17.00 - 18.00 CONCERT: Indian Classical Music 100 CZK
Famous sitarist Amit Chatterjee will present traditional music of Hindustan
Amit Chatterjee (sitar), Jan Dvořák (tampura)
Raag Bhimpalashree on Surbahar and Vocal Tanpura
Raag Bhimpalashree (also known as Bhimpalasi) brings out the fundamental energies of afternoon as it occurs in nature in its pristine and uncorrupted state. Unlike its parallel, raag Kafi, Bhimpalashree sounds are not much used in folk or light music. The impression is very serious and royal, hence yogic in a powerful way. Not really a relaxation music.
The raag will be played in a traditional form starting with a slow Alap which clearly brings outs the fundamental energies, followed by Jor in pulse and climaxed by a faster, powerfull Jhalla.
Most of the piece is improvised, however, within strict boundaries of the fundamental atmosphere of the raag. That is possible only through a perfect knowledge of the raag rules, mastery of the instrument and a direct connection to the source of the raag.
Raag Mishra Pilu with Raagmala on Sitar and Instrumental Tanpura
Kafi is a basis for a series of raags of the afternoon. Raag Pilu is an important offspring of Kafi. Whereas Bhimpalashree is yogic and royal in nature, Pilu can be both meditational and light. Its sounds are therefore used in semi-classical forms such as thumri and dadra, as well as many folk and artificial songs and compositions. Its primary sentiment is the "noble and broken heart", which is detached and lonesome yet tender and hopeful. Unlike Bhimpalasree, Pilu is very much human oriented, addressing the inner feelings of people's experiences in the world of relationships with others, and the longing to go Home.
Mishra is a free form accommodating instantaneous creativity of the musician who is tapping into the wider field of raags belonging to this group. Raagmala (Ragamala, Ragamalika) means garland of raags. Although Pilu has a distinct identity, it allows for a great deal of freedom in movement, thus making it suitable for presenting "a garland" made of other raags that easily link with its structure. It is similar to an involved jazz improvisation on a theme, however, it is still targeted at delivering a serious and coherent message
A classical form of Indian devotional song.
1) Surbahar – also known as bass sitar, is designed to produce sounds in the low register, similar to the ancient spiritual instrument Rudra Veena.
Although it is very similar to sitar (construction, fundamental playing technique etc), Surbahar is used to deliver a very serious, meditational yet powerful music atmosphere. It is not suitable for entertainment music, therefore it is almost extinct today.
2) Sitar – most popular Indian instrument, versatile in its use, capable of delivering both purely spiritual and light entertainment music.
3) Tanpura – drone instrument used throughout Indian music for accompaniment. It provides a harmonious sonic field inside which the solo instruments / vocals create melodies.
18.00 - 19.00 LISTENING SESSION: Heritage of Y. Hozan, FREE
Associate professor of Yamaguchi University, Mitsuru Saito, will discuss influence of recently deceased National Living Treasure, Yamamoto Hozan, who pioneered musical collaborations between shakuhachi and instruments from different cultures. This is keynote event of the conference.
20:00 – 22:30 CONCERT: Visions of Yamamoto Hozan 150/100 CZ
Fujiwara Dozan, Amit Chatterjee, Suizan Lagrost, Christopher Yohmei Blasdel, Naoko Kikuchi, Seizan Osako, Antonio Enzan Olías
Improvisation - shakuhachi and sitar
Fujiwara Dozan, Amit Chatterjee
Take, Yamamoto Hôzan
Fujiwara Dozan, Christopher Yohmei Blasdel
First published in 1970, this famous shakuhachi duet is in three parts, each one named after a type of bamboo that grows in Japan. The first movement, "Mousouchiku" is slow and stately, like the enormous Mousouchiku bamboo that graces Japan's forests. The second movement, "Wakatake," refers to young bamboo sprouts, full of life energy and capable of growing several inches each day.The third movement, "Hoteichiku," is a kind of bamboo with unique nodal patterns. It is named after one of the seven lucky gods found in Japanese mythology. This kind of bamboo is plaint, strong and used for fishing rods and canes.
Suizan Lagrost, Naoko Kikuchi
After the second world war, Japanese traditional music was more often performed in big concert halls as was done in the west. Consequently, the instruments underwent several changes in order to amplify their resonating qualities: sound box, string materials, koto bridges. This work was composed in 1966 by Yamamoto Hōzan, one of the great post-war shakuhachi masters. It introduces the western custom of movements. Thanks to a perfect knowledge of the instruments, Hōzan succeeds in showing off the most charming aspects of the koto and shakuhachi. Ichikotsu means "pitch of D" and was composed in 1966.
Fujiwara Dozan, Suizan Lagrost, Seizan Osako, Antonio Enzan Olías
Tsuido, Yamamoto Hôzan
Suizan Lagrost, Antonio Enzan Olías
Tsuidô means pair in motion. This piece, written in 1971, is another example of the wide range compositions by the virtuoso master Yamamoto Hôzan. The piece has a very lively and cheerful style and the chosen key is G minor. The middle movement uses the Phrygian mode, with a key signature of three flats. The third and last movement is played in a rapid three-time.
Tori no Yôni
This popular piece by the late koto player and composer Sawai Tadao was written in 1985. The title means "Like a bird..." and the musical scope of the piece is indeed like a huge, beautiful bird soaring in the sky. The piece is made interesting by its complicated rhythms, haunting melodies and detailed techniques. Sawai Tadao was a close friend and musical collaborator with Yamamoto Hôzan.
22:30 – 23:30 CONCERT: Jazz Jam Session, VOLUNTARY ENTRY FEE
Shakuhachi players and Czech musicians, Anežka Matoušková (voice), Klára Pudláková (bass), will meet on the grounds of jazz and improvised music.