Tsuru-no-Sugomori - Wil Offermans, Cons. Populaire, Genève

A live video of Wil Offermans performing his arrangement of the Japanese shakuhachi piece 'Tsuru-no-Sugomori' during his recital at the Flute Days in Geneva at Studio Gabriele de Agostini of the Conservatoire Populaire MDT Genève, on 17th November 2017. 'Tsuru-no-Sugomori' has been recorded at the CD 'Luna y Sierra' by Wil Offermans: https://www.studioe-mc.com/cd/lys/ Offermans' arrangement for flute of "Tsuru-no-Sugomori" has been published by music publisher Zimmermann, Germany, see: https://www.schott-music.com/en/tsuru... or get it via your local music dealer or get it online here: https://www.studioe-mc.com/score/tsuru/ More information at https://www.wiloffermans.com In the score text we read: "This transcription of Tsuru-no-sugomori is based on an interpretation by the shakuhachi master Katsuya Yokoyama. His superb performance clearly demonstrates the possibilities of the shakuhachi. With its flexible sound (e.g. in dynamic, timbre, intonation and wind-'noise'), the intense use of the breath and its deep-rooted history the shakuhachi has been attracting the interest of many flutists around the world. Some of the sounds in this traditional flute music may be regarded by Western flutists as 'modern' or 'new'. However, the shakuhachi player seems to concentrate on the breathing, accepting the sound itself as a natural consequence. Typically, the shakuhachi player doesn't use any tonguing, but instead starts a sound from the breath and sometimes in combination with the finger (the so-called finger-tonguing!). Especially characteristic are the numerous vibrato techniques (including pitch-bending, glissandi and portamenti). Beside the Western style vibrato, called 'ikiyuri', a vibrato can be performed by shaking the head. Swinging the head to the left and right (like shaking 'no') is called 'yokoyuri'. Shaking the head up and down (like shaking 'yes') is called 'tateyuri'. Shaking the head in circles creates the 'mawashiyuri' vibrato. When the instrument itself is quickly moved up and down we get a 'takeyuri' vibrato. Bending the pitch down by covering the embouchure-hole with the lower-lip (up to a minor third!) creates the characteristic 'meri'. Bending the pitch up by uncovering the embouchure-hole, is called 'kari'. (etc...)"