Old pine tree

(1) Noh piece. First piece: Waki ​​no mono (supporting piece). Five schools of current Noh. Both pieces were written by Zeami and have the joy of pine trees as their theme. In "Takasago," the latter shite is a dashing male deity, and the former is a rustic old deity. It tells the legend of the flying plum tree that flew to Kyushu in love with the exiled Sugawara no Michizane, and the chasing pine tree. An old man (mae shite) and a young man (tsure) appear before a Kyoto native (waki) visiting Anrakuji Temple, where Michizane was buried, and tell the story of the plum tree and the pine tree that were worshipped as gods. The spirit of the old pine tree (nori shite) performs a solemn dance praising the tranquil spring and celebrating the reign of the Emperor. The original production had been a substitute performance in which the plum spirit, worshipped locally as Kobaidono, appeared in the guise of a heavenly maiden, and the tsure in the earlier act was also in the form of a woman, but this time she was played in a male role in accordance with the style of other waki-noh plays.

[Masuda Shozo]

(2) There are pieces with the same name in shamisen music such as Tokiwazu, Tomimoto, Kiyomoto, Nagauta, and Itchu-bushi, all of which are based on Noh and have a dignified tone as celebratory music. Tokiwazu in particular is the oldest Tokiwazu piece, first performed by Tokiwazu Mojitayu when he changed his name from Miyakoji in 1747 (Enkyo 4), and still retains the influence of Itchu-bushi. Nagauta was composed by Kineya Rokusaburo IV in 1820 (Bunsei 3), and is the beginning of the so-called ozashiki nagauta for concerts.

[Kiyoko Moteki]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

(1)能の曲目。初番目・脇能物(わきのうもの)。五流現行曲。同じ世阿弥(ぜあみ)作であり、松のめでたさを主題としながら、『高砂(たかさご)』の後シテはりりしい男神であり、これは翁(おきな)さびた老神である。流罪の菅原道真(すがわらのみちざね)を慕って九州に飛び来たった飛び梅と、追い松の伝説。道真を葬った安楽寺を訪れた都人（ワキ）の前に、老翁（前シテ）と若い男（ツレ）が現れて、神と祀(まつ)られた梅と松のことを物語る。老松の神霊（後シテ）は、のどかな春をたたえつつ荘重な舞を舞い、天皇の御代(みよ)をことほぐ。土地で紅梅殿(こうばいどの)と崇(あが)められる梅の精を、天女の姿で登場させる替(かえ)の演出のほうが本来の行き方で、前段のツレも女性の姿であったのが、他の脇能の類型に従って男の役にしたものであろう。

［増田正造］

(2)常磐津(ときわず)、富本(とみもと)、清元(きよもと)、長唄(ながうた)、一中節(いっちゅうぶし)などの三味線音楽に同名の曲があり、いずれも能をもとにし、祝儀曲として格調をもつ。とくに常磐津は1747年（延享4）常磐津文字太夫(もじたゆう)が宮古路から改名したときに披露した、常磐津最古の曲で、一中節の影響もかなり残っている。また長唄は、1820年（文政3）4世杵屋(きねや)六三郎作曲で、演奏会用の、いわゆるお座敷長唄のはしりである。

［茂手木潔子］

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