The International Shakuhachi Festival Prague 2109 (ISFP19) took place one month ago and it was a fantastic event. I had the great honour to be invited by Marek Kimei Matvija to perform and teach and I prepared for this event for months. I put a lot of efforts in my preparations: not only practicing, but also writing teaching materials and composing new pieces. And the festival turned out to be beyond expectations. Continue reading Back from the ISFP 19!
From flute to shakuhachi
I played the Western flute for 40 years, and in 2016, I completely stopped and even sold my instruments (except the G-flute). My flute story was a complicated one, which ended up in peace thanks to the shakuhachi. My flute was the path that lead me to the shakuhachi and I am very grateful for it.
One of the reasons I totally stopped playing the Western flute is the shakuhachi tone quest. At a point, I was blocked in my tone development by the fact of playing the flute. It is a personal choice, some people can play them both. I guess it also depends on what type of sound you are looking for. I am personally not looking for a sound that looks like the Western flute, I am even not looking for a “nice” sound at all. I will definitively never play classical music on shakuhachi! I am looking for all the possibilities of sounds of the instrument and what I can do with each tone, without aesthetic criteria and judgements.
I am looking for freedom.
Another reason is that I had to let go of some habits and reflexes I had with the flute in order to build up another approach of the breath, the sound and the music for playing shakuhachi properly. At a moment, it became too confusing. I like to be fully engaged when I do something. No compromise with the shakuhachi!
But I still love the flute, this old companion, and I enjoy listening to it even more now that I don’t play it anymore (all the competitive and comparison thoughts I had in my head back from my time at the Conservatoire for exams, auditions, etc., are gone!!).
So I am very glad when, two years ago, my friend the flutist Catherine Balmer and I started to discuss the possibility of playing together as a flute & shakuhachi duo.
And here is the result:
Since I started to teach shakuhachi in the Netherlands in 2013, it was a dream for me to invite my master Fukuda Teruhisa and his wife Kineya Shiho (shamisen) to come to Holland. When I got my Jun Shihan diploma in January 2013 with the name Seiyu (wisdom/holy kindness), I didn’t consider it as an achievement but as a start. The beginning of a new adventure in a new land, new language, new rules, new habits, and a new personal life.
Since then, it has been a lot of work here in Holland to build up friendships, a professional network and to find my space in my new country in the Japanese cultural world, as a non-Dutch non-Japanese person. I have got some help and I am very thankful for the people who have been trusting and helping me since the beginning. My efforts, practice and professional performances were rewarded by Fukuda sensei giving me a Shihan diploma in November 2015, which has encouraged me to develop my work even more. Sometimes when I feel down, tired or discouraged by the difficulties, I think of what I have received so far and I see it as a precious gift, which gives me energy to go on.
The World Shakuhachi Festival (WSF) in London was a great place to meet and listen to a lot of different shakuhachi players. On this aspect, it was highly inspiring. Nothing can replace live contact and live sound. Our part-time job at the festival allowed us (Daniel Seisoku Lifermann and me) to devote some time to attend several workshops and lectures, and we took some time in-between to talk to people. I was really happy to see old friends again, meet in real some Facebook friends and make some new friends, even though it was so busy and everything went so fast that it was difficult to go beyond fast contacts. It was really difficult for each teacher to present himself, his style, music and notation in one hour and ten minutes to a bench of students with various backgrounds, knowledge and level. Most of them started with: “I don’t have much time but…”, and somehow, they managed to give an idea of what they wanted to pass on.
As I said before, I couldn’t attend all the workshops and concerts I would have loved to go to. The people I am going to talk about in this post are those I could meet and feel immediately connected to, impressed or inspired by. It is very personal and reflecting my own interests at the moment. They were a lot of great players who were impressive to listen to, and people I just haven’t got the chance to meet this time. So don’t expect an exhaustive list of shakuhachi performers and/or composers here, but just those I particularly hope to stay in contact with, continue to follow their work and inspiration, and hopefully meet again. Continue reading Summer 2018 – WSF London (2)
Back home after an intensive summer of shakuhachi performing, learning and teaching, I’m now catching up on this blog. It is for me a way to reflect and go through all the music and inspiration I received during the different events. I will relate them in different posts, starting today with the World Shakuhachi Festival in London, August 1-4 (which started actually on July 31 with the Opening concert). Continue reading Summer 2018 – WSF London (1)
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?
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.