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I was wondering what style these two selections were from this cd:
#7 Poeme Du Bambou
They are both at least duets, maybe a trio on 4, or mixed that way anyway. To me they have a more melodic theme to them, maybe folk music? Or a new composition?
In any case, it seems I like Marco's style of playing-his other cd "Shakuhachi" is on my wishlist too now (I have a birthday coming up soon!). So, whatever he is doing, it seems to be in harmony with my nature.
It may be obvious to many, but my ears are uneducated as yet, sorry. That is exactly why I ask, though, so I can recognize certain stylistic differences. And also why I asked for some feedback about different styles in the History and Misc sections.
Last edited by bluespiderweb (2005-11-06 15:35:04)
Poeme du Bambou:
Tracks 1,3,5,6,8,9,10 & 11 are all honkyoku. Marco often plays atypical versions of these.
Track 2: Takeda no komoriuta is a lullaby; a folk song, or 'minyo'. Played as a duet with a long flute and a 1.8.
Track 4:Kaigara bushi, is another folk song, a lament, played as a trio, with 1.8, 2.7, and 3.6 (an octave below the 1.8--LONG flute...)
Track 5: Poeme du Bamboo, an original composition by Marco Lienhard; a duet with 1.8 and 2.7.
Track 12: Fantaisie is another trio, composed by Marco.
Hello and thank you, Edosan. I had a feeling that it was a folk song (Kaigara bushi) that I liked the most, and that his Poem du Bamboo was a modern composition (from the title). I like the more melodic playing and the fact that that they were not just solo, which I am used to hearing only.
Thank you for breaking them all down for me too. I do like the honkyoku, but not all I hear. But, this is all new to me mostly, and I haven't developed my ear yet. Lots of listening ahead for me! That seems always to be the case with music-there is so much good music out there waiting to be heard, you just hope you have time to hear a lot more.
Wow, a 3.6 in the trio on Kaigara bushi! You are right-a long one! Don't know if I will ever have a chance to try to play one, but I hope so.
Again, thank you.
In my experience, honkyoku is an acquired taste. I was fascinated by it from the get-go (that was 15 years ago...) but it took me years to actually 'hear' it. This is not necessarily to say that I was able then to wrest 'deep meaning' from it, but familiarity with listening to and playing it made the chunks of which it is constructed comprehensible; still abstract, but accessible on its own terms.