This year, the World Shakuhachi Festival (WSF 2018) will be held in London on 1-4 August, organised by the European Shakuhachi Society (ESS). It’s the first time it will take place in Europa, after Japan, the USA and Australia. I’m very excited to go and take part of this big event. This is my first time at a WSF. There will be shakuhachi players and makers from all around the world, from amateurs and students to top soloists. A lot of different styles will be represented: traditional, folk music (Min’yō), jazz, contemporary, improvisation, and there will be other Japanese instruments (koto, shamisen) as well as Western instruments. Inspiring! We’ll be blowing a lot of sounds 4 days long, during workshops and concerts. A bit overwhelming when you think of it. And quite a challenge for an instrument originally dedicated to meditation, breathing and silence…
Daniel Seisoku Lifermann and myself will be representing the Hijiri School, as our master Fukuda Teruhisa cannot attend the event. It’s the first time that our small school will be officially represented at the WSF, next to the bigger and more famous schools as Kinko-ryū, Kokusai Shakuhachi Kenshukan (KSK) and Tozan-ryū. I’m quite curious to see how it will be perceived. We’ll do our best! Continue reading World Shakuhachi Festival 2018 London
In January 2018, the new CD of Fukuda Teruhisa has been released. I was waiting for this CD to come out since I heard his concert in November 2015 in Genève (Switzerland) and was totally mesmerised by it. So, of course, this post is not an objective review, but just some personal impressions I’d like to share.
Fukuda Teruhisa is well known for his interpretations of contemporary music. He recorded several CD of it. As for the traditional repertoire, his discography features a solo CD of “Kinko-ryū pieces” and a Sankyoku CD “Music of the Edo period” (trio with koto and shamisen). But this is the first CD where he only plays Koten honkyoku, meaning very old traditional music. Continue reading CD “Japan: Musical Offering” – Fukuda Teruhisa
I’ve been performing since I’m fifteen, and I’ve never learned how to do it. I didn’t even think there was something to learn about it. However, when you think back to how many people get nervous when they have to perform, from good anxiety to total panic that they have to calm down with medicines or even stronger stuff, you start to ask yourself whether there might be somehow something to learn about it. I can still remember moments of total panic during competitions and it didn’t feel good. Playing music shouldn’t lead to this amount of stress. At a lower level, I also experienced the frustration of practicing so hard for a lesson and then not being able to play the way I wanted when in presence of my teacher and the other students. So, is there something you can do about it?
Continue reading Performances
In a few days the annual European Shakuhachi Summer School will begin gathering almost 60 shakuhachi aficionados (teachers and participants) together from all over Europe and with Maekawa Kogetsu as an representation of Myōan and Kinpū ryū. And it all happens in the small provincial town Vejle, Denmark – out in the fringes of Europe. Hurray for celebrating shakuhachi all over Europe! See you there! Kiku Day, Chair of the ESS.
I’m very honoured to be invited to this ESS Summer School where I will teach solo and group pieces from our Hijiri-kai school. The venue is a boarding school, which will enable us to blow and spend time together as a group. There will be a lot of different styles represented, traditional and modern music, solo and chamber music, pieces with koto, improvisation and original compositions. It is a great opportunity to listen to a lot of music and meet each other.
Although a big part of the traditional repertoire of shakuhachi consists in solo pieces (honkyoku), blowing together is very important in our school. Fukuda-sensei is tirelessly writing new pieces and arrangements for us when we gather in the Summer Schools organised in France by Daniel Lifermann for La Voie du Bambou. I’m very pleased to share some of his music and the spirit of it this summer in Denmark.
These pieces are meant to be performed by players of all levels, everyone playing according to his capacities. Generally, there isn’t a fixed rhythm except the rhythm of the breath (like in most of the honkyoku music), which allows some fuzziness, like a natural echo or reverberation. Playing together means listening to each other in order to tune in one multiple voice. It’s very good to confront your pitch control with the others’!
Here are the pieces: Continue reading ESS Summer School 2017
It’s not always easy to find the right instrument, like to find the right partner for life. Sometimes you have to travel far away.
I started music with the recorder lessons of the primary school and I loved it (while most of my friends didn’t). But at that time, my fascination went to the piano, because of my mother’s LP’s I liked so much to listen to. Piano at home was no option so I ended up learning transverse flute at the local music school. When I was around 15, my godmother showed me that there existed other flutes in the world with bringing me back a flute from Nepal. Couldn’t do much with it but I found it nice with its decorations. Some years later, when I heard a musician playing a kind of transverse flute in Senegal, I went to meet him and bought one of his flute. My collection had started. The sound of this flute still evokes the memory of the land where I was born.
Continue reading Flutes
In the coming months, I’ll be performing in 5 different projects, which shows the diversity of possibilities of playing shakuhachi:
The Requiem of Karl Jenkins, May 4 in Middelburg (NL), Japanese tales, May 12 in Rotterdam and July 2 in Den Helder (NL), Les Petites Peurs, mixed media installation, May 20 in Rotterdam (NL), Les Cordes en Ballade, classical music festival, July 11 in Bourg-St-Andéol (FR) and The European Shakuhachi Society Summer School, July 27-30 in Vejle (DK).
Continue reading Agenda May-July 2017
The Requiem (2004) of Karl Jenkins is a very special piece to me. It is written for orchestra and choir (with a soprano solo part) and shakuhachi. In addition to the usual movements of a Requiem (Latin mass for the soul of the dead), Jenkins chose 5 Japanese haikus (poems) about the cycle of life and death. These poems are sung by the women of the choir, accompanied by the orchestra and a solo shakuhachi part. The music is written in Western notation, and can be played by a transverse flute instead, if there is no shakuhachi player. Of course, the effects and colours are then totally different. The Western notation allows the shakuhachi player to choose his/her own fingerings and lengths of flutes and go deeper in the music by making his/her own interpretation. This piece allows me to use my classical background as a flutist to perform Japanese shakuhachi in a classical music setting, uniting my two musical worlds.
I’ll be performing this piece on March 18 in Ede and on May 4 in Middelburg (The Netherlands). A nice opportunity for the audience to discover the shakuhachi “live”.
Continue reading Karl Jenkins – Requiem