Tokiwazu-bushi

Japanese: 常磐津節 - ときわずぶし

The name of a school of joruri. Its founder was Tokiwazu Mojitayu. Along with Tomimoto and Kiyomoto, it is one of the three schools of Bungo. In 1739 (Genbun 4), the joruri (Bungobushi) of Miyakoji Bungo no Jo was banned by the shogunate, and Mojitayu, a senior disciple who remained in Edo, created a new school in 1747 (Enkyo 4). When he started anew, he named it Kanto, but was stopped by the magistrate's office. He first changed his name to Tokiwazu, then to Tokiwazu, and established a school.

[Kiyohiro Hayashi and Yukinori Moriya]

History

Since its founding, Tokiwazu has been plagued by internal conflicts, and the following year, in 1748 (Kan'en 1), Komojidayu broke away and founded Tomimotobushi, a period of conflict between the two schools that followed. On the other hand, after the death of the first Sasaki Ichizo, who was the standing shamisen of the first Mojidayu in 1768 (Meiwa 5), Kishizawa Koshikibu was appointed as his successor, and as a result, his disciples Shizumadayu and Mikidayu took the name Toyonaka, and Wakadayu took the name Fujioka, joining the Sasaki school and becoming independent, but the Toyonaka school returned to Tokiwazu in 1783 (Tenmei 3), and the Fujioka school was wiped out in one generation. After the settlement, in the later years of Mojidayu II, his younger brother Kanedayu II left the school in 1799 (Kansei 11) due to a dispute over the succession of the family head, and set up his own school under the name Azuma Kunidayu, but this only lasted for one generation. In 1791, Tobaya Satocho took over as Tomimoto.

In 1857 (Ansei 4) during the final days of the Tokugawa shogunate, another major dispute arose. A dispute over fame surrounding the highly acclaimed "Sanze Sounishikibunsho" (The Three Generations of Brocade and Embroidery), as well as growing dissatisfaction with the distribution of remuneration to the shamisen performers, led to a rift between the 4th Mojitayu (Bungo Daijo) and the 4th Kishizawa Koshikibu, and in 1860 (Man'en 1), the Kishizawa school became independent, with Koshikibu, the composer, becoming a performer himself. However, in 1882 (Meiji 15), the 7th Komojitayu (later known as Tokiwazu Rinchu), came into power and the two schools were reconciled, and the following year, "Tsurionna" (Fishing Woman) was composed as a commemorative piece, and in 1884, "Matsushima" was written. In 1886, Komonjidayu 7th was divorced from the head family and changed his name to Hayashinaka. In 1896, he was invited by Ichikawa Danjūrō 9th to perform, where he was acclaimed as a master and played an important role in the flourishing of Tokiwazu-bushi, creating an era. After Hayashinaka's death, the conflict between the Tokiwazu and Kishizawa families flared up again, and the brothers Kishizawa Shikisa 7th and Nakasuke called themselves "Shinpa", but it was finally resolved in 1927 (Showa 2) when the Tokiwazu Association was founded. Looking at developments after the Meiji period, Hayashinaka's disciple Matsuodayu 3rd (1875-1947), who was a disciple of Hayashinaka but was not inferior to Hayashinaka, who was acclaimed as a master of Joruri, had a soft voice, so he began performing in theaters from the end of the Meiji period and made many recordings during the Taisho and early Showa periods, leaving a strong legacy. His sons, Tokiwazu Mitosedayu (1907-83) and Chitosedayu (1916-78), and shamisen player Kikusaburo (1897-1976), were active in theaters and broadcasting, supporting the Tokiwazu world after World War II. In April 1981, about 20 people, represented by the 8th head of the school, Mojidayu, were designated as a comprehensive Important Intangible Cultural Property of Tokiwazu-bushi, and the 4th head of the school, Mojibei (Eiju), began creative activities that were in line with modern sensibilities, securing a foothold for the preservation of the tradition and its future development.

[Kiyohiro Hayashi and Yukinori Moriya]

Representative works and characteristics

In the early days of Tokiwazu-bushi, Tokiwazu-bushi followed the style of Bungo-no-jo, and although they added their own unique touches, their melodies were not very different. However, as they devoted themselves to developing new areas as a dance ground for Kabuki drama, they gradually tried to break away from the traditional Bungo-bushi and demonstrated their talents in the world of heavy and magnificent period pieces, producing such representative pieces as "The Spider's Thread" in the Meiwa period (1764-72) and "The Door of Seki," "The Old Mountain Cub," and "The Returning Palanquin" in the Tenmei period (1781-89). During the Bunka and Bunsei periods (1804-1830), with the popularity of Henge dance, short dance pieces depicting the customs of the time were composed, and there was also interaction with Nagauta, of which the dialogue-style "Kakubei" is a fine piece that is still popular as a standalone piece today. Furthermore, during the Tenpo and Ansei periods (1830-1860), masterpieces such as "Masakado" and "Niiyamauba" were created, as well as stylish and humorous pieces such as "Noriaibune" and "Sanseisou" (The Three Worlds), such as "Jumanokudo" and "Dajigoku" (Falling to Hell). From the end of the Edo period through the Meiji era, Gidayu-style plays were adapted to Tokiwazu, and there were plays such as "The Fishing Woman" and "Momijigari" that incorporated themes from Noh and Kyogen, and Tsubouchi Shoyo's "Onatsu Kyoran" reflects the characteristics of the changing times.

Among the three schools of Bungo, Tokiwazu maintains a tempo and rhythm suitable for dance accompaniment throughout, and the vocalization is quite natural without any outstanding technique; rather, it could be said that its true talent lies in adding flavor to the voice itself.

[Kiyohiro Hayashi and Yukinori Moriya]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

浄瑠璃(じょうるり)の流派名。常磐津文字太夫(もじたゆう)を始祖とする。富本(とみもと)、清元(きよもと)とともに豊後(ぶんご)三流の一つ。1739年（元文4）宮古路豊後掾(みやこじぶんごのじょう)の浄瑠璃（豊後節）は幕府から禁止され、江戸に残った高弟の文字太夫は1747年（延享4）新しい流派を名のり、再出発にあたって関東と名づけたところ奉行(ぶぎょう)所から差し止められ、初め常盤津のち常磐津と改め一流を樹立した。

［林喜代弘・守谷幸則］

沿革

常磐津は創流以来内部抗争が絶えず、小文字(こもじ)太夫が翌1748年（寛延1）に独立して富本節をおこし、以後両派の闘争時代が続いた。他方、68年（明和5）初世文字太夫の立(たて)三味線であった初世佐々木市蔵の没後、後継者に岸沢古式部(こしきぶ)を起用したことから、門人の志妻(しづま)太夫と造酒(みき)太夫は豊名賀(とよなか)を、若太夫は富士岡を名のり佐々木派と組んで離反独立したが、豊名賀派は83年（天明3）常磐津に帰参し、富士岡派は一代で消滅した。その決着後、2世文字太夫の晩年には、実弟の2世兼(かね)太夫が家元相続の争いから、99年（寛政11）に離脱して吾妻国(あづまくに)太夫を名のり一派をたてたが、一代で終わった。なお1791年には鳥羽屋里長が富本に転じている。

　幕末期の1857年（安政4）にまたもや一大紛擾(ふんじょう)がもちあがった。大評判をとった『三世相錦繍文章(さんぜそうにしきぶんしょう)』にまつわる功名争い、それに加えて三味線方の太夫に対する報酬配分の不満も募り、4世文字太夫（豊後大掾）と4世岸沢古式部が不和となり、60年（万延1）岸沢派は独立し、作曲者である古式部は自ら太夫に転向して出演した。しかし82年（明治15）7世小文字太夫（後の常磐津林中(りんちゅう)）の時代を迎え両派の和解が成立、翌年その記念の曲として『釣女(つりおんな)』、84年に『松島』がつくられた。7世小文字太夫は86年家元家より離縁となったため林中と改名、96年より9世市川団十郎に招かれて出勤、名人とうたわれ常磐津節の隆盛に力を発揮、一時代をつくった。その林中の没後にふたたび常磐津、岸沢両家の対立が再燃し、7世岸沢式佐と仲助の兄弟は「新派」を名のったが、1927年（昭和2）常磐津協会設立にあたりようやく解消した。明治以後の動きをみると、浄瑠璃の巧妙さでは名人とうたわれた林中にひけをとらなかった6世文字太夫が小音で声がたたなかったことから、林中の門弟3世松尾(まつお)太夫（1875―1947）が明治末年から劇場に出演し、大正・昭和初期にかけてレコード吹き込みも多く、業績を残した。そしてその子の常磐津三東勢(みとせ)太夫（1907―83）と千東勢(ちとせ)太夫（1916―78）、三味線方の菊三郎（1897―1976）らは劇場や放送で活躍し、第二次世界大戦後の常磐津界を支えた。1981年（昭和56）4月、8世家元文字太夫を代表として二十数名が重要無形文化財常磐津節の総合指定を受け、4世常磐津文字兵衛（英寿(えいじゅ)）は現代感覚に見合った創作活動に着手し、伝承保存と将来発展への足掛りを固めている。

［林喜代弘・守谷幸則］

代表作と特色

常磐津節初期創流のころには豊後掾の芸風を踏襲し、持ち味のくふうは凝らしても、大差のない似通った曲節であったと思われる。しかし歌舞伎(かぶき)劇の舞踊地としての新生面の開拓に専念するにつれて、従前の豊後節から徐々に脱皮を試み、重厚壮麗な時代物の世界に優れた実力を発揮し、明和(めいわ)期（1764～72）には『蜘蛛(くも)の糸』、天明(てんめい)期（1781～89）には『関の扉(せきのと)』『古山姥(ふるやまんば)』『戻駕(もどりかご)』などの代表曲が生まれた。文化・文政(ぶんかぶんせい)期（1804～30）には変化(へんげ)舞踊の流行に伴い、風俗描写の小品舞踊曲がつくられ、長唄(ながうた)との交流もあり、なかでも掛合い形式の『角兵衛(かくべえ)』が佳品で、いまなお単独曲として流行している。さらに天保(てんぽう)～安政(あんせい)期（1830～60）に入って、しゃれたおかしみの作品『乗合船(のりあいぶね)』『三世相』の「十万億土」や「堕地獄(だじごく)」のほか、『将門(まさかど)』『新山姥』などの傑作もつくられた。幕末から明治にかけては義太夫種ものが常磐津化されたほか、能狂言を題材に取り入れた『釣女(つりおんな)』『紅葉狩(もみじがり)』があり、坪内逍遙(しょうよう)作の『お夏狂乱』は時代の流れの特色を反映している。

　常磐津は豊後三流のなかでも舞踊の伴奏に適したテンポとリズムが終始保たれ、発声も際だった技巧を用いず、ごく自然であり、むしろ声自体に味をきかせるところにその本領があるといえよう。

［林喜代弘・守谷幸則］

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