Kineya Katsusaburo (2nd generation)

Japanese: 杵屋勝三郎(2世) - きねやかつさぶろう[にせい]

[Born] 1820
[Died] 1896
Nagauta shamisen master, head of the Kinekatsu school. Son of Kineya Katsusaburo 1. In 1840, he took the name Kineya Katsusaburo 2 from Kineya Kosaburo. In 1845, he was promoted to tachi shamisen. He was known as "Baba no Onikatsu" (Baba's Onikatsu) after his address in Bakuro-cho, Nihonbashi. A master of Nagauta throughout history, he was called one of the three great composers along with Kineya Kangoro 3rd and Kineya Shojiro 3rd from the end of the Edo period to the early Meiji period. While performing at theaters, he made a great contribution to the development of the Kinekatsu school by composing unique Nagauta, such as by trying to make Nagauta independent, which had developed in conjunction with Kabuki dance, and by actively incorporating Noh songs, which were showing signs of decline in the early Meiji period, into Nagauta. His works include "Miyakodori", "Kuramayama", "Renjishi", "Shigure Saigyo", "Utsukuzaru", "Funabenkei", "Adachigahara", etc. Traditionally, the Katsusaburo family was a disciple of the Katsugoro family, but since the second Katsusaburo was a master, the Katsusaburo family became the head of the Kinekatsu school.

Source: Encyclopaedia Britannica Concise Encyclopedia About Encyclopaedia Britannica Concise Encyclopedia Information

Japanese:

[生]文政3(1820)
[没]1896
長唄三味線方，杵勝派の家元。1世杵屋勝三郎の実子。天保 11 (1840) 年，杵屋小三郎から2世杵屋勝三郎に襲名。弘化2 (1845) 年，立三味線に昇進する。住所の日本橋馬喰町にちなんで世に「馬場の鬼勝」と呼ばれた。長唄界古今を通じての名人で，幕末から明治前期にかけて，3世杵屋勘五郎，3世杵屋正次郎とともに作曲の三傑と称せられた。劇場に出向くかたわら，歌舞伎舞踊に付随して発展してきた長唄の独立をはかり，あるいは明治初期に衰退の兆しをみせていた謡曲を積極的に長唄に取り入れるなど，独特の長唄を作曲して杵勝派発展のために多大な功績を残した。作品に『都鳥』『鞍馬山』『連獅子』『時雨西行 (しぐれさいぎょう) 』『靫猿』『船弁慶』『安達原』などがある。従来，勝三郎家は勝五郎家の門弟筋にあたったが，2世勝三郎が名人であったため，その後は勝三郎家が杵勝派の家元となった。

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