Appreciate
Outline
Sokō
Sokō (‘Liquidambar Incense’) is the longest piece in the current tōgaku (‘Tang music’) repertoire, taking as long as three hours for a complete performance.
Tales of its origin take us back as far as ancient India during the rule of King Aśoka (r. 268–232 BC). Evidently the king’s illness was treated with a medicinal plant, and on recovering he composed this piece. A dancer is said to have made a helmet of the leaves of the plant, and wore it as he danced.
The piece was transmitted to Japan during the reign of Emperor Kanmu (737–806, r. 781–806) by Wanibe no Shimatsugu, who traveled to China on an official mission to the Tang. He is said to have forgotten a part of the piece in the process, which is why no Part 2 of the Jo movement survives.
Form of the piece
Sokō comprises six sections: Jo (Part 1), Part 3, Part 4, Part 5, Ha, and Kyū. Part 3 of the Jo is in a distinctive yuribuki style, with 26 rhythmic cycles. The Ha movement is in nobe meter, hyōshi-nijū (20 rhythmic cycles of irregular length), and the Kyū movement is in nobe-yohyōshi hyōshi-nijūichi (21 cycles of four measures of 8/4). The latter is also performed transposed to the mode ōshikichō (on A).
Points for appreciation
This piece is characterized by the variety of structure of its component movements.
Classed as one of the ‘four great pieces’ (shika no taikyoku), it is a very difficult piece, the performance of which requires extensive experience from its performers. Other than the profound elegance of its melodies, the complex rhythmic structures of each of the movements are of great interest.
