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The Lantana Koto Ensemble
In Concert
Friday September 19th at 8:00 PM
Admission $15 ($10 for HSC members and Seniors)
The Berkeley Hillside Club
2286 Cedar Street
Berkeley 94709
Info: (510) 845-1350

The Berkeley Hillside Club is thrilled to present the Lantana Koto Ensemble in a concert of 20th and 21st century works composed and arranged for the traditional Japanese instruments, koto and sangen. The concert will include the world premier of "Night Procession of the Hundred Demons" by Hyo-shin Na, as well as works by Astor Piazzolla, Eric Satie, and others arranged for koto. Don't miss this amazing ensemble performing their rarely-heard repertoire in our acoustically-excellent hall!

The Ensemble:

The Lantana Koto Ensemble is an exciting new performance group with a fresh approach to the Japanese koto and sangen. All of its members are associated with the Sawai Koto Institute (Tokyo). Founded in 1979 by Tadao Sawai and Kazue Sawai, this organization is recognized for its unique artistry and emphasis placed on contemporary music for the koto. All the members of the Lantana Koto Ensemble have strong training in traditional koto methods, as well as significant experience in the US, Japan, and Thailand performing solo, with ensembles, and in collaborations with various musicians and artists.

The members of the ensemble include Shoko Hikage (koto, bass koto), Ryuko Mizutani (koto, bass koto, strings) Michie Kobayashi (koto, bass koto, sangen), Noriko Tsuboi (koto, bass koto), Kanoko Nishi (bass koto), and Tomoko Kaneda (bass koto). Joining the ensemble for several pieces will be special guest artist, saxophonist Jon Raskin.

The Instruments:

The koto, similar to the Chinese gu-zheng, is a 13-string plucked zither, which was introduced to Japan from China through the Korean Peninsula in the 7th century. This was at the about the same time that Buddhism and many other cultural influences arrived in Japan from the continent. [It is though that there was also a koto-like zither which already existed in Japan, evidenced in a small, clay figurine dating from the Yayoi period (3rd century BC to 3rd century AD).]

According to legend, the shape of the koto originated from that of a crouching dragon and parts of the instrument are named after the dragon. The koto is roughly six feet long and usually has thirteen strings arched over independently moveable bridges that sit on a hollow body of paulownia wood. The movable bridges are called ji and are made from plastic, ivory or wood. By adjusting these bridges, any thirteen-note scale can be produced, even one with microtonal intervals. In addition to the notes available through the adjustment of the bridges, each pitch can be altered by pushing down the strings with the left hand. Such a movement stretches the string to produce up to a whole step difference in pitch.

The instrument has been part of the gagaku court ensemble for over one thousand years, and also became popular among the merchant class of the Edo period (1600-1868). An important member of the traditional sankyoku ensemble, along with the three-strings shamisen and shakuhachi (bamboo flute), the koto developed further in a solo capacity, eventually gaining its place as one of Japan's most prominent instruments. Today a varied repertoire of compositions, along with a wide range of playing techniques providing a wonderful palette of sound textures, make the koto appealing to audiences the world over.

A 17-string bass koto was developed early in the 20th century by koto master Michio Miyagi, and this instrument now plays an integral role in contemporary ensembles.

The sangen is a three-string long necked lute. The neck extends through the head of the instrument over which skins are stretched in the front and back. There are no frets on the neck, so it easy to make subtle changes in pitch and tone quality through slides and various other techniques. There are numerous traditions of sangen performance, each with a unique sound and repertoire. Neck and head size, shape and size of plectrum and type of lower bridge all vary depending upon genre.

The Artists:

Shoko Hikage began playing Koto at the age of three. Her first teacher was Chizuga Kimura of the Ikuta-ryu Sokyoku Seigen Kai in Akita Prefecture, Japan. From 1985, 1985, she received special training from the 2nd and 3rd IEMOTO Seiga Adachi (hereditary head master of the Ikuta-ryu Sokyoku Seigen Kai). In 1988, hikage graduated from Takasaki college with a major in koto music, and she was accepted as a special research student (uchideshi) in Sawai Sokyoku In (Sawai Koto Academy) under Tadao and Kazue Sawai where she subsequently received her master's certificate(kyoshi). Hikage also completed a one-year intensive seminar at the Sawai Sokyoku In. In 1992, she moved to Honolulu, Hawaii to teach koto at the Sawai Kotot Kai Hawaii (Sawai Koto Academy branch) and University of Hawaii koto class. There she held her first American solo recital at the Honolulu Academy of Arts Theatre as part of the New Music Across America series. In 1997, she moved to San Francisco, where she continues her pursuits in improvisational dance and music. www.ShokoHikage.com

"Shoko Hikage, koto player extraordonaire will take you through the universe and beyond on her strings of sound. From Cherry Blossoms to John Cage, Shoko's performances will make you hear things you never even dream before." -- Lynda Hess, Artbeat

"The relationship between Shoko Hikage and the audience is "moving". Everyone is inspired during and even after the concert." -- Masami Teraoka, painting artist

"Everthing was perfectly, nothing seemed to Shoko Hikage's control as she soared through this riveting and often startling piece." -- Heuwell Tircuit, SFCV world music

Shoko Hikage has been interested in collaborating with musicians and artists of other genres, has worked with Anshin uchida -Japanese Noh play, Trinth Minh-Ha -film, Mary Sano -dance, Judith Kajiwara -butoh dance, Mark Izu -bass and Japanese sho, Hyo-shin Na -composer, Marina Piccinini -flut, Tokyo Nammy-voice and more. Hikage is member of Wooden Fish Ensemble, Natto quartet (Philip Gelb -shakuhachi , Tim Perkins -electronic and Chris Brown-electronics & piano), Ghost dance trio (Pauline Oliveros -accordion & Toyoji Tomita -trombone), Kenny Endo Taiko Ensemble, Koto emsemble Lantana, Koto Phase and Sawai Kazue Koto ensemble.

For more information about this artist, please see: www.ShokoHikage.com .

Ryuko Mizutani graduated from the NHK (Japanese National Broadcasting Company) School for Performers of Traditional Japanese Instrument in 1987. She then studied both classical and modern koto music under the koto masters Tadao and Kazue Sawai, even living with them for three years as an apprentice (uchideshi). Mizutani also completed a one-year intensive seminar at the Sawai Koto Academy. Further, she has been interested in improvisational and experimental music and she continuously explores new musical possibilities for the koto by collaborating with western musicians and artists of other genres. From 1999 to 2000, she received a fellowship from the Japanese Government overseas Study Program for Artists, studying with Anthony Braxton and Alvin Lucier at Wesleyan University in Connecticut. In her concerts at Wesleyan she performed entirely new experimental works for koto by Wesleyan composers, including a work for solo koto and pure-wave oscillator by Alvin Lucier composed for her. It was recorded and published by Lovely Music Ltd. in June 2001. Mizutani has an impressive list of premieres and continues to commission new works for the koto by composers from around the world.

For more information about this artist, please see: www.www.Ryuko-koto.com.com .

Noriko Tsuboi began studying koto at age eight, concentrating on traditional Japanese music. She was awarded with Lecturer^Òs certificate by the Sawai Academy of Music in 1987, and entered this academy as a Special Research Student. She also completed NHK (The National Television Broadcasting Network) Traditional Music Program, and Two-year Intensive Seminar in Sawai Academy of Music while performing in many concerts, recordings, and participating in tours abroad. She has not limited herself to traditional music and has collaborated with musicians of other genres, performing improvisational music at an outdoor theater and many other activities. On 1992, Noriko was invited to University of California, San Diego as a koto instructor and went to the United States. Her complete devotion to teaching impressed many in the university and her koto classes were very well received. She also directed student koto ensemble and held concerts in California area. In addition to teaching, Noriko has held solo recitals and concerts collaborated with various fields of musicians. After returning to Japan in 1998, she had continued performing various types of music and appeared in three music CDs released in Japan and The United States. Since 2001, Noriko resides in Bangkok, conducting unlimited musical activities in Asian countries such as Thailand, Malaysia, India, Cambodia, Myanmar, and Japan.

Michie Kobayashi graduated from Takasaki Collage with a major in koto music, and completed one year special course with this collage. She studied both classical and modern koto music under the koto masters Tadao and Kazue Sawai where she received her master's certificate. Kobayashi also completed NHK traditional Academy, and a one-year intensive seminar in Sawai Koto Academy. In 2000, Kobayashi received award for her koto performance from Osaka Butai Geijutsu Shourei. Kobayashi has performed in Thailand, Malaysia, India, Europe, U.S., and Japan. She lives in Chiba prefecture, Japan where she teaches koto and performs as a solo player and also as a member of Sawai Tadao Koto Emembel Tokyo.

For more information about this artist, please see: www.kobayashi-michie.com .

Kanoko Nishi graduated from Mills collage with a major in piano and she studied koto under koto master Kazue Sawai at the Sawai Koto Academy.

Tomoko Kaneda, a koto and shamisen performer and producer, graduated from Hosei University, and completed one-year course in NHK (Japan National Broadcasting Association) Academy of Japanese Traditional Music. She started her training in Japanese traditional music when she was twelve years old, and holds a master's license from the Sawai Koto Institute. Currently residing in Yokohama where she teaches koto and shamisen, Tomoko Kaneda performs wide variety of koto music, not only the traditional one, but also modern pieces. She has been also engaged in producing of many koto and shamisen concerts, including the annual charity concert performed by the 40th graduates of NHK Academy of Japanese Traditional Music. In 2007, as a member of Kawasaki International Friendship Ambassador (KIFA) appointed by Mayer of Kawasaki city, Kanagawa prefecture, she performed Japanese and Chinese music in Shenyang, Liaoning Province, the People's Republic of China.

Jon Raskin has been a member of Rova Saxophone Quartet for the last 30 years exploring the relationship of improvisation and composition, developing and honing the language of ensemble music and researching linguistic possibilities of the saxophone. He has performed and/ or recorded with Anthony Braxton, Fred Frith, Sam Rivers, Nels Cline, Vladimir Tarasov, Leo Smith and Henry Kaiser. Currents CD's include Juke Box Suite, Rova Saxophone Quartet (Not Two), JR Quartet (Rastascan), Kaolithic Music, Jaw Harp Music recorded in a 587 Gallon Vase(Evander Music) and Music Plus One- An Improvisation Compendium which is solo recordings from Bay Area improvisers designed for others to improvise along with.