大倉正之助氏（大鼓）、一噌幸弘氏（笛）による「神秘の世界、能 優美なる調べ」の演奏会が昨日１００人を越えるお客様を迎えて「多賀あさひや」にて行なわれました。両先生方には前日に多賀入りしていただき、当日午前に多賀大社への参拝も済ませ、当地の空気を感じていただいた中での演奏会でした。蔵から静かに鼓と笛の音が聞こえてくるという始まりで、間もなく二人の奏者が座敷の赤い毛氈の上にお立ちになりました。実は椅子を用意しておいたのですが、後ろのお客様が見えないでしょうとおっしゃって９０分間立っての演奏となりました。大鼓と笛を立って演奏することがどれほど大変なことか想像できるのですが先生がたの躊躇のない判断にまず驚かされました。神聖な三番叟が始まり、大鼓と笛の気迫に満ちた演奏に観客の皆が圧倒され息をこらして聴き入りその姿に見入りました。一番終った後、大倉先生がマイクを手になさいましたが息が切れていて、その熱気と集中度がどれほどであったかよく分かりました。一方、笛の 一噌先生の能管の空気を切るような鋭さにも圧倒されました。この緊迫感が演奏が終るとすっと解れ、大倉先生のお話と一噌先生の冗談まじりの愉快なお話に演奏者と観客の距離がグッと近づくのが分かりました。一噌先生は和洋を問わず様々な笛を信じられないほど巧みな技量で演奏して下さり、皆「えっ？うっそでしょ！」という感じで唖然としてしまいました。お能をよく知る方は、普段はシテを中心に見てしまうが、今回のように大鼓と笛の調べで能が表現されるのを耳から聴いて、舞台のシテの舞が目の前に広がって素晴らしい感動を受けたと印象を話してくださいました。能という日本の伝統芸能の中にいて、その神髄をあくまでも大切に更に深めつつ、同時に鼓の可能性に向かって果敢に挑戦していく。これはどれほど力の要る事かと思います。滋賀県の小さな古民家から流れ漏れていく大倉先生の大鼓と一噌先生の笛の調べ。この波動は力強くそして確かに目指す方向に向かうと信じます。A concert event " Mysterious World, Noh. Graceful Music by Shonosuke Okura and Yukihiro Isso" was held at Taga Asahiya on June 1st with an audience of 103 people. Performers came to Taga one day before the performance and they visited Taga Taisha in the morning of June 1st. It seemed that they were perfectly ready to have their performance in Taga. As the introduction, audience only heard the sound of Fue (Japanese flute) and Kotsuzumi (small hand drum) and it was from Kura (warehouse : dark right room of the cafe). Then two performers appeared on the red carpet in front of the audience. They both played instruments while standing. Actually I prepared chairs for them but they didn't use them because the audience could not see them if they sat on chairs. I could easily imagine how hard it must be to play their instruments without sitting but they both kept standing and played for about 100 min. I was surprised at their decision to do so. The program started with Sanbaso (the third Okina in Sanbaso Play). It was so powerful and overwhelming. When they ended their playing and Mr. Okura took the microphone, he was out of breath and couldn't speak easily. We all knew how much energy and concentration he put in to his playing. We were also overwhelmed by Mr. Isso 's flute whose sound was so sharp like cutting air. However, once they finished playing, the tension was relieved and Mr. Okura explained about instruments. Mr. Isso demonstrated his various kinds of flutes with incredible technique. We enjoyed their talk and were able to relax. One of my friends who is a specialist of noh theatre said to me that usually she mainly looks at the dancer on the stage, but this time she could concentrate on listening to the sound of the instrument, then in her mind the dancer danced more clearly. She was so impressed by Mr. Okura's big hand drum. Mr. Okura was born in the head family of Noh drums. He keeps the spirit of noh and at the same time he is expanding the possibilities of noh drum. I guess it is so hard for him to do so in such a traditional and conservative world as noh. The sounds of Mr. Okura's big hand drum and Mr. Isso's flute flew out from my small Japanese house and I believe the sound waves must certainly be headed for where they wish.
All photos below were taken by HORITA CAMERA.