Nishigata Akiko / Sangen - Atarayo ni -

[Machine Translation] The moon and flowers of the Atara Yoru night are the same as the moon and the flowers of the Atara Yoru night. This is a CD produced by the "Atara Yoru Project" team, which presents the "classical world" of Akiko Nishigata, who has been running in the world of contemporary music. Akiko Nishigata/Sangen & -Atara Yoru (Atara Yoru)" is an album full of the charms of the classics, selected from Akiko Nishigata's program of solo recitals abroad to introduce the rich diversity of koto and sangen music, and with the most suitable supporting performers including Suzumo Aoki II, Japan's greatest living national treasure. The album is full of the charms of the classics. In koto music, the sangen is an instrument that accompanies the koto, but its range of expression is significantly greater than that of the koto, and it plays an important role in supporting the main actor's songs (stories). Yamada Kensaku, in particular, was a master of the sangen. Yamada Kenkaku, in particular, is a master of the sangen (three-stringed instrument), and he skillfully incorporates the characteristics of Edo joruri, effectively using its distinctive techniques to heighten the dramatic scenes of his works. Please enjoy this gorgeous, gorgeous, and delicate performance of a classic. Akiko Nishigata learned the Yamada style of koto music from her mother (Nishigata Bikei) at an early age. She entered the Department of Traditional Japanese Music at Tokyo University of the Arts, where she studied under Professor Kinichi Nakanoshima. After graduation, studied under Shokuni Kineya. Studied shamisen music in general. In 1967, he became the music director of Ken Takeuchi's theater company "Hyogenza"; in 1970, he organized "Akiko - No.1" AKIKO IN CLASSIC KOTO; in 1975, he wrote and directed a traditional Japanese music play "Gosei Komachi" by Ken Takeuchi; and in 1976, he directed a Japanese traditional music play "Gosei Komachi" by Ken Takeuchi. Since 1975, he has been presenting a series of recitals of contemporary shamisen music, commissioning new works from leading composers and premiering many new pieces, opening up new areas of shamisen music. In 1980, he founded the Gendai Sankyoku Ensemble, which performs throughout Europe. In 1980, he formed the "Contemporary Sankyoku Ensemble", which performs throughout Europe. He has held the 1st & 4th "Ensemble for Contemporary Sankyoku" in Tokyo, Japan, "Kyara no Aroma" classical concerts in 2002 & 2003, "Wane Live" in 2003, "Ichimen no Rape Flower" concerts in 2004, "Classical Concerts" in 2011, and "Pamusi" concerts in 1979.

「あたら夜の月と花とをおなじくは あはれ知れらむ人に見せばや」(後撰和歌集より)明けてしまうのが惜しいほど美しい夜に、千変万化に際立つ三絃の音を聴く。現代音楽の世界を疾走して来た西潟昭子の「古典の世界」をあらためて披露する「あたら夜プロジェクト」チーム制作のCDです。「西潟昭子/三絃&～可惜夜(あたらよ)に～」は、西潟昭子が海外でのソロリサイタルで、多様性に富んだ箏曲、三絃の魅力を紹介すべくプログラミングされた中から選曲し、日本最高峰の人間国宝・二代青木鈴慕をはじめ、この上ない最適な助演者を得て、古典の魅力満載のアルバムとなっています。箏曲における三絃は、箏に付随する位置付けの楽器ですが、その表現の幅は箏より著しく大きく、主役の歌(物語)を支える重要な役目を担っています。特に山田検校は「三絃の名手だったか!」と思わせるほど、江戸浄瑠璃の特色を巧みに取り入れ、その特徴的な手法を効果的に扱い、作品のドラマティックな場面を盛り上げています。豪華で華麗、繊細な古典演奏を「可惜夜に」お楽しみください。西潟昭子(にしがた あきこ)幼少より山田流箏曲を母(西潟美溪)より習得。東京藝術大学音楽学部邦楽科入学、中能島欣一教授に師事。卒業後、杵屋正邦師に師事。三味線音楽全般について学ぶ。五線譜で演奏可能な即戦力を身につけ、同時に日本伝統音楽の様々な定型を習得。1967年より竹内健主宰 劇団「表現座」音楽担当を務める。1970年「昭子―その1」AKIKO IN CLASSIC KOTOを開催。1975年竹内健作・演出 邦楽劇「碁聖小町」、1976年邦楽劇「御堂関白夢日記」を上演。1975年より現代作品を中心とした三絃リサイタルを第一線の作曲家らに新作委嘱し、多数の初演を行い、三味線音楽の新しい領域を開く。1978年よりアジア、ヨーロッパ、USA、メキシコ各地でリサイタル多数。ISCM(国際現代音楽祭)、ACLA、国際尺八音楽祭などの国際音楽祭に特別出演。1980年「現代三曲アンサンブル」結成。ヨーロッパ各地で活躍。東京にて第1回&第4回「現代三曲アンサンブル」開催。2002年&2003年古典ライブ「伽羅の香り」開催。2003年「和音ライブ」開催。2004年より「いちめんの菜の花」コンサート開催。2011年より「古典の会」開催。1979年パンムジー