Bosatsu - Die internationale Shakuhachi Gesellschaft

Bosatsu

Taniguchi Yoshinobu
Tai Hei Shakuhachi - CSS-1
2001

Track	Titel	Kanji	Länge	Künstler
1	Akita Sugagaki (Taizan Ha)	秋田菅垣	16'44	Shakuhachi: Taniguchi Yoshinobu
	"Sugagaki" is a style of koto playing that originated in Gagaku (Imperial Court Music) which was popular about one thousand years ago. This song was made into a Kinko sect honkyoku by Kurosawa Kinko and is the Fudaiken transmission from Fudai Temple in Akita City in northern Japan. This piece has a typical Kinko style with much repetition and should be played strongly with precision.
2	Koden Sugomori	古伝巣籠	08'32	Shakuhachi: Taniguchi Yoshinobu
	This is a version of The Nesting of the Cranes is also known as Godan Sugomori as well as Suzuru. There are many versions of Sugomori coming from various regions of Japan. Many have names linking them to their respective locales: ashu Den Sugomori in Hokkaido, Nezasa Kinpu Ryu Tsuru no Sugomori in the north and Sokaku Reibo are just a few examples. The word "koden" in the title comes from the character "furui" meaning "old" and "tsutaeru", "to transmit". Koden honkyoku generally refer to older songs that predate Kinko and Koten honkyoku. This piece has five distinct sections or dan and is characterized by flutter tonguing. It incorporates a special fingering technique (koro-koro) and requires unique breath modulation.
3	San'ya (Don't know which version)	三谷	07'55	Shakuhachi: Taniguchi Yoshinobu
	"Three Valleys" is the direct translation of this title which depicts the journey of a monk through the trials and challenges of an existence filled with highs and lows. The analogy extends to our everyday lives. This song has four distinct high spots ( Ri/Ee and Hi/Ee) which give form to the piece. The beginning three or four phrases are in the lower octave and should be played wit_ poise and balance. Be sure to take unhurried deep breaths, as if you are refreshed and just starting out on a journey. The song switches to the upper register which mimics the lower octave. Later, speed and variation are added with a return, at the end, to the original feeling of the piece, as if one has gotten used to these ups and downs that life brings and has found a way to keep a sense of balance throughout.
4	San'an	産安	06'02	Shakuhachi: Taniguchi Yoshinobu
	Folklore has it that when the wife of a shakuhachi player became pregnant, he would pass grains of rice through his flute and play this song while cooking the rice for his spouse as an offering for safe birth. Some Buddhist sects believe that at a certain level one's soul or spirit chooses one's parents and karma determines the place and/or conditions into which one is reborn. This feeling of wanting to be born safely into the conditions and with the people one chooses is the attitude of prayer involved here. Although many recognizable rhythms make this piece easy to play from memory, interspersed throughout are melodies full of strong passion. This is somewhat different than the image of honkyoku as serenely meditative. Meditative energy can, indeed, be very powerful and dynamic. This song is also the most technically demanding of all the dokyoku. Throwing a unique sound into the middle of a melody that is flowing along smoothly can be a real challenge. From a technical standpoint, linking up sounds that are quite diverse is the big difference between honkyoku that move along slowly and honkyoku that progress at a swifter pace. A word of note: Yokoyama-sensei admitted that he played San An all four times his wife was pregnant, praying for a boy on each occasion! Playing this piece earnestly many times is undoubtedly how he came to master it. Nevertheless, one must recognize some inherent limitations when dealing with the gods as Mrs. Yokoyama gave birth to four daughters!
5	Shishi	獅子	09'40	Shakuhachi: Taniguchi Yoshinobu
	The word "shishi" means "dragon". This honkyoku is taken from the Nezasa sect of shakuhachi. Sometimes called Monju no Kyoku or Monju Bosatsu no Kyoku, this piece is played during the Shishimai or Dragon Dance which is performed to drive away evil spirits. The Monju Bosatsu (Bodhisattva) sits on the left of the Shakasama and is the Deity of Wisdom. In a sense, one must become the guardian of shaka when playing Shishi.
6	Reibo (Shôganken)	霊慕 (松巌軒)	09'48	Shakuhachi: Taniguchi Yoshinobu
	Furin - Breeze Blowing Through the Bamboo Grove Try to become a breeze flowing through a bamboo grove. Feel yourself brush up and around the towers of giant grass bending gracefully. Feel the eerie light created as sun filters down through a canopy of bamboo leaves and experience your freedom in this new existence. At the beginning of the song, you approach the grove and at the end, you exit the grove. Enjoy the timeless space of this progression.
7	Bosatsu	菩薩	11'39	Shakuhachi: Taniguchi Yoshinobu
	Bosatsu was composed by Taniguchi Yoshinobu in 1995 especially for the 2.7' shakuhachi. It contains elements of goreika (Songs of Pilgrimage), koden honkyoku, komori uta (lullabies) and original compositions. "Bosatsu" is an abbreviation for the Sanskrit word "Bodhisattva", a title given to someone of great compassion who seeks to help others reach enlightenment while simultaneously undergoing his or her own spiritual training. Satori or "enlightenment" is an experience of the way to rise above the cycle of life and death. One who works hard to lead a life of love and compassion is a bosatsu. Enlightenment and happiness are always close by and located inside oneself. When we, as incomplete human beings, follow this path in our hearts, we feel great joy in helping each other. Moving one's conscious mind out of the subjective self-centered world and empathetically putting oneself in another's place to experience what they experience from their viewpoint takes much energy and will power, but is one way to create a spiritual bond. Then there is satori; then one is a bosatsu; then there is joy. Being able to have true compassion for all sentient beings is one step on the path to Buddhahood.