Article
THE HAWAII HERALD Friday, September 21,1990
THE ART/ Steve Lum
SAWAI KOTO SCHOOL HAWAII
School Founders Tadao and Kazue Sawai Will Be gIn Concerth at the Mamiya Theater
Award-winning Tadao Sawai and his wife, Kazue Sawai, will bring their koto expertise and modern interpretations to the Chaminade University campusf Mamiya Theater on October 27. The concert will offer followers of contemporary Japanese music the opportunity to not only listen to the music of two of Japanfs foremost koto performers, but also enjoy a koto ensemble from Tokyo and performers from the Sawai Koto School Hawaii, featuring instructor Makiko Goto.
The unique Japan-Hawaii cultural event will feature 50 musicians in various ensembles performing contemporary compositions for koto, bass-koto and shakuhachi, according to Bernice Hirai, president of the Sawai Koto School Hawaii. The highlight of the concert, which is the last of the 10th anniversary concert series of the Sawai Koto School Tokyo, will be the performance of the Sawai Tadao Koto Ensemble.
gBoth of the Sawais have been here several times in the last 10 years,h Hirai says.
gTadao Sawai is a performing specialist as well as composer of both traditional and contemporary music. Kazue Sawai is a virtuoso of the bass-koto. Both artist have made numerous recordings (more than 30) in the last 20 years, and have performed in concert all over Europe, Southeast Asia, the United States, Canada and Australia in the last 15 years.h
The occasion will mark a reunion for the Sawais and Goto, who lived with the noted koto performers prior to coming to Hawaii in 1986. As an uchideshi, or apprentice, Goto took koto lessons, taught and accompanied the Sawais on their tours. Today, she is the head instructor of the Sawai Koto School Hawaii, a branch of the main school headquartered in Tokyo.
The Hawaii branch, which was founded in February 1989, now has 40 members, according to Hirai, gAt that time there were no koto teachers,h says Hirai, who had her first koto lessons at the age of 11. The koto teachers had stopped giving lessons so when Goto offered her services, she was welcomed with open arms.
gMy teacher had come to Hawaii before and told me that the University of Hawaii had koto classes but no teacher,h says Goto, explaining the reasons why she came to Hawaii. gI couldnft plan anything at the time so I came here (to Hawaii) and studied English. Then I got acquainted with some koto players.h
Most of her students have their own koto, a harp-like musical instrument, according to Goto. Many acquired their instruments from their grandparents, while others have ordered custom-made kotos from Japan. Prices range from $500 to several thousand dollars, since everything is hand-made.
gThe koto is easy to learn,h says Goto, who also plays the samisen.
gYou donft have to have a music theory background. You just have to know some basic Japanese characters, from the first to the 13th strings.h
Her students attend weekly sessions lasting 45 minutes ------ with beginners often getting proficient after one or two months of regular lessons. Gotofs patience as a teacher stems from her earlier days, when she learned koto basics from her mother. g I liked the koto because it was something different. Most of my friends played the piano.h
gThe koto goes well with the violin, flute and full symphonic orchestra,h Hirai points out. Last April, Goto was invited to perform a koto solo with the University of Hawaii Symphonic Orchestra at the Neal Blaisdell Concert Hall, a performance that was not only an honor for Goto, but a special treat for the audience as well.
With people like Makiko Goto and Bernice Hirai, together with the members of the Sawai Koto School Hawaii, passing on their enthusiasm to prospective new students, the koto will not become an endangered musical instrument in Hawaii.
Left photo, Tadao Sawai (center) and Kazue Sawai (left) will be appearing at a concert at Chamiade Universityfs Mamiya Theater on October 27. Above photo, Makiko Goto, instructor at the Sawai Koto School Hawaii, will also perform with the Sawais.
River Citiesf Reader
THE ULTIMATE KOTO DUO
BY Jeff Wichmann
Survival, thatfs what its all about. In order to survive one must change. The Japanese string instrument, koto, is one that has changed and adapted through time.
Most people are familiar with the more traditional gprettyh sounds generated by this six foot long Asian zither. A popular image of the koto is that of a kimono clad female kneeling down behind the instrument daintily plucking its thirteen strings. But closer inspection into the world of koto (and a reality check in 1990s) reveals a 1,100 year old instruments taking contemporary music by the throat. Look a little closer and discover a Japanese husband and wife team that has molded a new world of koto within the later third of the 20th century. Meet Tadao and Kazue Sawai.
The Sawais have worked, together and separately, to revitalize the koto in Japan and bring to the world a new form of music ------- Japanese contemporary music. For the past 30 years these musicians have redefined what was tradition. Now, they oversee one of the largest koto schools in Japan. They have taken steps in new directions with their music, but their steps have been different. This team works well together, because, like all successful relationships, they are opposite in nature, but at the same time, share a common goal ----- the advancement of koto.
TADAO
On any given morning Tadao will sit and relax with a cigarette and a cup of coffee calmly reading the daily newspaper. When he is on stage, he still appears to be reading the paper. During a performance he moves with simple grace and subtle fluidity. His hands fly over the strings at tremendous speeds with acute accuracy not unlike Robert Frippfs work on guitar. Tadao is always in calm control, the kind of control that makes audiences say, gMy! Doesnft that look easy!h
Tadao Sawai is considered to be one of the leading contemporary Japanese composers for koto. His professional career spans over the past 30 years since he graduated from the Tokyo University of Fine Arts and Music. His compositions have been more influenced by European music than Japanese. He takes chances but they are educated chances.
Tadao has written approximately 80 pieces that have had a huge impact playing techniques with fresh sounds and rhythms. Some of his ensemble compositions have the full-scale intensity of a Barton symphony. Others incorporate drumsticks and atonal tunings that wash the air with scratchy vibrations and psychedelic wave. Though he considers traditional music an important aspect of koto plying, he sees the koto as something more than just a traditional Japanese instrument. It is an instrument through which a musician can explore new realms of sound.
One of Sawaifs more famous works, gHomura,h was written for his wife, Kazue. Her energetic performance style and creative interpretation has made it a Sawai anthem ------ one that has received standing ovations whenever played.
KAZUE
In Japan, people wait patiently at intersections for the walk symbol to appear before crossing the street. Kazue doesnft like to wait. She runs across busy streets in the middle of a block on her own accord. She takes just as many chances in her music. On a given night, one can find her literally tearing apart a koto (ala early Pete Townsend) in a small Tokyo bar while improvising with other musicians.
She has performed throughout Europe, India, and America wowing audiences with her high energy shows. In Japan, where the koto is still considered by many to be a gtraditionalh instrument, she is one woman entourage breaking down barriers in a conservative country. Her small stature (4 ft 9 inches) is deceiving. When she plays the 17 string bass koto, the music rolls forth in a mighty roar. She bounces around in constant motion, throwing her whole body into the instrument, hitting, pulling, and snapping the strings with bullet shot intensity.
As a teacher she encourages her students to break from tradition in their playing; at the same time respecting it. She says the koto should be respected as an instrument on itfs own merit. According to Kazue, the music should be played because it is good, not because itfs Japanese or because it is old or new. The music and the instrument will only survive if it is played as art.
THE DUO
The Sawais are leaders in making the koto popular and respected in Japan. Tadaofs compositions are regarded as modern classics, as are Kazuefs interpretations. Both are rebels. They simply go about reveling differently. Something incredible happens when they perform together. It is natural that they make a great duet and it is by nature, and their will to push the boundaries of music, that they insure the survival of the koto and its music.
The Sawais will be performing together at Augustana College in Rock Island on Tuesday April 18 at 8 p.m. Although they have performed in the United States before, this will be the first time by Elizabeth Falconer and the Chusei Koto ensemble lead by Dr. Jesse Evans will be performing with them on selected pieces. Following their Augustana concert, the Sawais will perform in Chicago, New York and San Diego.