We have just come from an incredible concert, a stunning blend of East and West, in a rich and complex work by Yui Kakinuma called Messe de Muromachi. We were invited to the concert by Kensuke Ohira, one of three organists at Hijirigaoka Church, who is the artistic director of  Ensemble Muromachi. The composition fuses Latin chant with ancient Japanese musical instruments plus Western period instruments, imagining a mass that might have occurred in the late Muromachi period when Christianity was first introduced to Japan. 

Ensemble Muromachi is the world’s first ensemble of European and Japanese “period instruments,” namely European Renaissance and Baroque instruments and traditional Japanese instruments. It was founded in 2007 by French harpsichordist and composer Laurent Techené. The name “Muromachi” comes from the Muromachi period (16th century), when European instruments were introduced to Japan. 

The nearly two-hour work begins with an organ solo and combines baroque violin, viola da gamba, baroque cello, harpsichord and organ with traditional Japanese instruments such as the koto, shakuhachi, biwa, shō and hichiriki. For most of the movements, except the Credo, a solo countertenor sings the traditional Latin chants under which the two ensembles alternatively accompany either in a Western contrapuntal style or using distinctive and solemn Japanese instruments: the mournful hichiriki to the meditative shakuhachi and the storytelling biwa. These instruments are central to gagaku court music and Buddhist monastic traditions, as well as later forms of popular entertainment and narrative performance, showcasing a blend of elegance, emotion, and ancient storytelling. 

There are times when all of the Western instruments are playing and the composer adds an obbligato from one of the Japanese instruments. Other times, itʻs reversed, frequently a cello adding obbligato to the ensemble of Japanese instruments.

In case youʻre not familiar with the Japanese instruments, hereʻs a quick slideshow:

The Latin Credo chants were sung in traditional Japanese style by the koto and biwa players while they played their respective instruments. It was eerily beautiful to hear these two contrasting styles woven together. My local Japanese consultant (Bill) was particularly impressed with the Crucifixus section, played and sung by the biwa performer. Perhaps the composer was alluding to The Tale of the Heike, in which a singer tells of the sorrowful death of warriors lost in battle, accompanied by the biwa.

A couple of times the entire ensemble started chanting like Buddhist monks (all the while playing their instruments) which may reflect the composerʻs intention to reflect the way Japanese Christians may have celebrated the mass in 15th century when Christianity was introduced.

In the Sanctus section where the text reads “Heaven and earth are full of your glory,” we could imagine fluttering angels in the glissandi of the koto. The addition of small hand-held bells reminded us of the Sanctus bells at communion.

The work built to a grand climax with the organist holding onto an A-major 9th chord, then letting go, leaving only the gentle sound of the shō remaining to finish the work. After a moment of reflection, the full house responded with sustained enthusiastic but dignified applause. No mandatory standing ovation as in America, neither hooting nor hollering, and no rhythmic applause. We were both pleased.

We talked to Kensuke after the performance who told us there was a video on YouTube which I am happy to share now. He would be grateful for any positive comments!

Here are the highlights:

00:02:16 Introitus
00:04:29 Kyrie
00:24:40 Gloria
00:58:50 Credo
01:16:35 Sanctus
01:30:54 Agnus Dei

Itʻs a powerful work and I highly recommend you carve out a couple of hours to listen to it!

Hereʻs what I found out about the composer of this work:

Yui Kakinuma was born in Kanagawa Prefecture, Japan in 1961. He graduated from the Department of Composition at Tokyo University of the Arts. He studied under Matsumura Teizo, Nagatomi Masayuki, and Odaka Junchu. He served as an assistant to Takemitsu Toru. He was selected for the 9th Japan Symphony Foundation Composition Award, won second place in the 3rd “Music Today” Composition Award, and received the first Idemitsu Music Award. In addition to receiving commissions from orchestras both in Japan and abroad, he has also composed numerous organ pieces, and in 2010, his work “Pilgrim’s Flute” won the Marcelle et Robert de Lacour Foundation Award at the Saint-Bertrand-de-Comminges (France) organ composition competition. In 2021, his Noh opera “Tenko,” for pipe organ and chorus, premiered to critical acclaim. He is a part-time lecturer at Musashino Academia Musicae and a lecturer at the St. Gregory’s House Sacred Music Institute.

This has been yet another highpoint on this trip. Weʻre so lucky!