22 / 08

16.00 Open Mic and picnic at Kampa Parc

Meeting of lovers of Japanese culture. Voices of the shakuhachi, glitters of Japanese swords and words of haiku lost in the wind.
Open-mic concert of shakuhachi students and teachers. Mr. Nakagawa, Jakub Zeman and their friends will introduce the art of Japanese sword and Czech haiku.
Some tea, salats and what you bring yourself.

18.00 Registration of Masterclass participants

20.00 Opening concert: Crossing the Boundaries, VOLUNTARY ENTRY FEE
The opening concert will show contemporary music for shakuhachi and electronics.
Featured artists: The Magic Carpathians, Christopher Yohmei Blasdel (shakuhachi), Vlastislav Matoušek (shakuhachi), Jim Franklin (shakuhachi), František Týmal (AV performance)

The last concert of Slovak Philharmonic, František Týmal
AV performance, 20'
Film projector as a musical instrument. Found 16mm tapes. Sodium hypochlorite.

Songs from the Lake No.6 ('Spiral Eddies'), Jim Franklin
shakuhachi and live electronics, 7'

24 / 08

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 KikuchiSeizan 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
Naoko Kikuchi
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.

25 / 08

17:00 – 18:00 CONCERT: Itchoken Shakuhachi
Dietmar Ippu Herriger
Spiritual music from Itchoken temple - one of the few temples where the shakuhachi is still being played as a part spiritual practice - performed by Itchoken kaiden Dietmar Ippu Herriger.

18:30 – 19:30 LISTENING SESSION: Connections with Eric Rosenzveig
We'll listen to a variety of musics that show unusual connections. Migrations, influences and hybrids between the worlds of folklore, avante, rock and roll, contemporary classical; east and west, north and south; electric, electronic and acoustic music; experimentation and deep tradition; Indonesia, Laos, Mauritania, Morocco, Brazil, USA, Japan, Congo, South Africa, italy, France and more...

20:00 – 22:30 CONCERT: Inner Landscapes, Contemporary Myths 150/100 CZK

ZeN, Martin Klusák
for shakuhachi, strings and live electronics. World premiere.
Null, infinity, one... silence, hum, tone...
Similarly to the top views of Santini, which owing to their central geometry look up voicelessly to the perfection of Divine, the principal structure of the ZeN composition is the accurate conversion of the mathematical processes, whose forms rise from zero, reach the infinity and then fall again into nothingness. This unwavering, mathematically based ground promotes a man to step out with all his imperfect, but colourful individuality.
Featured players: Jim Franklin (shakuhachi), Christopher Yohmei Blasdel (shakuhachi), Vlastislav Matoušek (shakuhachi)

Kan'otsu, Yamamoto Hôzan
Fujiwara Dozan

Silent/Listen 1, John Palmer
World premiere, composed 2014. 8'
Featured players: Jim Franklin (shakuhachi), Suizan Lagrost (shakuhachi)
Silent/listen is a new series of duos written for the same instrument. As the title suggests, with each silent/listen piece I intend to explore attentive listening in relation to silence and within a musical context delineated by the idiosyncrasy of a specific instrument. 
The focus of all the silent/listen pieces is very much related to the Japanese perception of ‘ma’, that is silence as the source of sound, rather than absence of sound. Starting from ‘ma’ as the inner space of listening, the idiosyncratic techniques of an instrument will be revisited by two performers. 
Silent/listen 1 was written for two shakuhachis and explores the diversity of specific techniques such as vibrati and trill production according to Japanese honkyoku tradition. The performance should resemble a Zen meditation.

Sono no Aki, Kikuoka Kengyō, Yaezaki Kengyō
Gunnar Jinmei Linder, Naoko Kikuchi
This is another master piece of the Kyoto style tegoto-mono, composed for vocals and shamisen by Kikuoka Kengyō (1791–1847), with a koto part added by Yaezaki Kengyō (1776–1848). The piece was first published in 1842. The song text was written by Kōrakuen Shimeikyo (Mitsui Jirōuemon Takahide). This piece is set at in Shimabara, the entertainment area of Kyoto; more precisely, the garden of one of the venues where the concubines would entertain customers (age-ya). The song text is a series of allusions to love, classic literature, and historic persons, using the names of flowers and plants found in the garden. The final lines go: “In the morning breeze before the day breaks/Does not even the sky smell/Of the fragrance of the seven herbs of autumn?” This alludes to the parting (coming and going as the wind) from an impermanent lover (the fragrance, the lingering affection) in the early hours of the morning. The normal time to part was around 4 o’clock, when the morning bell was struck at the temples. It was then still dark enough to hide from curious eyes on the way home.

Songs from the Lake No. 2 ('Ripples', 2014 version), Jim Franklin
shakuhachi, theremin and live electronics. '8

Dancing Phlogiston, for Shakuhachi Solo Daryl Jamieson
Christopher Yohmei Blasdel
This piece was commissioned and premiered by the English shakuhachi player Joe Browning in 2009. There is no pulse to the piece, and tempos are freely interpreted according to the performer's heart and breath.  The piece uses subtle microtones and unstable high pitches together with intervals of silence interspersed with sound. Dancing Phlogiston ("phlogiston" was a substance supposed by 18th-century chemists to exist in all combustible bodies) can be seen as a series of short pieces;  a suite of undeveloped motifs. The impression for the piece is based on a haiku written by the composer: In a cat's eye/I see reflected/dancing phlogiston.

Kaze no Uta, Sawai Tadao
Antonio Enzan Olías, Naoko Kikuchi
Kaze no Uta (1970) means Song of the Wind. This pieces represents the essence and the energy of the wind where the shakuhachi and koto try to imitate its sounds and pure spirit.

22:30 – 23:30 CONCERT: Schola Specialis Familiae, VOLUNTARY ENTRY FEE
Early polyphony from Czech musical sources (Codex Franus, Codex Specialnik, Jistebnice Cancional etc.)

26 / 08

17:00 CONCERT: Shakuhachi Matinee: meet new players, VOLUNTARY ENTRY FEE
We introduce new and interesting shakuhachi players at an afternoon concert to listen to traditional and modern compositions for the shakuhachi.

Kyle Kamal Helou

Sôkaku Reibo
Wolfgang Fuyugen Hessler

Sôkaku means "nest of cranes". This piece belongs to those who were not played in the religious context (Kinko-Ryû). There are twelve sections, in each of which a particular playing technique is treated musically - e.g. korokoro (a kind of double trill), or tamane (flutter-tonguing).

Seizan Osako

Marek Matvija

Jose Danza

20:00 CONCERT: Student Concert: New Friends, VOLUNTARY ENTRY FEE
Selection of pieces taught at the festival concerts will be perfomed by the teachers and their students.

23 / 08

17:00 – 18:00 CONCERT: Fujara & Shakuhachi, 100 CZK
Dušan Holík, Antonio Enzan Olías

18:30 – 19:30 LISTENING SESSION with Pavel Klusák
The Bee Symphony and the Cloud Atlas
Sounds of the real world to be a source of inspiration and materials of nowadays artists; a catalogue of trees, cloudology for the violoncello, and the duet of the hive and human society: we present artists of the London publishing house Touch, which, for thirty years, has been pursuing the music with a relationship to the organic world.

20:00 – 22:30 CONCERT: Zen: Sound and Silence,  150/100 CZK
Spiritual music of the komuso will reverberate the concert hall on the evening of the 25th. Featuring many important players of various historical lineages, this concert will take you on a long journey towards your own self.
Featured players: Fujiwara DôzanChristopher Yohmei Blasdel, Gunnar Jinmei Linder, Vlastislav Matoušek and Jim Franklin

Learn more about Komuso monks and their music.

Kôgetsu-Chô (Tozan Style Honkyoku)
Fujiwara Dôzan
Composed by Nakao Tozan, the founder of the Tozan School of shakuhachi playing, in 1904. The title  refers to a musical lament to the moon, and Nakao Tozan supposedly composed this piece while gazing at the Autumnal moon. The piece consists of three movements, with the first and second movements in free rhythm while the third movement is metered. The free rhythm sections are reminiscent of the old style shakuhachi honkyoku.

Akita Sugagaki (Kinko Style Honkyoku)
Gunnar Jinmei Linder
According to the Kinko Techō, written by Kurosawa Kinko III, as well as other sources, this piece was transmitted from the monk Baiō of the temple Kokū-zan Fūtai-ji (or Fūtai-ken) in Akita Prefecture, and incorporated in the Kinko-ryū honkyoku by the hands of Kurosawa Kinko I. The temple was closed in 1710, on suspicion that a culprit had been kept hidden at the temple. Kinko I was born the same year, so he couldn’t have learned this piece on site. It seems more likely that he met Baiō at some other location during his travels across the country.
The piece can be divided in three sections: the first and third are in the typical Kinko style, but the Sugagaki part in-between these two sections has a more rhythmical character with a discernible beat and subtle ornamentations. The word sugagaki is a musical term that seems to have been used originally in the court music gagaku. It is used to denote a set rhythmical pattern in koto and shamisen music. This part may have been influenced by some local popular shamisen music, but this connection is not certain. According to Yamaguchi Gorō, the word sugagaki was also used to denote a kind of etudes in the hitoyogiri music.

Sagariha no Kyoku (Kinko Style Honkyoku)
Christopher Yohmei Blasdel
While most Kinko honkyoku are played in a slow, expandable rhythm, Sagari Ha no Kyoku is unusual that it maintains a distinct rhythm. Some scholars have suggested that this kind of rhythm (or nori) is reminiscent of the ancient urban festival music of Kyoto. Whatever the connections may be, the beauty of Autumn foliage fluttering down from the trees is well expressed in the soft, steady rhythm and delicate ornamentation.
According to the writings (Kinko Techô)  of Kurosawa Kinko III, this piece was transmitted by Matsuyama Ko at Myôan-ji in Kyoto. There are also pieces with the same name, “Sagariha,” written with different characters for other genres of Japanese music like the hitoyogiri, noh theater or kabuki hayashi, but their relationship to the shakuhachi piece is not certain.

Sokkan (Koten Honkyoku)
Jim Franklin

Plus Myôan Style Honkyoku 

22:30 – 23:30 CONCERT: Electro-acoustic jam session, VOLUNTARY ENTRY FEE
Matouš Hejl, Marek Matvija, Dietmar Herriger et al.