Gidayu, also known as Takemoto, is the style of chanting with shamisen developed by Takemoto Gidayu (1651 - 1714) together with the texts of Chikamatsu Monzaemon (1653 - 1724). It is the most important style of katarimono and even though the word "Joruri" means all styles of theatrical narrative music including genres like Tokiwazu, when the word "Joruri" is used, it usually refers to Gidayu, especially in the area around Osaka and Kyoto. This is the region where Gidayu music was born and where it is still the strongest.

The plays of Gidayu were written to be acted by puppets, and usually a single narrator plays all the roles and describes the scene and the emotions of the characters. Many of the plays were soon adapted to the Kabuki theater as well and the narrator and shamisen player still appeared on stage, even though the lines were spoken by the actors and not the narrator. For example, The Breaking of the Seals (JTRAD 030) is an example of a puppet play adapted to Kabuki. In time, Kabuki playwrights started adding narration by Gidayu musicians to plays originally written for Kabuki. So today, there are two separate, but related groups of Gidayu musicians, the ones that appear in Bunraku and the ones that appear in Kabuki. For an example of Gidayu written especially for a Kabuki play, see Toribeyama Shinju (JTRAD 029).

Originally the shamisen music was quite simple, mostly just adding rhythm to the chanting and filling in breaks between passages. Eventually, virtuoso music for the Gidayu shamisen developed. In this section, Cho no Michiyuki (JTRAD 026) is one example that is famous for its pure instrumental passages, but there are several other examples in the section of this website for instrumental music. These include Nozaki (JTRAD 001) and Kitsunebi (JTRAD 075). Yanagi no Kiyari (JTRAD 082) is also a very famous passage of Gidayu, but it is usually a showpiece for beautiful singing. This particular version is a modern arrangement where the Gidayu chanter is replaced by orchestral music.

JTRAD 024

There are many legends about the court astrologer Abe no Seimei and this five-act puppet play shows his birth and culminates with a contest of magic. Written by Takeda Izumo, the play premiered at the Takemoto-za theater in Osaka in 1734. One of the legends about Abe no Seimei is that his magical powers come from the fact that his mother was actually a fox. Narrative songs about Seimei (known by his childhood name of Doji) and his parting from his fox mother, as well as the efforts of his father Yasuna to find her in the forest of Shinoda are especially in the Buddhist narrative style called Sekkyo Bushi. The full-length play is performed occasionally today, but the most familiar scene is the fox Kuzunoha's parting from her son. This scene is performed frequently today both in Bunraku and Kabuki. Also, the mad scene of Yasuna has been transformed into a separate dance, which is one of the most important pieces of the Kiyomoto style of narrative music. See Yasuna (JTRAD 032).

In the full-length play, Abe no Yasuna is a student of the late court astrologer Kamo no Yasunori and is supposed to marry Yasunori's adopted daughter Sakaki no Mae. However, there is an important ceremony to show that Sakaki no Mae has proper possession of the books of magic belonging to her father and villains have stolen them. She commits suicide to atone and Yasuna is driven mad with grief. As he wanders through the countryside, he comes to his senses and rescues a fox that is being chased by hunters. In gratitude, this magical fox takes the form of Sakaki no Mae's younger sister Kuzunoha and lives with Yasuna quietly in the country. They have a son named Doji. The boy is strong-willed and mischievous and loves to kill and eat insects and small animals. Kuzunoha grieves that this a sign that her animal nature has been passed on to her son. But one day, the real Kuzunoha and her parents Shoji and his wife come searching for Yasuna and they are surprised to find another Kuzunoha. At this point, the fox Kuzunoha knows that she must leave and she tearfully parts from her husband and son. She writes a poem on the paper screens which means, "If you would search for me, go to the forest of Shinoda." Her hands gradually change back to animal paws and the final lines of the poem are written with the brush held in her mouth.

Yasuna, Doji and the real Kuzunoha go to try to persuade the fox Kuzunoha to return, but she says that she is a messenger of the gods and cannot have any more close contact with human beings. But she will always watch over Doji. In the final scenes of the play, there is a contest of magic between Doji and his arch-rival, Ashiya Doman. This recording begins with the fox Kuzunoha's farewell to her sleeping son and ends as she disappears. Toyotake Yamashiro no Shojo (1878 - 1967) is widely regarded as the greatest Gidayu singer of the twentieth century. In particular, he is noted for the intelligence and clarity of his interpretations, approaching the classics with a very modern feeling. Tsuruzawa Seiroku (1889 - 1960) performed together with Yamashiro no Shojo for twenty-six years until they parted over a difference of opinion. He was one of the most important shamisen players of the twentieth century, also training many of the great chanters that followed Yamashiro no Shojo.

Text:
(Fox Kuzunoha) "For me not to have known that last night would be the final time that I could sleep with my husband on one side and my beloved son on the other must mean that my fox powers have weakened out of love for human beings. I must go now, but your father has not done anything wrong. I am not the real Kuzunoha, but borrowed the name and form from her. I have only gratitude to her, no hatred whatsoever. Regard Shoji and his wife as your real grandfather and grandmother. Treat Kuzunoha as your true mother; then, perhaps, she will not hate me. Stop misbehaving and study hard. Become praised as being a worthy son to someone as excellent as your father. Do not be laughed at as a useless boy who is obviously the son of a fox. You have killed insects mercilessly and I grieved, knowing that this was because you had inherited my fox nature. When you grow up, do not take the life of even a single small bird or tiny insect without reason. Even though we must part, your mother will always look after you and protect you." She knows that she must leave, but cannot bring herself to, clinging to her beloved child. She weeps uncontrollably. At the sound of her voice, Yasuna comes running from the next room, "I heard everything, how can you abandon your child?" Shoji and his wife and Kuzunoha come stumbling out of the next room as well, saying that they will not let her leave. The fox Kuzunoha immediately drops the child she is embracing and vanishes.

Performers:
Toyotake Yamashiro no Shojo (Chanter) and Tsuruzawa Seiroku (Shamisen)

JTRAD 025

This play is based on The Courier from Hell, a puppet play by Chikamatsu Monzaemon (1653 - 1724) first presented at the Takemoto-za theater in 1711. This version was and first presented in 1773 and is much more popular than Chikamatsu's original version since it is more dramatic. The Kabuki version of another scene of this play appears on this website as JTRAD 030. The scene at Ninokuchi Village is usually performed with Gidayu music, but the travel scene of Umegawa and Chubei through the snow has been adapted numerous times as Tokiwazu, Tomimoto and Kiyomoto pieces and often appear on the Kabuki stage in that form today.

The full-length play is the story of Chubei, the adopted son of a family firm of official money couriers. He has long been in love with the courtesan Umegawa and has arranged to ransom her. But Chubei has a rival, his friend Hachiemon. One day when Chubei happens to visit the pleasure quarters, Hachiemon declares that he will ransom Umegawa himself. The proprietor of the brothel is sympathetic to Chubei, but if he cannot come up with the money to ransom Umegawa, she will have to go to Hachiemon. Finally pressed by his love for Umegawa and his pride, Chubei breaks the seals on some bundles of gold coins with which he has been entrusted, knowing that he has committed a crime punishable by death. Even though the other people congratulate the couple, Chubei and Umegawa leave in desperation since the law will soon catch up with him.

They escape to his home village Ninokuchimura, traveling through the snow, keeping each other warm. Chubei longs to see his father Magoemon, but formally they are strangers since officially they are not related after Chubei was adopted by the money courier's family. More to the point, arresting officers have already reached the village and if Magoemon sees or speaks with Chubei, he will be forced to turn him over to the authorities. Chubei and Umegawa take refuge in a cottage and see Magoemon walk by, but duty prevents them from meeting. Suddenly Magoemon slips on the ice and Umegawa rushes out to help him. He soon realizes who she is, but they pretend to take care of each other, Umegawa pretending that he is a man very much like her father in law and Magoemon careful to say that he appreciates her kindness, but cannot accept her as his daughter in law. Umegawa finds a way around Magoemon's scruples by offering to blindfold him so that he can have a final parting from his son. Magoemon quickly accepts and, as father and son tearfully clasp hands, she pulls the blindfold off and Magoemon embraces his son, his natural feeling as a father overcoming his sense of duty. But just at this moment, the arresting officers are heard and Magoemon urges them to escape, calling after them as they disappear across the snowy landscape.

The narrator in the recording is Takemoto Tsunatayu VIII (1904 - 1969), a student of Yamashiro no Shojo and the most important narrator of the generation after him. He performed together with Takezawa Yashichi (1910 - 1976) for thirty-three years leaving behind masterful performances and magnificent recordings.

Text:
As Magoemon weeps, he opens up his purse and takes out a bundle of coins. "I was going to give this to my family temple in Kyoto, but I will give this to you - not as my daughter-in-law, but in thanks for your kindness. Take this money and use it to go far, far away." He gives Umegawa the money and she holds it close in gratitude. "Even though I do not deserve this, I thank you for this money. When we left Osaka, we were afraid that my looks would attract attention, so we rented a palanquin to travel, day after day. We went to inns in Nara and teahouses in Miwa. We stayed up through the night, five nights, three nights in a row. In a little over twenty days we used forty gold coins and now only have two lumps of silver. Because of money, your precious Chubei has become a criminal. This was all for my sake, how you must hate me. How angry you must be. But please be resigned that this was our karma. Please forgive me. They say that parent and child are only united for one lifetime. Please meet Chubei one last time. She starts to open the paper-screen door behind her, but Magoemon stops her. "Absolutely not! Absolutely not! Absolutely not! I told you before that even if we do not exchange words, if I see my son's face, I would have to tie him up and turn him in to the authorities. If I inform on my son, I will have failed in my obligations to Chubei's adoptive mother. Moreover, how can a father arrest his own son? How can a father tie up his son with his own hands?" "I understand. I will make sure that you do not see your son's face." She takes a long handcloth and weeping, goes behind the old man. She murmurs her apologies as she blindfolds him. "This is a bit uncomfortable, but even if Chubei stands right next to you, you will not see him." "Thank you! Oh thank you! If we do not exchange words, if I do not see him, but if I can just hold my son's hand, that is my dearest wish. This will be the final parting of father and son. But make sure that your husband does not say one word." Overjoyed, Chubei comes running out of the house. Father and son clasp each other's hands, but they cannot say 'my father,' 'my son.' The obligations of this world are indeed sad. Their tears flow and swell into a river great enough to wash both of them away.

Just at this point there is the sound of many men. Magoemon hurriedly pushes Umegawa and Chubei back into the house. "That must be the men to arrest Chubei. Go by the back road, cross that little river and if you slip through the bamboo forest, you will be at the Goze Highway. Hurry! Hurry! Hurry!" As Magoemon agonizes, Hachiemon appears, disguised as a pilgrim. With him is Rihei and they both look around with sharp roving eyes, as though picking fleas. A crowd of officials accompanies them. They think that the house is suspicious and immediately break in and try to capture Umegawa and Chubei. But it is too late; they have slipped out already. Puzzled, the men go to continue their search elsewhere. Magoemon is overjoyed and thinks that this must be the gift of heaven. He looks toward the back highway. "Yes, that's the road. Right there, go through that bamboo grove...be careful not to stumble on any of the cut-off stumps!" Out of the love of a father he shouts, even though he knows his voice cannot be heard. The Utou bird sheds tears of blood when parent parts from child. Truly this is a sad world full of tears.

Performers:
Takemoto Tsunatayu (Chanter), Takezawa Yashichi (Shamisen)

JTRAD 026

This Gidayu play originates in the Kabuki play Keisei Yamato Zoshi by Namiki Gohei 1747 - 1808), the most important Kansai playwright of the late 18th century. The Kabuki play appeared at Osaka's Naka no Shibai in 1784, and at that time, musicians in the Miyazono style performed the michiyuki travel scene. There are historical records that this play was performed in the puppet theater in 1818 and that probably is when it was adapted to Gidayu.

The original play is quite complicated and is not performed today. What is important is the way that this sets up this fantastic scene, with a handsome young couple in the afterworld recalling their love. Michiyuki scenes are the most poetic and musical section of a love suicide play and very often have become independent plays in themselves. The michiyuki has a special heightened atmosphere because it shows the couples passage toward death and is a kind of magical space between the human world and the world after death. Cho no Michiyuki is unique because it shows the young couple already dead and in the afterworld.

Two young members of a samurai clan, Sukekuni and Komaki are deeply in love, but for various complex reasons, they must sacrifice their lives for their masters. They are then reborn in the afterworld as a pair of butterflies. At first they appear in human form in a setting of gigantic flowers, as though from a butterfly's point of view. This first section of the piece is the one included in this recording. But then they appear as butterflies suffering the torments of the afterworld.

Text:
Is this world a dream or reality; is it here or not? Did I dream of being a butterfly or did a butterfly dream of being me? So wrote the Chinese philosopher. The thousand grasses and flowers blossom. How adorable the pair of butterflies that come and play there. This is the new appearance of Sukekuni of Yamato. Now in gardens in spring and fields in autumn he rejoices and is melancholy. With the same feelings Komaki wanders through the fields investigating the roots of love, flying here and there. They mingle their wings together. (long instrumental passage) Male and female butterflies float light-hearted. Now there is nothing to support them except the grasses, what a tragic fate! They pledged themselves to each as husband and wife, to be united for two lifetimes. But no sooner did they do that than they had to leave the mortal world. Memories of the past spring up like grasses, there is no gardener there to plant them, but they grow all the same. Even this loving couple has come to this end; rising and falling fate cannot be controlled by anyone. Be strong, beloved wife! You as well, my husband!

Performers:
Takemoto Koshijidayu (Chanter), Nozawa Kizaemon (Shamisen)