Yaezaki Kengyo

A performer and composer of Ikuta-ryu koto music and jiuta in the late Edo period. His capital was Ikinomiyako (although it is unclear whether he was Mihoichi). In 1815 (Bunka 12), he became a kengyo. As a student of Urazaki Kengyo (1776-1848), he took over the compositional activity of adding koto notes to jiuta shamisen music, which his teacher and Kawarazaki Kengyo had started in Kyoto, and perfected a new style known as "Kyoto-ryu tegotomono" or "Kyoto-style tegotomono." He added koto notes to most of the Kyoto jiuta shamisen music, and attempted to fuse the two musically. There are also many anecdotes about his performances with the jiuta shamisen player Kikuoka Kengyo. Yaezaki's koto arrangements include many pieces composed by Matsuura Kengyo, such as "Shin-uki-fune," "A Tour of Uji," "A View of the Four Seasons," "The Final Promise," "Tamanouta," and "The Four People," as well as pieces composed by Kikuoka Kengyo, such as "Iso-chidori," "Ima-komachi," "Kajimakura," "Katsurao," "Sasa-no-Tsyu," "Cha-no-yu-ondo," "Nagara-no-Spring," "Fune-no-Yume," "Miyama-jishi," and "Yugao," as well as pieces composed by Mitsusaki Kengyo, such as "Nana-komachi" and "Mitsuyama," and pieces composed by Ishikawa Koto, such as "Shin-ao-yagi" and "Yae-goromo." His disciples include Matsuzaki Kengyo and Mitsuzaki Kengyo.

[Keiko Hirayama]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

江戸後期の生田流(いくたりゅう)箏曲(そうきょく)・地歌(じうた)の演奏家、作曲家。都名(いちな)壱岐之都（三保一かといわれるが不明）。1815年（文化12）検校登官。浦崎検校（1776―1848）の門下で、京都において師と河原崎(かわらざき)検校などが始めた地歌三絃(さんげん)曲に箏(こと)の手付けをつける作曲活動を受け継ぎ、「京流手事物(てごともの)」または「京風手事物」といわれる新様式を完成させた。彼は京都の地歌三絃曲の大半に箏の手付けをし、両者の音楽的な融合を図った。また、地歌三絃奏者菊岡検校との競演に関する逸話も多い。八重崎による箏の手付けは、松浦検校作曲の『新浮舟(しんうきふね)』『宇治巡(めぐ)り』『四季の眺(ながめ)』『末の契(ちぎり)』『玉の台(たまのうてな)』『四つの民』など、菊岡検校作曲の『磯(いそ)千鳥』『今小町』『楫枕(かじまくら)』『桂男(かつらお)』『笹(ささ)の露』『茶の湯音頭』『長等(ながら)の春』『舟の夢』『御山獅子(みやまじし)』『夕顔』など、光崎(みつさき)検校作曲の『七小町(ななこまち)』『三津山』、石川勾当(こうとう)作曲の『新青柳(しんあおやぎ)』『八重衣(やえごろも)』など多数に上る。門下に松崎検校や光崎検校などがいる。

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