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| Guqin Handbooks Published in Japan From QQJC From Gyokudo Japan Theme | 首頁 |
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"Correct Toko Kinpu"
Published 2001 by Sakata Shinichi,2 as much as possible reconstructing the most complete Toko Kinpu (1710) |
東皋琴譜正本
1
Donggao Qinpu Zhengben |
| Re-issued 2015 by the Shanghai Music Publishing Society, with original and new commentary 3 | Modern Japanese edition (pdf) 4 |
"Zhengben" in the title could also mean "orthodox version". In 2001 Sakata Shinichi published, in a limited edition, his reconstruction of Sugiura Kinsen's Toko Kinpu (1710), considered as the most complete and correct publication of the qin repertoire of Shin Etsu.5 A Chinese edition was then published in 2015. For both editions the pagination of the melodies is basically the same.6
The following Table of Contents has three categories of melody (not mutually exclusive):
Also significant is the fact that several melodies published in other Japanese handbooks do not appear here.8
Table of Contents
II. 上卷 Shang juan: Former volume
III. 中卷 Zhong juan: Middle volume
IV. 下卷 Xia juan: Latter volume
V. 卷附 Juan fu: Appended volume
(contains seven "扶桑操 Fusang Cao", three of them in QQJC)
#53-56 are called 和歌 waka
12
(a Japanese poetic form; all seem intended to be in the form called Tanka (5-7-5-7-7) but if so the pairing is not exact, and none has its lyrics added)
End of the 2001/2015 edition of Toko Kinpu (V/43b)
Addendum: Melodies from other early Japanese handbooks not included in Toko Kinpu Zhengchuan
All were in the Japanese handbooks from QQJC XII. The footnote below mentions some others that were not included.
Melodies from Qin handbooks from China known to have been in Japan at this time
1.
Orthodox/Correct Toko Kinpu (東皋琴譜正本 Toko Kinpu Shohon (from 1710)
Some puzzling aspects of this Toko Kinpu are as follows:
Further study will certainly bring more questions.
Knowing the complete repertoire of (or available to)
Shin Etsu and his students is complicated by the fact that, in lieu of Shin Etsu himself compiling a handbook, since 1676 so many people have published their own "Toko Kinpu" in Japan, all trying to pass on his tradition. Unfortunately, they were not all availabe to Zha Fuxi when he compiled the Qinqu Jicheng in the 1950s. In particular there were apparently some more complete ones he never saw. It is not yet clear whether the one published in 2001 largely replicates one such complete one, or is an amalgam of several.
The edition published in 2001 it was a limited edition (50 copies). It was apparently published privately by the senior Japanese qin specialist 坂田進一 Sakata Shinichi (information from the 秋月齋 Autumn Moon Studio). It is apparently based on a reconstruction of the Toko Kinpu of 1710 attributed to Sugiura Kinzen (1660-1711):
The original of this being now lost, the reconstruction was made based on a very complete description made in the late 19th century as well as a number of surviving partial volumes (Yang, p.56)
Sugiura, along with 人見竹洞 Hitomi Chikudo (1620～1688), were the best known of Shin'etsu's students; 小野田東川 Onoda Tozen, a student of Sugiura, became a professional qin teacher with perhaps over 100 students. All the songs in this handbook have lyrics, so in this quote they all seem to be referred to as 和歌 waka, though this should actually refer not to original Chinese poems published or set to music in Japan but to Japanese poems written in Chinese characters, as here.
Some other early Japanese handbooks were also consulted (The reference for this is "2001坂田版東皋琴譜正本（1.序：寒斎「坂田」本 +2.譜：妻鹿本=1,2の合本）", but I have not yet seen it (妻鹿 is 妻鹿友樵 Mega Yusho 1826-1896) ). Some of the other important early Japanese handbooks are discussed at the top of Guqin Handbooks Published in Japan, with some information on later ones given later on that page. The research by Sakata Shinichi apparently determined that several of the melodies from Hewen Zhuyin Qinpu (said to date from "before 1676", meaning they must have been brought to Japan by Shin-Etsu in 1677, but actually surviving from a much later copy) were probably not actually part of Shin-Etsu's own repertoire.
For an index of the works in 琴曲集成 Qinqu Jicheng, Volume XII/165-381, as well as other related information see
Guqin Handbooks Published in Japan.
2.
坂田進一 SAKATA Shinichi
3.
Chinese edition, 2015
I obtained my copy of this in December 2018 so my work on it is preliminary.
4.
First page of the "Toko Kinpu Correct Edition"
(pdf of whole ToC)
The volume, originally by 杉浦琴川 Sugiura Kinsen, is also mentioned by Zha Fuxi as one he did not see.
5.
Source materials
6.
Table of Contents
Some pieces refer to a 草堂祕譜 Caotang Mipu (same meaning as 草堂秘譜); it is not yet clear what this is.
7. Melodies from here not in the
Japanese editions included in
Vol. XII of
Qinqu Jicheng)
("not in QQJC XII")
It is perhaps noteworthy that all six of the melodies without lyrics (the four waka at the end probably were intended to include lyrics), are versions of full length melodies found in earlier Chinese handbooks. While it is true that there are only the six full length instrumental pieces in this Toko Kinpu plus perhaps two full-length melodies (Gao Shan and Gui Qu Lai Ci) with lyrics in the Japanese handbooks included in Qinqu Jicheng, it has been said that the inclusion of these full length pieces in the "orthodox" Toko Kinpu suggests that the level of play in Japan might have been higher than is commonly argued. Of course, this also leaves open the issue of whether it is in fact the pieces that seem the easiest are in fact the most difficult to fully master.
10 of these melodies (marked "NL") have no lyrics, though at least 4 of those 10 (i.e., the last four pieces) were almost certainly intended to have them. Note also that some versions in this Toko Kinpu Zhengben are quite different from the versions in QQJC XII. Examples of these include Gao Shan.
8. Melodies from other early Japanese handbooks not included here
There is a chart dated 2009 (.xlsx; see pdf version), apparently based on the reconstructed 1710 Toko Qinpu Zhenchuan, that at the end mentions most of these melodies missing from that edition (for example, it doesn't have both editions of Libie Nan or one one section instrumental version of
this Cao Man Yin, and 舟夜 Zhou Ye it calls 舟座 Zhou Zuo).
The same chart also says that last three of the above melodies were included in one of the handbooks connected to Tokugawa Motoko.
9.
鳳梧鳴珮 Feng Wu Ming Pei (A Phoenix in a tree calls out with a jade pendant) (III/54a)
Both are said to be "東皋手挍 hand copied by Donggao" and both are said to be "曲肱軒藏譜 tablature from Qugong Xuan"); neither has been translated.
The lyrics of 鳳梧鳴珮 Feng Wu Ming Pei (source not given) are as follows,
As for the lyrics of 修竹吟風 Xiu Zhu Yin Feng (47631.xxx), they are:
Feng Wu Ming Pei and Xiu Zhu Yin Feng have been transcribed separately in Wang Di,
Xian Ge Ya Yun, as #45 (p.110) and #48 (p.114) respectively. There they are identified as from Toko Kinpu but no mention is made that they are from this edition that was not publicly available at the time.
10.
賀新郎 He Xin Lang
The lyrics are as follows:
No translations available. (Compare《賀新郎 送胡邦衡待制赴新州》by 蔡瑤銑？)
11.
憶秦娥 Yi Qin E
Translated freely by 許鳶沖 Xu Yuanchong
(from online)
The flute is mute,
On Merry-making Plain, on Mountain-Climbing Day,
However, lyrics for the above are by Zhou Banyan, as follows:
Yi Qin E is also transcribed in Wang Di,
Xian Ge Ya Yun, #42 (p.106).
As well as here, Zha Guide lists it in 1682
(XII/36), where it has the same form but different lyrics and music.
12.
和歌 Waka (and 短歌 Tanka)
The Wiki pages distinguish between modern tanka and the classical version mentioned above. Yang (pp.70-72) has some comment on waka, with translations of two, Haruno and
Yama Zakura.
It is beyond the scope of this site to give much detail about the waka settings. However, the general idea can be found with the following introduction to the first waka above, 春野 Haruno; the specific name of the piece is 若菜 Wakana (Early Spring Herbs).
There is a recording of Haruno/Wakana from the "Autumn Moon Studio" (秋月齋 Qiuyue Zhai) linked from a web page called
wakana. My description below should be examined together with the commentary and
linked mp3 recording.
The explanation there begins by giving the original text of the waka:
The syllablic structure as shown here seems to be 5+8+5+7+7 not 5+7+5+7+7. Perhaps it is a coincidence that the tablature places and ornament on the extra syllable. In addition, the singer here seems to add an additional syllable in the fourth line (wa ka ga instead of wa ga).
は る の の に い で て
わ か な つ む
わ が こ ろ も で に
ゆ き は ふ り つ つ
I. 卷首 Shou juan: Head Volume
(It is unclear how the 2001 Japanese edition began)
Gong mode (宮音 Gong yin)
Unsigned preface for Gao Shan
Afterword for Gao Shan and Liu Shui by Tōkō Shinetsu
Shang mode (商音 Shang yin)
脩竹吟風，其二 Xiu Zhu Yin Feng, #2;
connected to Feng Wu, both "東皋手挍";
see Wang Di); (III/54b)
Jiao mode (角音 Jiao yin)
Zhi mode (徴音 Zhi yin)
Yu mode (羽音 Yu yin)
Shangjue mode (商角音 Shangjiao yin)
Further Essays (V/15-43)
"九月三十日是「心越忌」9th month 30th day is "Death Anniversary of Shin-etsu"
This 2001/2015 edition of Toko Kinpu did not include the following eight melodies; note that the first three use non-standard tuning, the fourth to seventh are very different versions from here, and the eighth through tenth seem to survive only from the handbook published in 1898.
According to Yang (p.38) Jiang Xingchou brought six qin handbooks with him when he arrived in Japan in 1676. All but one (1614) focus on qin songs. From here Yang specifically names, from their mention in correspondence at that time, several melodies not otherwise mentioned here. These include:
Footnotes (Shorthand references are explained on a
separate page)
My initial understanding of this handbook has largely been based on
Yang Yuanzheng, Japonifying the qin.
Yang's discussion of the reconstruction of this handbook (the title of which he romanizes as Toko Kinfu) begins on p. 56.
(Return)
Mr. Sakata is a musicologist, composer and violinist, but his deep love was for the guqin. Born into a family of biwa players, he became enamored of the qin in 1958 when he was able to have some lessons from Zha Fuxi while the latter was visiting Japan. At age 11 he met 劉老先生 an old Mr. Liu, who had been a student of 楊時百 Yang Shibai in China but had then moved to Japan, and for four years studied from Mr. Liu 洞簫 dongxiao and calligraphy as well as continuing to study guqin. Later, as an adult, Mr. Sakata studied qin from 田邊尚雄 Tanabe Hisao. In 1971 Sakata Shinichi founded the Tokyo Qin Society (東京琴社 Tokyo Kinsha).
(Return)
The chief editor seems to be 趙維平 Zhao Weiping, a professor at the Shanghai Conservatory. The first difference one notices between this and the handbooks published in Qinqu Jicheng Volume XII is that the latter all include along with the lyrics Japanese kana that give the pronunciation of the Chinese characters. I don't yet know whether these are in the Japanese edition or in the edition on which that one was based.
(Return)
Sent to me from 秋月齋. This page originated when I had not yet seen the full edition, only this photocopy of the Table of Contents. The credits on the lower right of the page are:
(Return)
See Yang, p.56.
(Return)
Further introductions to these pieces are mostly where they are included in the handbooks published in Japan.
(Return)
The Japanese handbooks in QQJC are all in Vol. XII. Among the above 57 titles there seem to be 17 that were not included in the QQJC Japanese handbooks (some may have the same title but the music is quite different). Unfortunately, it is not clear to me how they all came to be included here. Were they all from handbooks not available at the time of QQJC publication? What is the date of the original known Japanese publication? Were any added out of speculation that they sould be there?
(Return)
This 2001 edition of Toko Kinpu did not include the above ten melodies: perhaps the editor(s) thought they dated from later than Shin-Etsu himself. All of them are in editions found in Qinqu Jicheng, three of them are from Hewen Zhuyin Qinpu:
Libie Nan #1, Le Ji Yin and Gao Shan. Hewen is generally treated as an early handbook, so it would be interesting to know what the real origin of these three melodies is thought to be.
(Return)
& 修竹吟風 Xiu Zhu Yin Feng (Tall thin bamboo hums in a breeze) (III/54b)
Xiu Zhu Yin Feng has no apparent relation to 修竹留風 Xiu Zhu Liu Feng (XII/89; 16 sections, no lyrics). It is not clear why these two short melodies (both basically (7+7) x 2) are put together and called #1 and #2. No references:
金井碧梧無客至，時聞清韻雜琳琅。"
子猷频顧何須問，千畝萬竿遂賞心。千畝萬竿遂賞心。"
(Return)
He Xin Lang is the name of a cipai: "後赤壁，宋謙父填詞" (relationship with Hou Chibi Fu? The lyrics, by an anonymous Song dynasty poet, seem to paraphrase parts of that poem. (IV/9)
步自雪堂去。望臨皋、將歸二客，從余遵路。
木葉蕭蕭霜露降，仰見天高月吐。
共對影、行歌頻顧。
月白風清如此夜，嘆無肴、有酒成虛度。
聞薄暮，網罾舉。
歸而鬥酒謀諸婦。
便攜鱗載酒，相從舊追游處。
斷岸橫江尋赤壁，
不復江山如故，但放舟、中流容與。
客去冥然方就睡，夢蹁躚、羽衣揖予語。
相顧笑，遂驚悟。（寤）
(Return)
11558.7 name of a cipai, lyrics mentioned first are by Li Bai, as follows:
秦樓月，年年柳色，灞陵傷別。
樂游原上清秋節，咸陽古道音塵絕。
音塵絕，西風殘照，漢家陵闕。
Waking from moonlit dream, she feels a grief acute.
O moon, O flute, Year after year, do you not grieve
To see 'neath willows people leave?
She receives no letter from ancient Northwest way.
Over ancient way,
The sun declines, the west wind falls
Over royal tombs and palace walls.
人如玉，翠翹金鳳，內家妝束。
嬌羞愛把眉兒蹙，逢人只唱相思曲。
相思曲，一聲聲是，怨紅愁綠。
(Return)
Distinguishing beween Chinese poetry written in Japan (漢詩, which includese Chinese poetry in general, see
Wiki and poetry written in Japanese (see the Wiki pages for
Waka,
Tanka) requires understanding the difference between Chinese characters (漢字 Kanji) and the Japanese syllabry systems kana, including 萬葉假名/万葉仮名 manyogana). Poetry written purely in kana or in a combination of kana and Kanji should be
わが衣手に 雪はふりつつ
"It is for your sake, That I walk the fields in spring, Gathering green herbs,
While my garment’s hanging sleeves, Are speckled with falling snow.
(translation from Yang, p.72)
Ki-mi gata me
Haru no no ni i dete
wa ka __ natsu mu
wa ga ko ro mo de ni
yuki wa furitsutsu
(Return)
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