First Performance Recording of Tokiwazu-bushi
On December 25th, 2020, the Department of Intangible Cultural Heritage made the first sound recording of Tokiwazu-bushi in the Performing Arts Studio of Tokyo National Research Institute for Cultural Properties.
Tokiwazu-bushi, an important intangible cultural property of Japan, was created by Tokiwazu Mojitayu in 1747 in Edo. Its rhythm and pace do not change drastically, and it has a moderate depth. Tokiwazu-bushi has been handed down to the present day in connection with Kabuki and Nihon Buyo. Joruri (the voice part) has a good balance of lines and “fushi or bushi” (lines with the melody), and the shamisen part is played on a chuzao-shamisen with a bachi (plectrum), which has a large hiraki (the tip of the plectrum) that imparts a moderate depth to the sound. Another characteristic of Tokiwazu-bushi is that it has a diverse repertoire, including Danmono (works derived from Gidayu-bushi), those based on Noh Kyogen, Shinju-michiyuki, and works with a comical flavor.
In this session, the entire classical piece “Shinobiyoru Koi wa Kusemono: Masakado” was recorded. Although this is one of the most popular pieces of Tokiwazu-bushi, it is rarely performed in its entirety these days. It is a large piece that takes about 40 minutes to perform, with a clear structure consisting of “Oki” (the part before the appearance of the characters), “Michiyuki” (the appearance of the characters), “Kudoki” (expression of passion), “Monogatari” (narration of the story of the battle), “Kuruwa-banashi” (the red-light district story), “Odoriji” (showpiece of the dance), “Miarawashi” (revelation of the character’s true identity), and “Dankire” (the finale). When performed with the typical characteristics of music, each part of the piece stands out. The performers are the seventh Tokiwazu Kanetayu (the first performer), Tokiwazu Kikumidayu (the second performer), Tokiwazu Hidemidayu (the third performer), the fifth Tokiwazu Mojibei (the first shamisen), Kishizawa Shikimatsu (the second shamisen), and Kishizawa Shikiharu (Uwajoshi, high-pitched melody).
The Department of Intangible Cultural Heritage plans to continue to record pieces that are rarely performed as well as valuable full-length performances.
In keeping with the norms of social distancing to prevent the spread of COVID-19, masks used in Kabuki performances were worn during the recording.