Ono Gagaku-kai - Japon: Gagaku (Ocora, 1980)

0:00 Etenraku 9:05 Batô 12:55 Genjôraku 27:00 Gakkaen 39:53 Bairo 44:28 Nasori _________________________________________________________ “This record presents recordings of Gagaku, the oldest form of harmonic music existing in the world today. The term Gagaku signifies “music which is refined, noble and just“ compared with folk music considered as vulgar or primitive. However this designation does not apply to music which is exactly the same in the three countries where Gagaku exists (in China, pronounced Yà Yuè ; in Korea, a-ak ; and in Japan, Gagaku), but rather to music which has two common functions, ritual and profane. Thus in adapting to the aesthetic needs of each country, these three forms of Gagaku have evolved to a point that their common origin is no longer recognizable. In Japan the term includes the Shintoist cult music (Mikagura) and profane erudite music which in its turn is divided into three kinds instrumental music (Kangen), danse music (Bugaku) and vocal music (Uta-mono). As a general rule, a concert program is composed of pieces representing each of the three ; this record presents only instrumental and danse pieces. A Gagaku ensemble is usually composed of 16 musicians : 3 flutes ( Ryûteki or Komabue), 3 oboes (Hichiriki), 3 mouth-organs (Shô), 2 4-string lutes (Biwa), 2 13-sitars (Koto), a small gong (Shôko), a large drum (Taiko) and a drum played with sticks which is used by the orchestra leader. Each instru-ment has a predetermined function, precluding the free orchestration in Occidental music. The flutes and oboes play the heterophonic melody, they may (or may not) be harmonized by the mouth-organs ; the Kotos and Biwas execute melodic formulas transposable according to the mode ; the gong and drum played with sticks assure the periodicity which corresponds to the measure in Occidental music and the large drum indicates the large periodicity. Although there have been modifications throughout the centuries, notably at the time of the musical reforms during the 9th Century, traditional Gagaku music has been maintained to the present time. The Gagaku constitutes then, as does the Shomyo [...], an inalienable part of the musical heritage of Japan, as well as that of mankind. The Gagaku musicians heard in this recording belong to the Ono Gagaku Kaï Society founded in 1887 [...]. This group has contributed not only to the continuation of a traditional repertoire but to the development of a contemporary repertoire as well. 1. Etenraku Orchestral piece, preceded by tuning up in the Hyôjô mode. Etenraku is often referred to as the Gagaku masterpiece, for it has a long and important history [...]. [This] piece has attained such a degree of popularity that the term Etenraku is almost synonymous with Gagaku. Its origin, probably Chinese, remains obscure. Etenraku, often transposed in another mode, is here executed in its original mode, Hyôjô [...]. 2. Bato Dance piece. This is one of eight pieces imported from South Asia in the 8th Century. It is believed that the title Batô comes from the name of the King Pedu. This mythical king of Rig-Veda is supposed to have received a white horse from the twin Gods Asvin in order to escape from poisonous snakes. Thus is seen in the danse stylized gestures representing being astride a horse. From a musical point of view, the particularity of Bata is its rhythm of five beats (2/4 x 3/4 = 5/4) called Yatara-Byoshi. 3. Genjôraku Dance piece. This is one of the best known in the repertoire of Bugaku (dance pieces) and is originally from Western Asia. It is often presented following Bate, as a concluding piece, probably because the dancer executes his movements around a snake, recalling the mythological episode of King Pedu of Rig-Veda. 4. Gakkaen Instrumental piece of Chinese origin from the Tang Epoch (618-907). There is historical evidence that this piece was heard in Japan as far back as 702, testifying that Gakkaen is one of the oldest pieces that have come down to us. [...] 5. Bairo Instrumental piece. Bairo, along with Bata, belongs to the repertoire of eight pieces from South Asia in the 8th Century. It is believed that the name Bairo is an abbreviation of the Sanscrit “Vairo-dhaka“, the Prince who attacked the castle of Buddha’s father. In fact one sees in the dance version four performers armed with lance and shield who pantomime Vairodhaka’s battle. This recording presents the orchestral version of the danse piece. 6. Nasori Dance piece. Nasori, probably originating, in Manchuria, was introduced by Korean musicians in about the 8th Century. This piece is composed of two short movements, executed by one or two dancers whose rapid gestures and golden mask represent a dragon.“ Source: CD booklet _____________________________________ For education, promotion and entertainment purposes only. If you have any copyrights issue, please write to unpetitabreuvoir(at) and I will delete this video.