Dan-no-Ura by Junko Ueda satsuma-biwa in Caunes Minervois, France

Live recording of the Japanese satsuma-biwa player / singer Junko Ueda performing "Dan-no-Ura" (from the Heike Monogatari) at the Abbey Saint-Pierre-et-Saint-Paul in Caunes Minervois (Aude) France on 3rd September 2011 as part of the "6th Festival Troubadoures chantent l'Art Roman".

Dan-no-Ura: Japanese traditional biwa music
This story represents the climax of Heike Monogatari (The Story of Heike, Japanese famous epic story of 13th century) and describes the last scene of the war between the Heike clan and the Genji clan at the Dan-no-Ura inlet, near Shimonoseki.
On this sea, the battle is reaching its end. Here, both clans show their last energy and courage. The inlet of Dan-no-Ura is fully covered by the boats of Heike and Genji. This scene reminds one to a little waving stream carrying fallen autumn leaves. As Heike is being defeated, the commander of the Heike is still encouraging their warriors, saying "This battle will decide our destiny. Don't grudge your life!" Heike is defeated completely. Most boats of Heike are sunk. The others are floating aimlessly in the Dan-no-Ura inlet. The Heike women, dressed in heavy costumes, commit suicide together with the children by jumping from their boats. Among them are a little boy and his grandmother Nii-dono (the wife of Kiyimori, who is the head of Heike). Before they jump into the water, Nii-dono explains her grandchild (who is the actual present emperor) there is a beautiful capital waiting for him at the bottom of the sea.

Junko Ueda
A musical performance of Junko Ueda extends Japanese ancient sound into modern times. Both the satsuma-biwa story-telling tradition as well as shomyo Buddhist chanting are unique musical treasures which have been passed on from generation to generation.
Junko Ueda, born in Tokyo, Japan, is Japanese singer and satsuma-biwa player, presenting Japanese traditional biwa music (story-telling) and shômyô Buddhist chanting. Ueda studied satsuma-biwa with the famous Kinshi Tsuruta and Buddhist shômyô-chanting with Kôshin Ebihara. She studied composition (under o.a. Jôji Yuasa) at the Tokyo College of Music. Ueda is based in Europe/Japan and has presented her concert, shômyô vocal workshop and other collaborations at music festivals all over the world (e.g. with flutist Wil Offermans; cellist Yo Yo Ma; the Dutch Nieuw Ensemble; and composers Jean-Claude Eloy, Akemi Naito, Keiko Harada). Ueda is also specialized to perform the pieces of Japanese composer Tôru Takemitsu. Her traditional biwa music CDs 'Heike Monogatari' (CD650 VDE/AIMP Geneva) and 'Satsuma Biwa' (ARN64577 Arion, Paris / Ethnomad, Geneva) received several prizes e.g. the Grand Prix du Disque, Academie Charles Cros, Paris and Choc Le Monde de la Musique, Paris.

More info: http://www.junkoueda.com

Category:

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[pinz2022]

I thought it had to be performed by man?

[WINDYSOUNDS]

@pinz2022 This seems to be a more often thought misunderstanding. The satsuma-biwa does can also be performed by women. It is however understandable one may think it should be performed by men, since if we look to the extensive history of the satsuma-biwa, often its history has been dominated by male players. Let's take a closer look to its history (see next reply)

[WINDYSOUNDS]

@pinz2022 The style of the satsuma-biwa originated from the Satsuma region in southern Japan, the present-day Kagoshima prefecture in Kyûshû. In the 16th century, Lord Shimazu encouraged the warriors of the Satsuma clan to learn songs with a didactic content and to play a type of biwa related to the ancient môsô-biwa. To produce a louder and more masculine sound, the instrument's body was enlarged and made of a harder wood - a making which was survived in the present-day satsuma-biwa.

[WINDYSOUNDS]

@pinz2022 At first, this instrument spread among the warriors who enjoyed recounting their heroic deeds. Around the turn of 20th century this regional genre has spread out and was practiced everywhere in Japan. It is said that there were about 30 biwa instrument makers in Tokyo at that time. It became popular more as an entertainment aspect than as a didactic purpose. Probably women players have appeared a little by little at that time.

[WINDYSOUNDS]

@pinz2022 However, by the end of World War II the biwa had become scarce. In the middle of 20th century, Ms. Kinshi Tsuruta restored the satsuma-biwa to favor, for example by interpreting Tôru Takemitsu's famous composition for biwa, shakuhachi and symphonic orchestra, "November Steps". Also, the traditional repertories are carefully chosen, for example emphasizing universal human feeling in the tragic episodes of Heike Monogatari, which can be understood world wide.

[AssSqueeze]

Bring me back to ancient Japan...

[pinz2022]

@WINDYSOUNDS

Awesome! Thank you.