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TAKAHASHI KUZA
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Takahashi Kûzan, symbolic figure and true legend, called during his lifetime God of Shakuhachi left his print on the history of the Japanese music. Born in Hokkaidô in 1900, he is initiated since his youth in Jû-jutsu (bare fisted fight), Ken (fencing), Naginata and Yari (lances), Shuriken (projectiles), Yumi (archery), etcc to become among other things Grand Master of Budô of the school of Yagyû Shin-Kage-ryû (๖ถVAฌ) as well as other prestigious schools. He travels through Japan (าCs pilgrim of warrior monks) in order to meet the last Grand Masters of the Fuke-shû. It is during this spiritual quest that he meets Miyakawa Nyozan, Okazaki Meidô, Katsuura Shôzan, Kobayashi Shizan as well as others who transmit him the secrets of Fuke Shakuhachi. Grand Master of Shakuhachi, Budô, Zen and calligraphy, he symbolizes by excellence the essence and spirit of Japanese arts. |
It is mentioned in the document "The temple Myoan of the Mountain Kyorei" written by Tsukamoto Kido that "Kûzan was transmitted with the essence of Shakuhachi from Kobayashi Shizan, Okazaki Meidô, Katsuura Shôzan, and mastered the art of the different schools Kinpû-ryû, Kaidô-ryû, and Nin-ryû. It is said that he received the transmission of more than 250 pieces of the traditional repertory. His playing was different from Nyozan and he is the greatest and the most recognized player of the modern age."
Famous and
single character, his name is mentioned in the romance of Nakasato Kaizan
gDaibosatu-tôgeh whose one volume will be adapted thereafter to the
cinema. It is in this film that one
can appreciate the Kokû play, masterpiece brilliantly interpreted
by the maestro.
In 1961 he
introduced in Europe (he spoke 6 different languages) Shakuhachi, during a
travel as the representative of the musical association of Japan. One remembers in particular
certain spectators crying of emotion by listening to these recitals. Also
through these various appearances, as many amateurs of music, as of famous
musicologist were attracted and deeply marked by this contemplative music
coming from the Far East.
In 1972, he
is invited to represent the Eastern music for the festival of the culture
and arts organized during the Olympic Games of Munich. He interprets in
particular with the television the two traditional parts Kokû and
Kyorei.
Besides his
activities as the successor of the Great Fuke School, he is known for his
science of the music and his master of different instruments of music such
as Hitoyogiri, Satsuma Biwa and Hichiriki.
One owes him the arrangement of the Kokû
part (๓)and 11 other parts, that gave place to
an imposing orchestral representation.
Even though
his efforts to transmit the secrets of the orthodox teaching, he made
Shakuhachi possible to evolve to new horizons.
His book
g History of Fuke-shû Shakuhachih, fruit of his research and
experiments is one of the rare manuscript treating of the history, of the
principles of thought and music of the great orthodox school.
Albums:
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|ฬฟซ@TAKE NO HIBIKI Take no Hibiki or Echo of Bamboo | |
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