a small interruption to the narration of my encounter with Satsumabiwa.
Last month, the English National Opera approached me about playing Satsumabiwa in a recording of a newly commissioned piece. It came as a great surprise to me and an distinct honour.
I was quite nervous accepting, as I play the traditional form of Satsumabiwa – as played in Kagoshima before its introduction to rest of Japan at the end of the 19th century.
Traditional and Modern Satsumabiwa
The form of Satsumabiwa most people are familiar with is a mid-20th century version, popularised by the Biwa master Tsuruta Kinshi and her followers. This happened in many ways thanks to Takemitsu Toru's piece "November Steps" in 1967. This instrument retains the same body but a different number of frets (five), a different number of strings (five), a different tuning and an entirely different way of playing particularly with the left hand.
In any case, I knew going to London would be a good opportunity to make the traditional form of Satsumabiwa better known. I asked to see the biwa part as early as possible to check if it was practical on the instrument I play. This was very kindly arranged.
It turned out this was a short opera with orchestra, including modern Satsumabiwa, chorus and soloists. It was very apparent that the composer had a full knowledge of biwa techniques and was very careful in her work. However, as I was playing traditional Satsumabiwa some minor changes proved necessary and after some consultation with the composer, everything was in order.
Elif Karlidag
The London-based composer Elif Karlidag is also a conductor and pianist. Her musical life began in Bucharest, Romania with further studies under Istemihan Taviloglu at Izmir DEU National Conservatoire in Turkey. She undertook advanced studies in composition and conducting at the Guildhall School of Music and Drama.
Elif has worked with composers such as Michael Nyman and Jocelyn Pook. I enjoyed listening to Elif's playing with ELSE-East London Sound Ensemble, an alternative classical ensemble.
As a Guildhall Scholar she is supported by Talent Unlimited. She is also the current holder of the prestigious John Clementi Collard Fellowship of the Worshipful Company of Musicians which includes among its past recipients such names as Herbert Howells and Lennox Berkeley.
It was very pleasant to meet with Elif – I was eager to learn where her interest in Satsumabiwa came from. In a brief conversation, I gathered it came from a fascination primarily with the sound of the instrument. However, I didn't have the opportunity to speak at length with her on this occasion.
Elif has already written another piece for Satsumabiwa called “Amadera ya” based on a poem by Buson. I look forward to seeing if I can adapt it to the traditional Satsumabiwa.
尼寺や
よき蚊帳たるゝ
宵月夜
Amadera ya,
yoki kaya taruru,
yoizuki yo
A Buddhist nun's temple,
beautiful mosquito nets hang,
night at the beginning of the eight lunar month
The journey
I travelled over by ferry and train a day in advance of the rehearsal. I avoid flying where possible because in the past my instrument was damaged despite having a hard case. The journey was very comfortable. After a good rest at the Clarendon Hotel at Blackheath, I was off to the Warehouse in Waterloo for a rehearsal the next morning.
The first day, I met with the conductor Chris Hopkins and other soloists, Andrew Cronshaw, Magnus Mehta and flautist Clare Jefferis to rehearse our parts.
The following day, the recording took place in Woolwich. It was rather overwhelming to be playing in an orchestra. Elif was present as well and after a short rehearsal with the chorus, the recordings began.
I had a few sections in ensemble with the harpist, Alison Martin. I struggled with one section but after a few takes, everyone seemed to be pleased with the result.
Satsumabiwa and harp
I was very impressed by the Elif’s choice of biwa and harp ensemble. My sister, Triona, has been harpist with the Chieftains since the death of Derek Bell. We've performed Irish harp and biwa duos together in the past and the result has been magical.
In particular, I found the transformation of the nature of the biwa’s tone to be striking. I'm certain this has to do with how the overtones of each instrument complement each other. Harp has a strong fundamental and Satsumabiwa has pronounced higher partials with a weak fundamental.
Introduction to Satsumabiwa
In the afternoon, the ENO made a short educational film about Satsumabiwa with me. I was thrilled with this chance to reach a new audience and explain the instrument. I’d brought formal Japanese clothes with me, and I felt wearing these would give a visual context for the exoticism of the instrument.
As the cherry blossoms are coming into bloom at this time of year, I thought it would be nice to recite the final part of the song Sakuragari – Seeking cherry blossoms.
いざ帰らむと乗る駒の
手綱かいくるその袖に
花のふぶきはかかりけり
Iza kaeramu to noru koma no
Tazuna kaikuru sono sode ni
Hana no fubuki wa kakarikeri
And so, deciding to make my way home, I mount my steed
As I pull the reins, to my sleeve
Cherry blossoms all a flurry clasp, then fall
To capture the image of the cherry blossoms falling, I played the representative fast tremolo section called kuzure as a coda. This musical passage is used to capture action and movement. In this case, I used it to represent the cherry blossoms carried on light gusts of wind. However, it can be used to represent a battle scene, a natural disaster, and a musical instrument being played.
In Japanese culture, cherry blossoms bloom and fall in a very short space of time. To be able to see them more than a week is counted a blessing. In this way, they give a sense of the brevity and fragility of life.
I explained in the film that the instrument was originally played by the samurai in the southern region of Japan known as Satsuma, present-day Kagoshima. I also mentioned that the large plectrum was apparently used by the samurai for self-defence. However, the weight of the plectrum also allowed the player to play the tremolo passages without using force or tension in the wrist.
Finally, the ENO staff asked if I might suggest some instruments the Satsumabiwa is related to and play another instrumental piece. It was nice to wrap up the explanation saying that it was in the same family of instruments as the guitar, lute, oud and pipa.
I then played a piece called "kadobiwa", the 'biwa of the gate'. Historically, this piece was played by blind buddhist monks at the gates of the houses of their parishoners.
To follow
I hope to be able to interview Elif about her interest in Satsumabiwa and post it in the near future. Next week I return to day two of my first encounter....
Comments