Myself in the Disguise of an Ancient Goddess by Daryl Jamieson

古代女神に扮した私 Myself in the Disguise of an Ancient Goddess

箏と声 koto and voice

是水孫陀梨流 Daryl Jamieson

高橋睦郎 Takahashi Mutsuo

古代女神に扮した私 Myself in the Disguise of an Ancient Goddess

Programme Notes: 古代女神に扮した私 (Myself in the Disguise of an Ancient Goddess) is a result of my attempt to come to grips with both the musical and cultural history of Japan over the 18 months I lived in and around Tokyo. Over that time, I learned a little bit of the Japanese language, enough to read poetry with the help of a few dictionaries, and spent some time learning to play the koto as well, an instrument whose sound and versatility had intrigued me for many years. The poem, by Takahashi Mutsuo, is one of 50 self-portraits he wrote in the 1970s, in which he takes on different personae and explores how, within that persona, he deals with homosexual lust and love. This poem is haughty, domineering and apocalyptic in tone; Mutsuo as an Ancient Goddess first mocks, and then devours his/her young, ignorant lover/supplicant/worshipper/sacrificial victim. This music is very simply constructed as a linear setting of the poem. I attempted to reflect the mood of the poem, especially the detached aloofness of the goddess’s manner. The koto is tuned in a traditional key, and almost exclusively uses traditional playing techniques; a deliberate decision made in order to root the piece in a mythical past. —D.J.

『古代女神に扮した私』は1970年代、高橋睦郎の手になる50篇の『SELFPORTRAITS』（自画像）のひとつ。作中、高橋は自身とは別のペルソナになり、その人格のうちにおいて、同性愛的肉欲と愛とを如何に取り扱うことが出来るのかを探求している。高慢で殆んど独裁的とも、或いは黙示録的とも言うべき調子がこの詩にはある。古代女神に扮した高橋は、この若く無知な愛人・哀願する者・崇拝する者・生贄を嘲笑い、貪り尽くすのである。この詩に曲を附けるに当たってはこの詩の雰囲気、取り分けこの女神の超然として冷淡ともいえる振る舞いを巧く反映させるべく工夫を凝らした。この作品の神話的な古代の抒情を醸し出すため、調弦(本雲井調子)、奏法ともに敢えて伝統的な法に遵った。 —是水孫陀梨流

Performance Notes: As this piece is in the tradition of storytelling through music, performers should be guided in their interpretive choices principally by the words. The music must serve the text. I attempted to make the traditional and western notation match as accurately as possible, but of course there are discrepancies between the two. Rhythmically (except for ornamentation), consider the western notation as the main guide, though play throughout with a great sense of freedom and movement. The Japanese notation should be considered the principal guide for pitch and ornamentation. Ornamentation rhythm, which is always notated in the staff notation the way, can be played in a variety of ways, so long as they are within the tradition of Japanese koto performance. All otoshi are meant to be glissandi. Occasionally in an otoshi I write a 1.5 tone sharpening of pitch in the Japanese notation. This is a gestural effect only, and is only meant to indicate a microtonal sharpening beyond a 1 tone pitch increase. The mark ă&#x201A;ą indicates that fingernails should be rest on the right side of the bridge to produce a buzzing effect. â&#x20AC;&#x201D;D.J.

Acknowledgements: Thanks to Naoko Kikuchi, who premiered this piece on 22 January 2010 in Tokyo, and who provided so much guidance and advice on matters of notation and ornamentation. Thanks must also go to Takahashi Mutsuo for his inspiring poetry and his permission for me to set it, as well as Jeffrey Angles for facilitating our communication.

古代女神に扮した私この城市の石を敷きつめた広場に立つ若者よひどい田舎から出て来た来歴がサンダルも穿かぬお前の素足に現われている見なさいお前の前から昇る摩滅した石段のはるかな上神殿いつぱいに立つ私の怖ろしい貌を見なさい地面と正確に直角なして素樸な日時計として立つお前が曳いているのは夏の午前のお前の影ばかりでない田舎の土の匂い植物の匂い水の匂い牛糞の匂いをお前は曳きずつているのです見つめるお前の目の驚きの無知の輝きが私は好きですぽかんと開いた口の匂うような若い闇が私は好きです私の愛はお前の驚きを無知を若さのぜんたいを啖い尽さねばならぬ私の耳まで裂けた口はお前に唇づけ唇づけた唇の肉からはじめてお前をしやぶり尽すため私の頰の朱はお前の血潮であたらしく染めなおさねばならぬおいで若者よ私を見つめたからにはもはや逃れられぬ私とお前の血まみれの婚礼の背後で世界は伝説の罪の都市のように炎えるだろう存在はいつもそのように炎えているのだ

高橋睦郎私 SELFPORTRAITS 50

This poem has been set and reprinted in this non-commercial form by kind permission of the author.

Myself in the Disguise of an Ancient Goddess Takahashi Mutsuo translated by Hiroaki Sato

Young man, you who stand in the stone-paved plaza of this castle city, your history, that you are from the foul countryside, is revealed in your bare feet not even clad in sandals. Look, far up the worn steps rising from your feet, look at my frightful face as I stand filling the pantheon. You who stand precisely at right angles to the ground as an innocent sundial drag not only your own shadow in the summer afternoon, you are dragging along with you the smell of country soil, the smells of plants, the smell of water, the smell of cow dung. I like the ignorant glitter of astonishment in your staring eyes. I like the youthful darkness, almost fragrant, of your mouth, agape. My lust must chew up your astonishment, your ignorance, the whole of your youth. My mouth slit to the ears is for kissing you, for sucking you to the marrow, beginning with the flesh of your lips it kisses. The scarlet of my cheeks must be freshly re-dyed with your blood. Come, young man, youâ&#x20AC;&#x2122;ve stared at me, you can no longer escape from me. Behind the bloody wedding of you and me the world will burn like the city of sin in the legend. Our being is always burning like it.

This translation is reprinted in non-commercial form from From the Country of Eight Islands: an anthology of Japanese poetry, eds Hiroaki Sato and Burton Watson (Columbia University Press, 1986).

古代女神に扮した私高橋睦郎 Takahashi Mutsuo

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オトシ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

ヲ六 5 六

五四

八

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る ru

三七

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の no

に ni

四五

く ku 三七 3

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から ka ra

ヲ

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はじめ ha ji me

て te

お o

まえをしゃぶりつくすため ma e wo sha bu ri tsuku suta me

オトシ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

し shi

の no

六三五ヲ四

六ヲ六

ほほ ho ho

六ツ十

のしゅは no shu ha

八

ヲ九

お o

一六

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! ! " " "#* * % # " " # " " #* # " # " " " " " 三二二ヲ一

な na

ら ra

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六ツ

六四

あい a i

五

で de

わかものよ wa ka mo no yo

為四

000

rock left hand across many low-pitched strings, randomly varying the pitches in the gliss

ヲ四ヲ六四ヲ四ヲ四

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わたしを wa ta shi wo ヲ五ハヲ六ヲ九ハ

" # " " "" "

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000

あたらしくそ a ta ra shiku so

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五

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ぬ nu

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みつめた mi tsu me ta 斗斗十

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からには ka ra ni ha 七巾六九

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斗ヲ

のがれ no ga re

六

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わたしとおまえ wa ta shi to o ma e

左斗巾

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pp rock left hand across 5 low-pitched strings

! ! %

左

# "巾"rh 斗" #ヲ" lh ! & + , 右

ツ

ru da

そんざいは zai ha オトシ - - - - - - - - - - - - - - - - - - - - - son

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だ da

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斗一

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の no

rou

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#" #" "

(# ""

八

いつも i tsu mo

いる i ru

為 4

#$' "巾" ! ヲ$巾" , ++ # " , •

オ為

巾

$" " # " # " " " もえるだろう

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ヲオオ

斗

でん den

! %

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は ha

三二ヲ一

三

ヲ一ヲ一ヲ一 3

せかい se kai

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ヲ一ヲ一二ヲ一

一

そのように so no you ni

も mo

ヲ

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一ツ

九

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" "

" " "

えて e te

一

一ツ

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十 4

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mp 六

" " " ""# " " # "" """ "" #" 五

はいごで hai go de

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四ヲハ六五

" ""

こんれいの kon rei no

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巾

つみのまちのように tsu mi no ma chi no you ni

ヲ一オ一

六七七

* # "#

" " #"

みれの mi re no

ヲ為

! " " " " " # " # " " " " $" # " " " 一六 " ! ' " "

ヲ六

オトシ - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

六六六ヲ六ヲ四四七六五ヲ四四 3

せつの se tsu no

四ヲ四

* # "#

" " "# "

ま ma

三為七巾

# "" " "

五四ヲ四ヲ六六

#"" " ち chi

四左為十九一巾斗

五ヲ九

ヲ

* "#

三