SIMURA Zenpo Satosi
Takiotoshi, (The Waterfall) is one of the thematic pieces for today’s concert. SIMURA Zenpo Satosi performs this old version with a ji-nashi (no lacquer in the inner bore) shakuhachi, a simply made instrument without the resilient urushi lacquer coating on the inside bore.
at "Chihan'an", Izu-Oohito, Shizuoka, Japan on 3/October/2009
© IWASA Eiichiro, Chihan Art Project
Oct 10, 2009
02-2_Myôan Taizan Style Honkyoku: Takiochi
SIMURA Zenpo Satosi
Takiotoshi, (The Waterfall) is one of the thematic pieces for today’s concert. SIMURA Zenpo Satosi performs this old version with a ji-nashi (no lacquer in the inner bore) shakuhachi, a simply made instrument without the resilient urushi lacquer coating on the inside bore.
at "Chihan'an", Izu-Oohito, Shizuoka, Japan on 3/October/2009
© IWASA Eiichiro, Chihan Art Project
Takiotoshi, (The Waterfall) is one of the thematic pieces for today’s concert. SIMURA Zenpo Satosi performs this old version with a ji-nashi (no lacquer in the inner bore) shakuhachi, a simply made instrument without the resilient urushi lacquer coating on the inside bore.
at "Chihan'an", Izu-Oohito, Shizuoka, Japan on 3/October/2009
© IWASA Eiichiro, Chihan Art Project
03-1_Kinko Style Honkyoku: Takiotoshi no Kyoku
Christopher Yohmei
This version, from the more refined Kinko style, differs considerably from the previous Myôan version and is played on a modern shakuhachi with the inner bore coated in urushi lacquer. The difference is a brighter, more penetrating sound.
at "Chihan'an", Izu-Oohito, Shizuoka, Japan on 3/October/2009
© IWASA Eiichiro, Chihan Art Project
This version, from the more refined Kinko style, differs considerably from the previous Myôan version and is played on a modern shakuhachi with the inner bore coated in urushi lacquer. The difference is a brighter, more penetrating sound.
at "Chihan'an", Izu-Oohito, Shizuoka, Japan on 3/October/2009
© IWASA Eiichiro, Chihan Art Project
03-2_Kinko Style Honkyoku: Takiotoshi no Kyoku
Christopher Yohmei
This version, from the more refined Kinko style, differs considerably from the previous Myôan version and is played on a modern shakuhachi with the inner bore coated in urushi lacquer. The difference is a brighter, more penetrating sound.
at "Chihan'an", Izu-Oohito, Shizuoka, Japan on 3/October/2009
© IWASA Eiichiro, Chihan Art Project
This version, from the more refined Kinko style, differs considerably from the previous Myôan version and is played on a modern shakuhachi with the inner bore coated in urushi lacquer. The difference is a brighter, more penetrating sound.
at "Chihan'an", Izu-Oohito, Shizuoka, Japan on 3/October/2009
© IWASA Eiichiro, Chihan Art Project
03-3_Kinko Style Honkyoku: Takiotoshi no Kyoku
Christopher Yohmei
This version, from the more refined Kinko style, differs considerably from the previous Myôan version and is played on a modern shakuhachi with the inner bore coated in urushi lacquer. The difference is a brighter, more penetrating sound.
at "Chihan'an", Izu-Oohito, Shizuoka, Japan on 3/October/2009
© IWASA Eiichiro, Chihan Art Project
This version, from the more refined Kinko style, differs considerably from the previous Myôan version and is played on a modern shakuhachi with the inner bore coated in urushi lacquer. The difference is a brighter, more penetrating sound.
at "Chihan'an", Izu-Oohito, Shizuoka, Japan on 3/October/2009
© IWASA Eiichiro, Chihan Art Project
05_Taizôkai
composed and performed by Christopher Yohmei
The Taizôkai is one of two seminal mandalas used in the esoteric (mikkyô) sect of Shingon Buddhism. A central figure (Dainichi Nyorai) is surrounded by 12 radiating sections, each filled with various Buddhist deities. When Yohmei first saw this mandala, as a young man, he experienced the repeated images as tones; each one a reflection of the other and the total mandala as a composition reflecting the self. This piece is performed on a modern ji-nashi shakuhachi.
at "Chihan'an", Izu-Oohito, Shizuoka, Japan on 3/October/2009
© IWASA Eiichiro, Chihan Art Project
The Taizôkai is one of two seminal mandalas used in the esoteric (mikkyô) sect of Shingon Buddhism. A central figure (Dainichi Nyorai) is surrounded by 12 radiating sections, each filled with various Buddhist deities. When Yohmei first saw this mandala, as a young man, he experienced the repeated images as tones; each one a reflection of the other and the total mandala as a composition reflecting the self. This piece is performed on a modern ji-nashi shakuhachi.
at "Chihan'an", Izu-Oohito, Shizuoka, Japan on 3/October/2009
© IWASA Eiichiro, Chihan Art Project
Oct 8, 2009
Christopher Yohmei Blasdel comments
Christopher Yohmei Blasdel comments on the concert.
© IWASA Eiichiro, Chihan Art Project
© IWASA Eiichiro, Chihan Art Project
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