発祥 (柘植 元一):

詩 (【翻訳者】 柘植 元一)

八重衣 は下記のアルバムに収録されています

	アルバム	アーティスト
	Abe Keiko Record Set - 08	尺八 : 二世 青木 鈴慕 歌 : 阿部 桂子 三弦 : 阿部 桂子 箏 : 藤井 久仁江
	Araki Kodo III and Fukuda Eika - Collection of Famous Performances - 03	歌 : 福田 栄香 三弦 : 福田 栄香 尺八 : 三世 荒木 古童 箏 : 河田 登宇
	Art of the Japanese Bamboo Flute and Koto	尺八 : Richard Stagg
The original version of YAEGOROMO, the fourth piece in the album, was for shamisen and voice and was created by Ishikawa Koto who was active in Kyoto in the early Nineteenth Century .In spite of being the longest composition known in the sankyoku repertoire, it did not become well-known until it had had a koto-part added by Yaezaki Kengyo, also of Kyoto, who received very active encouragement from Miyahara Kengyo of Kyushu in its completion. Sankyoku is the genre of composition which uses the trio of players above, and their voices, and has its existence purely as a piece of music without being intended for courtly proceedings, drama or festivals. It became widespread first of all in the places of entertainment in the cities and later in the nobles' houses, thus occupying the position of "chamber-music" in Japanese culture. The shakuhachi-part of Yaegoromo would have been added later still, and accurately-notated rhythms were a luxury not yet granted to the contemporary performers of these pieces. The difficulties of obtaining an accurate performance would have been formidable indeed. The shamisen-part was notoriously difficult because of the use of hon-choshi tuning throughout. Pictorial references to the poem can be heard, in particular the rhythmic cloth-beating during one of the instrumental tegoto, and also the sounds of insects by means of hajiki and bachikeshi on the shamisen (plucking the string with the left hand whilst damping it with the hard edge of the plectrum). The poem dates from the Thirteenth Century and is a collection of five waka (31-syllable poems) from Ogura hyakunin-isshu anthology The word koromo (“robe") links the five poems, which also embrace the four seasons. To serve thee I venture into the fields Gathering the spring harvest. On the tumbling sleeves of my robe The snow is falling. Spring Has almost turned to summer As the whiteness Of the drying robes Mantles the holy mountain of Kagu. How fiercely the autumn wind blows Around Mount Yoshino! In the chill Of the village The thudding of the cloth-beaters. By the edge of a rice-field in autumn A hut of rough thatch is one's shelter. Wet through Are the robe's sleeves With the dew of the night. A grasshopper chirps through the cold Of the frosty night. On this rope-matting With only my sleeves for company Must I lie alone?
	Classic Ensemble Music Vol 2	歌 : 矢崎明子 三弦 : 矢崎明子 箏 : 後藤 すみ子 尺八 : 二世 北原 篁山
This piece is well-known as one of the most difficult and the longest pieces of the genre. The poem consists of five waka verses dealing with garments (=koromo, -goromo) selected from Hyakunin Isshu (A Hundred Poems by a Hundred Poets), a very famous and popular anthology compiled in the 12th century. Hence the title of the piece, which means many-layered (=yae) garment. The form of the piece is rather complicated: fore-song, interlude (1), middle-song, interlude (2) and after-song. The two interludes, both being longer than any of the three song sections, are the most important sections to listen to, where instrumental skill flourishes. The original piece for voice and shamisen was composed in early 19th century by Ishikawa Koto, a first rank master of shamisen composition famous for works with extremely intricate instrumental passages. The koto part was added later in the middle of that century by Yaezaki Kengyo, a koto virtuoso who accomplished this style of ensemble music by composing the additional koto parts to almost all of the famous shamisen pieces of the day.
	Fascination of the Koto 5	歌 : 米川 敏子 箏 : 米川 敏子 歌 : 井上 道子 三弦 : 井上 道子 尺八 : 山口 五郎
The text consists of five tanka poems included in the collection "A hundred poems by a hundred poets", all treating garments in connection with the four seasons. A long virtuosity-oriented instrumental interlude (tegoto) is placed between two poems of garments in autumn. Another shorter interlude is placed between the former and the latter parts of the poem dealing with the garments of winter. Insect sounds are imitated in this interlude as a symbol of the season.
	Fujii Kunie, The World of Shamisen and Jiuta Singing 3	三弦 : 井上 道子 歌 : 藤井 久仁江 三弦 : 藤井 久仁江
	Fukami Satomi - Sokyoku Jiuta Shu - 3	箏 : 野坂 惠子 歌 : 深海さとみ 三弦 : 深海さとみ
	Hōgaku Taikei Vol. 3 - Sōkyoku - Shakuhachi 1 (LP 2)	尺八 : 二世 青木 鈴慕 歌 : 阿部 桂子 三弦 : 阿部 桂子 箏 : 藤井 久仁江
	Ikuta Ryu Sokyoku Senshu Volume 03 （下）	箏 : 宮城 喜代子 尺八 : 山口 五郎 三弦 : 矢崎明子 歌 : 宮城 数江
	Ikuta-Ryū Sōkyoku Senshū - volume 5	歌 : 松尾恵子 三弦 : 松尾恵子 箏 : 松尾和子
	Jiuta no Kaori - Fujii Kunie	箏 : 岩田柔柯 尺八 : 山口 五郎 三弦 : 藤井 久仁江
	Kikuhara Hatsuko Zenshu vol. 18	歌 : 菊原 初子 箏 : 菊原 初子 三弦 : 菊原 光治
	Musical Anthology of the Orient, Unesco Collection Vol 1	箏 : 初世米川 文子 尺八 : 初世 納富 寿童
Yaegoromo was originally composed for the Shamisen by Koto Ishikawa around 1820. This composition was later transcribed for the Koto by the great Koto-player Kengyo Yaezaki (d. 1848) and then arranged as Sankyoku (trio for Koto, Shamisen and Shakuhachi). The transcription for the Koto given here belongs to the Tegotomono style in which the melodies are connected with one another by virtuoso instrumental interludes. This composition belongs to the repertoire of the Ikuta School which was founded in Kyoto by the famous Koto-player Kengyo Ikuta in 1695. The five songs, which are based on Japanese poems of 31 syllables (in each of which the syllables appear in the classical order 5-7-5, 7-7), have been brought together under the title Yaegoromo (eight-fold dress) and deal with the moods of the four seasons, each of which is expressed in relation to a certain type of dress. The title can approximately be translated: "Five Seasonal Songs about Dresses". The poems have been taken from the famous anthology "Hyakunin isshu" (One poem by each of a hundred poets) by Teika Fujiwara (1162-1241). The primary musical form is divided into five parts corresponding to the number of poems: 1)Mae-uta - introductory song 2)Tegoto - instrumental interlude 3)Naka-uta - central group of songs 4)Tegoto - instrumental interlude 5)Ato-uta - concluding song The performers are: Koto and song: Fumiko Yonekawa Shamisen: Misao Yonekawa Shakuhachi: Judo N6tomi For your sake, I went into spring meadows to pick the young buds, while snow was falling on my dress. Spring has passed away, and summer is here; white dresses are seen fluttering in the breeze high on Kaguyama. From the Yoshino mountains the autumn wind at dead of night, here where once I dwelt, blows cold through my dress. On autumn fields at rice-harvest time, under a rough shelter, on a coarse-woven mat, my dress is soaked with dew. The crickets chirp! Must I rest alone through the frosty night, cold and on a narrow mat, lonely in my dress?
	Ningen Kokuho Shirizu 5	尺八 : 山口 五郎
	Revived - The Art of Tomii Shunzan	三弦 : 北川雅楽能 尺八 : 富井舜山 箏 : 富井 清美
	Sankyoku	箏 : 米川 敏子 三弦 : 井上 道子 尺八 : 山口 五郎
	Sankyoku Gassō Dai Zenshū vol. 23 (三曲合奏大全集２３)	歌 : 米川 敏子 箏 : 米川 敏子 尺八 : 二世 青木 鈴慕 歌 : 二世 米川 文子 三弦 : 二世 米川 文子
	Seiha Hōgaku-kai Sōkyoku Meisaku-shū #1 - Ishikawa Kōto	尺八 : 二世 青木 鈴慕 三弦 : 井上 道子 歌 : 志甫 雅楽江 箏 : 唯是 震一
	Shakuhachi no Shinzui-Sankyoku Gasso - 02	尺八 : 山口 五郎
	Sōkyoku Jiuta Gassō-shū (disc 3)	尺八 : 五世 荒木 古童 三弦 : 柳瀬和子 箏 : 山本裕子 歌 : 望月雅子
	Sokyoku Jiuta Taikei 30	尺八 : 二世 青木 鈴慕 歌 : 阿部 桂子 三弦 : 阿部 桂子 箏 : 藤井 久仁江
	Yonin no Kai Ensemble - Japan Jiuta	尺八 : 二世 北原 篁山 三弦 : 後藤 すみ子 箏 : 高畑美登子 歌 : 角井節子