Kiyoko Miyagi,Reibo Aoki & Natalia Makarova - Michio Miyagi "Haru no umi" (The Sea in Spring)

Michio Miyagi
"Haru no Umi" (The Sea in Spring)
Kiyoko Miyagi - Koto (Japanese Harp)
Reibo Aoki - Shakuhachi (Japanese flute)
Natalia Makarova - Ballet (The Dying Swan)
Photos: Lake Towada, Aomori, Japan

Michio Miyagi (宮城道雄, 1894 - 1956) was a Japanese musician, famous for his koto playing.He was born in Kobe. He lost his sight in 1902 and started his study in koto under the guidance of Nakajima Kengyo II, dedicating the rest of his life to the instrument. In 1907 he moved with his family to Incheon, in South Korea. At 14, in 1909 he finished his first composition, Mizu no Hentai. At 18 he reached the rank of kengyo, the highest rank for a koto performer. Miyagi moved to Tokyo in 1917, and in 1919 he did his first recital of his own compositions. He was reckoned as an authority in the new Japanese music, achieving notability in the early Shōwa period. In 1925 he participated in one of the first radio presentation in Japan. In 1929 he signed an exclusive contract with Victor Record Company, current JVC. He composed his most famous piece, Haru no Umi (The Sea in Spring), in 1929. In 1930 he became a lecturer at the Tokyo College of Music (current Tokyo National University of Fine Arts and Music), until he was appointed professor in 1937. He gained worldwide notability after the issuing of his albums in Japan, USA and UK. After the Second World War, in 1948, he was appointed to the Academy of Arts of Japan. He wrote more than 500 pieces, improved Japanese string instruments, and invented new kotos with 17 strings (bass koto) and 80 strings. He was also an essayist, and published more than ten books including Ame no Nenbutsu.

Kiyoko Miyagi (宮城 喜代子1905 1991) studied Koto under Michio Miyagi in 1918. After that acted with Michio Miyagi as the descendant of him for the succession and development of the Miyagi Arts. After death of Michio Miyagi, taught the many students of Miyagi style as the Miyagi main family and the chairperson of the Miyagi association. Also nourished the younger generation as a professor of Tokyo University of Fine Arts. Kiyoko became the chairperson of Japan Sankyoku Association in 1978 and permitted as "living national treasure" by government in 1983. Kiyoko became a member of the Japan Art Academy in 1986 and received the Third Order of Merit "Zuihou" Prize. Her activities were so wide as the authority of Koto.

Reibo Aoki ll (二世 青木 鈴慕 ) learned shakuhachi from his father, Reibo Aoki I and became head of that lineage in 1975 becoming Reibo Aoki II. Head of the Reibo-kai Shakuhachi Guild, Aoki is an extremely strong, powerful player with a highly disciplined technique. His rich sound and stunning performances in both the classical Kinko style and contemporary music have become a standard in shakuhachi music. Aoki's performances of "Shika no Tone" in tandem with Goro Yamaguchi are considered definitive. The Teizo Matsumura composition "Shikyoku Ichiban" has become a standard of Modern Hougaku Genre where standards are few.
Aoki's first major tour abroad came in 1973, a forty day Japan Foundation sponsored tour of North America and Europe. In 1996 and 1997, Aoki traveled to China as a member of a friendship tour arranged by the Japanese Cultural Exchange Society. Aoki was designated as a "Living National Treasure".

Natalia Makarova (1940 - ) was born in Leningrad in former Soviet Russia. At the age of 12, she auditioned for the Leningrad Choreographic School (formerly the Imperial Ballet School), and was accepted although most students join the school at the age of 10. She was a permanent member of the Kirov Ballet in Leningrad from 1956 to 1970, achieving prima ballerina status during the 1960s. Soon after Makarova defected to the West in 1970, she began performing with the American Ballet Theatre in New York and the Royal Ballet in London. At first she was eager to expand her choreography by dancing ballets by modern choreographers. She remained most identified with classical roles such as Odette/Odile in Swan Lake and Giselle; she was featured in the 1976 live American Ballet Theatre production of Swan Lake, simulcast from Lincoln Center on both PBS and NPR. Makarova continued to excel in many different roles. most notably, her title role in Giselle. She was slim and slight, and combined a delicacy and lyricism with impeccable classical training. "Her performances set standards of artistry and aristocracy of dance which mark her as the finest ballerina of her generation in the West".

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[HM0880]

Wow, that was amazing! The detailed background you always give in the description really helps to appreciate the video so much more. The music was exquisite-- clear and simple but never monotonous. The still photos were gorgeous, and having the dancer appear in a ghostly form gave the whole presentation a mythical quality. Thanks for sharing it with us!!!

[anniesarek]

I love this video. The combining of ballet with the japanese music is unique and beautiful, Satoko,

[zara2255]

Dear Satoko ! Its so wonderful ! Both the music and the dance ! Very artistic video , Japanese culture is GREAT ! Thanks so much for sharing ! :)

[PhillipLWilcher]

Natalia Makarova! I have not seen her dance in so many years. Incredible!

Incredible too the music and imagery here.

Hauntingly beautiful, delicate, beyond reach.

Fascinating to see this all too familiar choreography set against the harmonies of your culture.

Bravo! Thank you so much!

[cuoylyf]

VERY BEAUTIFUL!

[mayatatyana1]

What a beautiful match of music and ballet. Thank you. Maya

[evewiemer]

Dear Satoko,

you are a great video artist. I am very much impressed of this lovely video!

[bonosbones]

I really love this video! It really shows the fusion between Japan and your years of living in the west. It is very nice to see you explore that side of yours.

Enjoy the search :-))

[ginnykaren]

This was lovely!

[cici2288]

bravoooooo

5 ballov

prekrasna

[Superblusero]

Simply beautiful and soothing fairytale.

I loved it. Thank you for posting it.

5 stars and favourite