characteristics of the min’yō genre.

ElementaryIntermediateAdvanced

Great Solos/Min'yō

10h00 – 11h10

Workshop: Riley LEE – Raft Song at Sunrise

Raftsong at Sunrise (1995) by Ross EDWARDS is one of the quintessential compositions for shakuhachi by non-Japanese and is an example of its transformation from a traditional instrument belonging to a single ethnicity or culture (Japanese) to a ‘universal’ musical one. WSF2018 in London is another prime example of this transformation. The piece will be taught using staff notation.

IntermediateAdvanced

New Horizons

11h30 – 12h40

tba

13h00 – 14h00

TANAKA Takafumi – Publications and wirting about Shakuhachi and Hōgaku from the 1980s to the Present

In this lecture/workshop, TANAKA Takafumi, editor and publisher of ‘Hōgaku Journal’, will talk about his experiences of writing and publishing about, and supporting, shakuhachi and other Japanese traditional music forms. He will also reflect on the current status and perception of hōgaku in Japan.

ElementaryIntermediateAdvanced

Mixed Themes

14h00 – 15h10

Workshop: Michael Soumei COXALL – Sono no Aki 1/2

Michael Soumei COXALL presents ‘Sono no Aki’ (A Garden in Autumn) composed by KIKUOKA Kengyo in 1840. KIKUOKA Kengyo (1791 – 1847) was a virtuoso shamisen player and composer in Kyoto who brought traditional Jiuta tegotomono pieces to a new perfection in the first part of the 19th century. This piece is based on a poem describing the life of the courtesans in the cultured pleasure quarters of Kyoto and comparing them to the seven flowers of autumn.

The second part of the workshop follows immediately afterwards at 11h30.

IntermediateAdvanced

Golden Oldies

15h30 – 16h40

Workshop: Michael Soumei COXALL – Sono no Aki 2/2

The second part of the workshop. Michael Soumei COXALL presents ‘Sono no Aki’ (A Garden in Autumn) composed by  KIKUOKA Kengyo.

With string accompaniment by Fujimoto FUJIMOTO Akiko and SATO Kikuko.

IntermediateAdvanced

Golden Oldies

17h00 – 18h00

Lecture: DAN Shinku – Fuke Shakuhachi: The Idiosyncrasies of Making and Playing the Jinashi Nobekan

In spite of the unique development of shakuhachi honkyoku as an unparalleled form of solo performance, the ‘one body – indivisible’ concept as applicable to the practice of shakuhachi-making and playing (blowing) techniques has weakened over time. The two activities have become or are in the process of becoming divided. DAN Shinku will explain this division with images and with a playing demonstration.

ElementaryIntermediateAdvanced

The Thing

10h00 – 11h10

Workshop: Aomori Min’yō Association & The Min’yō Team – Playing Esashi Oiwake

‘Esashi Oiwake’, a takemono from Esashi City in Hokkaido, is often called a ‘classical min’yō’ (koten min’yō), because it was the first traditional folk song to develop a strict and detailed notation. At the national contest, held since 1963, the 400-plus competitors are expected to sing every ornament correctly. If played as a shakuhachi solo, the same detailed ornaments must be performed, but when accompanying a singer, the shakuhachi should be less elaborate.

ElementaryIntermediateAdvanced

Golden Oldies/Min'yō

11h30 – 12h40

Workshop: David Kansuke II WHEELER – Ōmi Hakkei

A lecture/workshop. This Yamada Ryū koto piece is an intriguing and representative example of the Yamada style. The bravura singing style, including dramatic vocal stretching of the rhythm, the use of improvised lines by the lead koto and the employment of an ostinato pattern by the second koto will be examined in the context of the shakuhachi accompaniment.

Intermediate

Golden Oldies

13h00 – 14h00

Lecture: SEKI Ichiro – Japonism in Europe and Modernism in Japan 2/2

SEKI Ichiro gives a lecture about ‘Japonism in Europe and Modernism in Japan.’ (Second part, first part on Wednesday 1 August at 17h00 in LG 01)

Claude A. DEBUSSY and Maurice RAVEL may have heard gamelan music and also Japanese traditional music performed at the Paris Exposition in 1900; susequently, they adopted Oriental pentatonic scales into their compositions. By contrast, after World War II many Japanese composers attempted to create their own style, studying Western modern music theory and approaches. Through analysing some works by Debussy and Ravel and also some compositions for Japanese instruments by MIKI Minoru, TAKEMITSU Toru and MIYOSHI Akira, participants will attempt to approach an understanding of their musical identity.

ElementaryIntermediateAdvanced

New Sounds

14h00 – 15h10

Workshop:YAMADA Fumio – Zen and the Shakuhachi II: Buddha Breath, Samurai Breath

Dr. YAMADA introduces us to a key instruction from an ancient Buddhist sutra on breathing. Using the piece ‘Sagari-ha’ (Kinpū Ryū 下がり葉 ), participants will focus on using breathing to bring awareness to the mind and release tension from the body. This workshop also makes use of Dr. YAMADA’s ‘local’ Kinpū Ryū aesthetic, wherein the piece is not used for professional performance or musical entertainment, but rather for physical and mental training as well as communal enjoyment.

Elementary

Great Solos

15h30 – 16h40

Workshop: SUTO Shuho – To-ri and Koya-san Shingon-shu Shomyo (Shingon Buddhist Chant)

Kinpū Ryū shakuhachi is suizen, i.e. meditation / prayer. Shōmyō at Koyasan is a praise of Buddha-virtue. For SUTO-san, both Kinpū Ryū and shōmyō chant reverberate out into the heavens with the aim of unity with the great gods and Buddhas. ‘Tori’ (通里) is also known as a piece that Fuke monks would play as a ‘transfer of merit’ (‘May this good deed extend and spread to all, realizing the Buddha-way in oneself together with all sentient beings’) at the border of the next village looking back on the village just visited, for the people there, including prayer for the village to be safe from disaster. Kinpū Ryū, incidentally, is played vigorously, without plodding phrases or extended intervals.

Intermediate

Great Solos

17h00 – 18h00

Screening: Shakuhachi and the City: Thorsten KNAUB – Listening Station

The short film ‘Listening Station’ intertwines video footage filmed in and around the former US listening station at Teufelsberg near Berlin (Germany) with the musical improvisation performed on shakuhachi inside the main dome of the station to create a multi-layered description and exploration of the building, its location and inherent sonic properties.

Screenings at 17h00 + 17h30

ElementaryIntermediateAdvanced

New Horizons

21h30 – ?

Party & Farewell Gathering

Don’t miss the opportunity to say good-bye and party! The exact location and more details yet to be announced. Entertainment provided by the Aomori Min’yō Association.

Everybody and all levels welcome!

Mixed Programme

10h00 – 11h10

Workshop: TAJIMA Tadashi – Daha

‘Daha no Kyoku’ is considered to belong to the same genre as ‘Yamagoe’. While ‘Yamagoe’ is about confronting difficulties oneself, the focus of ‘Daha no Kyoku’ is the wish to overcome difficulties through a prayerful attitude of the heart.

Intermediate

Great Solos

11h30 – 12h40

Workshop: TAJIMA Tadashi – Nezasaha Shirabe

‘Nezasaha Shirabe’ is a Tsugaru (Aomori Prefecture) Nesasa-ha Kinpu-ryū piece. It contains a distinctive pulsating blowing style known askomi-buki which is characteristic of this style.

Intermediate

Great Solos

14h00 – 15h10

Workshop: Riley LEE – Gyo Mukaiji

‘Gyo Mukaiji’ (行霧海篪, ‘Flute on Misty Ocean’) is one of the three most revered classical honkyoku, the other two being ‘Kyorei’ and ‘Kokū’. These austere, ‘formal’ pieces were typically performed ritualistically, in the context of spiritual training and within the temples. ‘Gyo Mukaiji’ is among a number of hikyoku or ‘secret pieces’ from the now defunct Meian Shimpo Ryū.

Intermediate

Great Solos

15h30 – 16h40

Workshop: SEIAN Genshin – Tracing the Origins of the Shakuhachi: FUKE to KYOCHIKU Zenji, the World of the Three Kyoreis

In this workshop participants will trace the origins of the shakuhachi through the three Kyorei pieces (Kyorei, Mukaiji and Kokū) and listen to other Myōan honkyoku pieces. We will take suizen as our theme and deeply explore the great world of the Myōan Zen shakuhachi, and attempt to approach the true origin of the instrument. Tracing the origins of the shakuhachi takes us back to mid-9th century Tang Dynasty China and the Zen master FUKE. CHOHAKU composed ‘Kyorei’, attempting to imitate the sound of the bell of FUKE. The Japanese Zen monk KAKUSHIN learned this tune from CHOSAN who received this piece as a legacy, and in the 16th century brought it back to Japan. This was the birth of the Japanese shakuhachi. A student, KYOCHIKU Zenji, dreamed two pieces while sleeping and called the first piece ‘Mukaiji’ and the piece ‘Kokū’, and together with ‘Kyorei’ they became the three ‘Kyorei’ pieces. On this basis, KYOCHIKU Zenji became the founder of Myōan Shakuhachi.

ElementaryIntermediate

Great Solos

17h00 – 18h00

Lecture: Zac ZINGER – What is Jazz Shakuhachi, Really?

The traditional musics of Japan and the USA don’t seem to have much in common – one fosters deep introspection, while the other encourages radiant expression. So what does “jazz shakuhachi” really mean? ZINGER’s lecture seeks to provide an answer by exploring the jazz vocabulary, borrowing traditional shakuhachi techniques in the jazz medium, and examining what the concept of this fusion represents culturally.

ElementaryIntermediateAdvanced

New Sounds

10h00 – 11h10

Workshop: ZENYOJI Keisuke – Matsukaze

‘Matsukaze’ (松風). A piece from the Yamada Koto Ryū repertoire, which features a richly colored instrumentation and relaxed kinuta rhythms (used in performances of Nō plays about a wife waiting for a husband who never returns), its gaku stylization with modalities borrowed from gagaku fused with the characteristically elegant, flowing vocals of Yamada Ryū pieces.

Intermediate

Golden Oldies

11h30 – 12h40

Workshop: Christopher Yohmei BLASDEL – Rokudan

‘Rokudan-no-Shirabe’ is a piece consisting of six movements with thematic material that is constantly evolving and undergoing change. ‘Rokudan’ is usually considered representative of 17th century Japanese koto music and is also almost always included in any overseas performances of traditional Japanese music. This piece is accessible to non-Japanese audiences because it is purely an instrumental piece, without lyrics.

KITAMURA Keiko provides the koto accompaniment.

Elementary

Golden Oldies

14h00 – 15h10

Workshop: MIZUNO Kohmei – Kajimakura

The piece ‘Kajimakura’ (楫枕, ‘Rudder-pillow’) by KIKUOKA Kengyo (1792-1847), was originally a jiuta shamisen composition in the Kyoto style. The piece depicts the longing of a riverboat courtesan, drifting rudderless like the boat on which she works, to be accepted by her lover as one with a pure, unblemished heart.

FUJIMOTO Akiko and SATO Kikuko provide the strings accompaniments.

IntermediateAdvanced

Golden Oldies

15h30 – 16h40

Workshop: Aomori Min’yō Association & The Min’yō Team – How to Play Various Min’yō, IV: Finale

We will play some of the pieces we have studied until now and summarise what we have learned so far.

ElementaryIntermediateAdvanced

Golden Oldies/Min'yō

10h00 – 11h10

Workshop: TANABE Shozan – Kai

‘Kai’ by MIYAZAKI Mieko. MIYAZAKI writes: “One cannot touch deep ‘inside’ a heart – whether it be your own or another person’s heart – but music can express the innermost of the heart by employing the vibrations of voice, strings, wood or bamboo. Even though the deep ‘inside’ of music cannot be touched perpetually…” In this workshop, the piece will be taught by the composer and by TANABE Shozan, who is playing shakuhachi in the premiere performance at WSF2018. MIYAZAKI Meiko will also reflect on the composition process.

Intermediate

New Sounds

11h30 – 12h40

Workshop: Riley LEE – Yamato Chōshi

‘Yamato Chōshi’ (大和調子) is a classical honkyoku from the Myōan or Meian lineage, as transmitted through Chikuho Ryū. Though not apparent to the casual listener, this is the same piece as the popular dokyoku, ‘Shingetsu’ (心月,’Heart Moon’) as transmitted through Riley LEE’s primary teacher, YOKOYAMA Katsuya. It is a short piece, and its form is conducive to learning by heart.

Elementary

Great Solos

13h00 – 14h00

BEGINNERS WORKSHOP with Véronique PIRON

Very good progress.

Beginners Activity 7

14h00 – 15h10

Workshop: SUGAWARA Kuniyoshi – Kata Ashi Torii no Eizo 1/2

In this workshop, SUGAWARA will use ‘Kata Ashi Torii no Eizo’ to show generally how one can play a piece written for a 7-hole shakuhachi when playing on a 5-hole instrument. Participants will learn to employ portamento, yuri and other techniques for expression.The second part of the workshop follows immediately afterwards at 15h30.

Intermediate

New Sounds

15h30 – 16h40

Workshop: SUGAWARA Kuniyoshi – Kata Ashi Torii no Eizo 2/2

The second part of the workshop by SUGAWARA Kuniyoshi on ‘Kata Ashi Torii no Eizo’, a composition by SATO Toshinao.

Intermediate

New Sounds

17h00 – 18h00

BEGINNERS WORKSHOP with Véronique PIRON

Sounds very good already. Congratulations.

Beginners Activity 8

10h00 – 11h10

Workshop: Anne NORMAN – Techniques in Alternating Sung Lyrics and Blown Notes

This workshop introduces techniques in alternating sung lyrics and blown notes; unison passages and polyphonic harmonising, and methods to improve intonation and dynamic timbral contrasts. These were partly inspired by the end blown flute songs of the pygmies of Central Africa, and Anne Norman’s desire to accompany herself in song on shakuhachi. Participants will receive a page of excerpts and exercises in staff notation with Kinko tablature above it.

ElementaryIntermediateAdvanced

New Horizons

11h30 – 12h40

Workshop: James Nyoraku SCHLEFER – The Art of Practice/Brooklyn Sanya.

In this workshop participants will learn James Nyoraku SCHLEFER’s composition ‘Brooklyn Sanya’, but in addition to simply learning the piece, SCHLEFER will present numerous practice techniques and methods to develop the embouchure, improve sound and strengthen technical ability. Players of all levels will be able to benefit from a renewed joy in daily practice.

Intermediate

New Horizons

14h00 – 15h10

Workshop: SABU Orimo – Improvisation

There is a range of beautiful sounds which only the jinashi shakuhachi can produce. ORIMO writes: “Ideas that influence my approach to improvisation come out of everyday life. I will speak about being a gardener, playing jinashi shakuhachi, eros, colours and jinashi culture. I would then like to improvise with all the participants. I would be very happy if you agreed to participate.”

ElementaryIntermediateAdvanced

New Horizons

15h30 – 16h40

Workshop: John EDWARDS – Free Improvisation: London Meets Japan

Improvisation is of the moment. It is an intense social activity. We are completely free and responsible. It is political. Musically, extremes of pitch and colour, extended techniques, the farthest-flung and the homeliest sounds are all equally valid. These things we can explore, using shakuhachi, double bass and voice.

ElementaryIntermediateAdvanced

New Horizons

17h00 – 18h00

Lecture: Marco LIENHARD – New Sounds in the USA - Taiko and Shakuhachi

Taiko with bamboo flutes has been performed for many centuries in different settings. In this lecture, Marco LIENHARD outlines a new approach to this combination with samples of the traditional as well as the new.

ElementaryIntermediateAdvanced

New Sounds

10h00 – 11h10

Workshop: José Seizan VARGAS – The Many Different Ways to be a Shakuhachi. Comparing Old and New Flutes

This workshop is intended for participants to listen and play as many different shakuhachi as possible, from old Edo jinashi to modern style jiari. Also, people can bring their shakuhachi to be played and tested by other players.

ElementaryIntermediateAdvanced

The Thing

11h30 – 12h40

Workshop: John Kaizan NEPTUNE – Tips & Tricks: Ideas for Practice

John Kaizan NEPTUNE’s workshop for all levels. Bring a 1.8 and let’s explore how to practice with focus and energy to improve your sound and technique to play the kind of music you want to play!

ElementaryIntermediateAdvanced

Mind/Body

14h00 – 15h10

Workshop: SEIAN Genshin – An Invitation to Koten Honkyoku: Myōan Honkyoku, Chōshi - Investigation of the Heart

In this workshop SEIAN Genshin will introduce basic techniques used to create a rounded and deep sound for shakuhachi and the unique Myōan-style kusabibuki blowing, furi techniques, and vibrato. Participants will learn how to prepare the breath and mind, breathing and blowing techniques, stretching the body, and meditation, through working on ‘Chōshi’. This important piece is played on many occasions, including at the beginning of any practice session, and is often the first piece taught to beginners.

ElementaryIntermediateAdvanced

Great Solos

15h30 – 16h40

Workshop: MIURA Ryuho – Methods of Making Long Jiari Shakuhachi

Shakuhachi making has developed historically based on the instrument makers’ experience. In the West, the rational application of the study of the acoustics of musical instruments led to improvements in their construction. In his personal shakuhachi making methodology, MIURA has applied basically the same concepts and methods of Western wind instrument manufacturing, and has succeeded in improving the structure of long shakuhachi, which in the past was considered to be impossible. In this workshop, he will discuss and explain these improvements.

ElementaryIntermediateAdvanced

The Thing

17h00 – 18h00

Lecture: SHIMURA Zenpo – Shakuhachi Gaku: Historical Development and Mitotic Changes

‘Shakuhachi gaku’ is a term indicative of all music played on shakuhachi. It therefore includes koten honkyoku, sankyoku ensemble music, jazz and so on. The term ‘mitotic changes’ signifies the fact that historically many musical genres emerge and the construction of the instrument changes gradually in order to support the music and thereby progress in various directions.

ElementaryIntermediateAdvanced

The Thing

10h00 – 18h00

Shakuhachi Bazaar WSF2018

A WSF is also a great opportunity to stock up, for example, on difficult to obtain shakuhachi CDs, notation and, with many of great makers being present, an excellent time to purchase a new instrument or other merchandise.

The Shakuhachi Bazaar WSF2018 in RHB 150 provides materials from a variety of sellers and is open all day. There, you will also be able to get that official WSF2018 T-Shirt!

Shop RHB150

13h00 – 14h00

Lunchtime Concert

Concert Programme:

  1. Gunnar Jinmei LINDER, shakuhachi; FUJIMOTO Akiko, shamisen – Kiku no Tsuyu (HIROHASHI Koto)
  2. KODAMA Hiroyuki, shakuhachi – Nana-dan Tsuru no Sugomori
  3. Aomori Min’yō Association & The Min’yō Team – Min’yō (folk songs)
  4. OKUDA Atsuya, shakuhachi – Nerisaji
  5. Michael Soumei COXALL, shakuhachi; KITAMURA Keiko, koto – Yoru no Uta (HISAMOTO Genchi)

Golden Oldies/Great Solos

20h00 – 21h30

Grand Finale Concert

Concert Programme:

Foyer, pre-concert: Komuso troupe – Tamuke

  1. GROUP PIECE, Participants & Soloists – A Thousand Bamboo in a Dancing Wind (Verity Lane) commissioned by WSF2018 première
  2. David Kansuke II WHEELER, shakuhachi; WATANABE Okahana, koto; HAGIOKA Yuko, koto; SASAKI Chikanoshamisen – Ōmi Hakkei (YAMADA Kengyo)
  3. ISHIKAWA Toshimitu, shakuhachi; KIKUCHI Naoko, koto – Kagen Hisho (HIGO Ichiro)
  4. Winner of Hōgaku Journal International Shakuhachi Competition – tba
  5. KAWAMURA Kizan, shakuhachi; MIYAZAKI Mieko, koto – Zangetsu (Minezaki KOTO)
  6. FURUYA Teruo, KAKIZAKAI Kaoru, MATAMA Kazushi, shakuhachi – Fudo (KINEYA Seiho)
  7. KURAHASHI Yodo II, shakuhachi; TANABE Shozan, shakuhachi; SUGAWARA Kuniyoshi, shakuhachi; KIMURA Yoko Reikano, shamisen; KIKUCHI Naoko, MIYAZAKI Mieko, KITAMURA Keiko, KURAHASHI Ayako; KIMURA Yoko Reikano; TAKAHASHI Gaho kotos (13- and 17-string); George Barton, percussion – Shakuhachi Concerto (Marty REGAN) première
  8. SUGAWARA Kuniyoshi, shakuhachi; KIKUCHI Naoko, jushichigen – Dosei (SAWAI Hikaru)
  9. Riley LEE, shakuhachi – Raft Song at Sunrise (Ross EDWARDS)
  10. ZENYOJI Keisuke , shakuhachi; WATANABE Okahana, koto; HAGIOKA Yuko, koto; SASAKI Chikano, shamisen – Matsukaze (NAKANOSHIMA Kengyo)
  11. FURUYA Teruo, shakuhachi – Ukigumo

Mixed Programme

17h00 – 18h15

Afternoon Concert

Concert Programme:

  1. TANABE Shozan, shakuhachi; MIYAZAKI Mieko, shamisen – Kai (MIYAZAKI M.) première
  2. Steve COHN, shakuhachi – Solo improvisation: One Man’s Language
  3. SEKI Ichiro, shakuhachi; KURODA Reison, shakuhachi; KAWAMURA Kizan, shakuhachi; OBAMA Akihito, shakuhachi – Composition for 4 shakuhachi based on Japanese folksongs (SEKI I.) première
  4. Horacio CURTI, shakuhachi – Interludes from ‘Home is Now’ (H. CURTI)
  5. Cornelius BOOTS, shakuhachi – Green Swampy Water (C. BOOTS)
  6. Jim FRANKLIN, shakuhachi & electronics – Bata-kusai (Daniel Ross, 2018) première

New Sounds/New Horizons

13h00 – 14h00

Lunchtime Concert

Concert Programme:

  1. Elizabeth BROWN – Dialect (E. BROWN) première
  2. Zac ZINGER, shakuhachi; Alan BENZIE, piano – Jazz improvisation
  3. Adrian FREEDMAN, shakuhachi – Seijaku, Stillness (A. FREEDMAN)
  4. ORIMO Sabu, shakuhachi; Jennifer ALLUM, violin – Duo Improvisation
  5. HOSHIIDA Ichizan, shakuhachitba
  6. KURODA Reison, shakuhachi; John EDWARDS, double bass – Duo Improvisation

New Horizons

Schedule & timetable downloads

All days in timetable/quick overview format: PDF DAY 1 | PDF DAY 2 | PDF DAY 3 | PDF DAY 4 [v. 29.07.2018]
All workshops in room by room format: PDF
All lectures in lunchtime/afternoon format: PDF
Goldsmiths campus map – WSF2018 locations: PDF

WSF2018 FESTIVAL PROGRAMME: Full PDF

WSF2018 room guide

Great Hall – Great Hall, Richard Hoggart Building (Main Building)
Town Hall – Deptford Town Hall Council Chamber
St James – St. James Hatcham Building
LG 01, LG 02 – Lecture Hall 1 & 2, Professor Stuart Hall Building
RHB 163, 164, 167, 168, 280, 281 – Teaching Rooms, Richard Hoggart Building (Main Building)
Shop – RHB 150, Richard Hoggart Building (Main Building)

Notes

première special commissions and new compositions written for the WSF2018 in London.


Elementary assumes that the player can obtain kari notes in otsu with reasonable security, is familiar with kan notes, even if still learning to produce them reliably, and has some basic idea of meri notes, even if intonation may be unstable.

Intermediate assumes that the player is secure with kari notes in otsu and kan, and is capable of producing meri notes reliably in both octaves, with reasonably reliable intonation

Advanced assumes that the player has a high degree of proficiency and control in production of meri and kari tones in otsu and kan, and is familiar with daikan notes. Intonation is reliable and stable, with good control of shaping and shading of dynamics, timbre and pitch.

Please note: It is sometimes useful for participants to attend workshops at higher level than that at which they find themselves. If one attempts to play at least slightly beyond one’s perceived capacity, one often discovers that, particularly in the synergy of a group workshop, one is carried by the group to a higher level. Additionally, even if one cannot play at the required level, the experience of hearing a piece taught by an expert teacher and of hearing more advanced players working on it can lead to insights into the nature of one’s own limitations and how to overcome them. So simply sitting in on and listening to a workshop at a higher level can be a valuable experience.

For an outline of the 5 Themes (Great Solos, Golden Oldies, New Sounds, New Horizons and The Thing) please see our About WSF2018 page.

Goldsmiths Campus map