Noritaka KONDO

Ever since the COVID-19 pandemic in the spring of 2020, the Japanese entertainment industry has seen a variety of online streaming. In the midst of all this, I was able to see streams of traditional arts from all over Japan, and I developed a particular interest in the Iwami Kagura theatrical dance from the western Shimane and northwestern Hiroshima Prefectures, which has been handed down through the years since the Muromachi Period. Known for their characteristic way of dancing to light, vibrant musical accompaniment, these dances are apparently local sensations with a wide popularity among everyone from children to the elderly.

There are thirty different varieties of Iwami Kagura performance, but at the time most troupes’ broadcasts were of Zhong Kui performances. These performances are pleas for the eradication of disease, and in that context, were seemingly dedicated to a wish that the covid pandemic would end as soon as possible. With something like that to catch my interest, I, too, began to feel more and more inspired to create something that touched on the topic of Zhong Kui.

After all, Zhong Kui, a deity said to prevent plauge, finds his origins in China, but since ancient times has had devotees in Japan as well. In Kyoto, private houses decorate their eaves with figures of Zhong Kui. In Kanto, figures of Zhong Kui are used as decorations during Tango no Sekku, the Boy’s Festival. Faith in Zhong Kui has its roots all over the country, and each tradition has its own unique style.

One tale about Zhong Kui goes as follows:
The Emperor Xuanzong of the Tang Dynasty fell ill, and wracked by fever, began to dream.
...In the dream, he saw two little imps making mischief inside the palace. The imps turned their attention towards Xuanzong, but in that moment an imposing figure with a beard appeared and banished them.
This towering man said his name was Zhong Kui, and claimed to have committed suicide out of shame for failing the Imperial Examination, only to be buried through the Emperor’s own gesture of kindness. He told Xuanzong that he had come to repay that debt. When Emperor Xuanzong awoke from this dream it is said that he had been restored to full health, his illness healed.

Through this legend, Zhong Kui became revered all over as a divinity who could ward against evil.
With that in mind, this song’s structure is broadly divided into slow, fast, slow tempo sections, which call to mind the following scenes.
1 - Zhong Kui’s past, and the glory of the Tang capital Chang’an
2 - Xuanzong’s dream (the imps’ mischief and Zhong Kui appearing to banish them)
3 - Xuanzong’s dream (his conversation with Zhong Kui) / Xuanzong’s recovery and the story’s ascension to the status of legend

In the last year, the pandemic has wrought a lot of drastic changes. Wind orchestra venues and musician’s jobs have, of course, not been spared from covid’s influence. I think it’s only natural that this composition, too, would be motivated by a wish to see an end to the pandemic. So, this is my own prayer, in my own way, and I only hope my wish shines through.

April 2021, Noritaka Kondo

Add To Cart

Add To Estimate

Add to Wishlist