Some months ago, I wrote about my journey to London, at the invitation of the English National Opera, to record a newly commissioned work by Elif Karlidag. The piece was written for solo voices, chorus, orchestra as well as some non-Western instruments, including Satsumabiwa.
I met Elif during my stay in London, and in the course of a very enjoyable encounter, we spoke about the traditional style of Satsumabiwa as originally played in Kagoshima. She was already familiar with the modern Satsumabiwa developed in the 20th century and subsequently popularised by Tsuruta Kinshi and her students.
I was very excited to learn that she had composed a piece for solo Satsumabiwa, as well. She sent me a copy. Looking through it, I was impressed at how thoughtfully it had been composed with a clear understanding of the possibilities of the instrument.
A premiere
On July 11th, I performed this piece at the end of a recital I gave at St Ann's Church in Dublin. This was part of the Thursday lunchtime recital series that takes place throughout the year there.
The piece takes its title, Amadera ya, from a haiku by Yosa Buson 与謝蕪村 (1716-1784).
尼寺や よき蚊帳たるる 宵月夜
Amadera ya yoki kaya taruru yoidzukiyo
A women's temple, fine mosquito net trailing down, the early days of the 8th month
In the introduction to the piece, Elif writes:
"the poem captures a serene and atmospheric scene of a women's temple adorned with mosquito nets, set against the backdrop of a moonlit evening. The imagery evokes a sense of tranquility and introspection, inviting listeners to immerse themselves in the beauty of the natural world."
Haiku - reading the reader
The text of the haiku is written into the score, however, it is not set to music. Elif gives the performer freedom to interpret the text as they see fit.
Haiku communicate so much in such a short poem. I'm fascinated at how a reader can use so much imaginative thought in appreciating haiku that an "interpretation" often tells more about the reader than the author.
Elif's choice to allow the performer this artistic liberty reflects perfectly the philosophical aesthetic found in this literary form, I feel. The performer can be "read" by the audience through the act of "interpreting" the text. Each rendition becomes unique.
A "reading" of Amadera ya
Biwa is associated with certain Japanese literary works. One of these is the Heike monogatari, or Tale of the Heike. This work is the history of the fall of the House of Heike culminating in the Gempei Wars of the 12th Century. One of its over-arching themes is the impermanence of things and the ephemeral nature of life.
I think it is possible to experience this haiku through this theme as well. It goes without saying that the following is in no way authoritative.
In the nun's temple, where one would expect frugality, there is unexpectedly an exquisite mosquito net... Surely someone wealthy or of high status must have had to leave this world and enter into the temple as a nun... I wonder what she is thinking now looking at the moon in the early days of this eighth month in the year... perhaps her life till now... perhaps the life to come....
Season and Biwa
In Japanese culture, being in season is of great importance. When choosing a Satsumabiwa song to perform, it is essential to be aware of whether it suits the time of year. For example, singing a song about cherry blossoms in November in Japan would be out of place. Usually the season or the month is clearly named or alluded to in a song.
Similarly, through their choice of words, haiku poets often "tell" the reader what season or part of a season the poem is set in. In the case of Amadera ya, the seasonal word is yoidzukiyo. It points most likely to the early days of the eighth lunar month according to the traditional Japanese calendar.
Yoidzukiyo is a very beautiful image for me. "Yoi" is the time just after the sun has set and darkness has not quite settled upon the world. dzuki is the moon.
If you are familiar with the moon's cycle of waxing and waning, you may have noticed that at certain times of the year, the new moon is visible for a short while low in the western sky just after twilight, through dusk and into early nightfall. It soon sets below the horizon. Moreover, the moon appears larger when it is closer to the horizon which gives it an additional beauty and presence.
I often stop to enjoy this moment myself.
I really enjoyed learning Amadera ya, and I found the process of preparing it very interesting. In following posts, I want to write a little about this experience. Many thanks to Elif for composing this and allowing me to perform it.
The full recital can be viewed at this link.
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