Players at the November meeting 2024 of the Hōsan-kai 奉讃会
at Myōan-ji on Nov. 3rd
Program of the Meeting
At this year's November meeting we were blessed with the best of weather, a bright blue Japanese autumn sky. 45 players or groups from all the major Shakuhachi traditions did participate and they came from all over Japan (and one from Hong Kong). What was surprising was that the long and difficult piece Futai-ken-reibo was played 4 times from players from different groups.
The 23rd Fuke Fūin Kai 普化風韻会 (“Elegant Fuke Gathering”) was held in Kōbe on June 22nd in Kōbe. 44 players were assembled and we played from 10am to 5pm. It is always an intense experience. After the concert we had a relaxing time sharing some food and wine meeting old and new Shakuhachi friends. I played the piece Kyūshū Reibo 九州鈴慕 on a 2.9 Shakuhachi made by Ota Tekizan 太田笛山. Kyūshū Reibo 九州鈴慕
From time to time the question comes up if we ever compose our own pieces or if we ever improvise. And it is a legit question as all honkyoku must have be written down or “composed” if you like at some point or other in history. For the oldest pieces like Kokū or Mukaiji the Legend of the Kyotaku explains that they have been “received” in visions or dreams. But for many others we don’t know their exact origin and only in a few cases the “composers” are known by name (e.g. Ōshū-Sashi). The Myōan tradition of shakuhachi is based on the idea that what we do is not some kind of musical performance, and therefore concepts of “expressing oneself”, “musical virtuosity” or “creativity” do not apply. It seems to be the fundamental mystery about the tradition that what seen from the outside is clearly a musical tradition is denying its musicality from the inside. For me personally it has always been a strong source of inspiration that by playing those melodies that have come down to us thr...
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