Taikoza

 East Winds Ensemble: Thalia,  May 21st 

Marco Lienhard: Shakuhachi

Masayo Ishigure: Koto

Zac Gilman: Koto

Program:

Sue no Chigiri（末の契り）by Matsuura  Kengyo- shakuhachi and koto duet. A classic jiuta composed in 1790 by Matsuura Kengyo. It translates as a Pledge of Eternal Fidelity. This version is a duet for koto and shakuhachi. The piece originally featured koto, shamisen, and shakuhachi. The lyrics are a heartfelt literary work that borrows from ancient classical poetry, weaving a story of longing, resilience, and a plea for love to endure over 8,000 years. 

Shimabara no Komoriuta（島原の子守唄, a lullaby from Shimabara, a town in Nagasaki.

Miyama Higurashi（深山ひぐらし）by Rando Fukuda. The Cicadas deep in the Valley.

Prime Numbers（五足十三和十八番 ）by John Neptune Kaizan (1983)- a modern duet for koto and Shakuhachi.

Poeme du Bamboo （竹の詩）by Marco Lienhard, shakuhachi solo.

Tsuru no Sugomori（鶴の巣篭もり） (Nesting Cranes), traditional Honkyoku (meditation pieces)- Shakuhachi solo traditional- that expresses the sound of the crane.

Sanya, （三谷）traditional Honkyoku (meditation pieces)- Shakuhachi solo

Haru no Umi（春の海） by Michio Miyagi. A new year celebration song composed in the early 20th Century, the most well-known piece written for the koto.

Yamagoe（山越）, traditional Honkyoku (meditation pieces)- Shakuhachi solo

Yūzuru（夕鶴）, by Marco Lienhard, shakuhachi solo. A piece composed inspired by the story of the Crane Wife, an old folk tale.

Itsuki Lullaby/ The Moon Over The Ruined Castle (五木の子守唄・荒城の月), Shakuhachi solo- A lullaby from Kumamoto combined with a song by Rentaro Taki

Okoto （お琴）is a famous contemporary Japanese koto duet composed by Hikaru Sawai in 1999. Written to commemorate the 20th anniversary of the Sawai Koto Academy of Music

Note: Some pieces might be in a different  order on the day of  the  concert

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East Winds Ensemble has traveled internationally in Japan, Mexico, Europe, and South America. The Ensemble was formed by Marco Lienhard They toured Brazil with the Japan Foundation. Marco Lienhard has appeared at Carnegie Hall, Lincoln Center, Madison Square Garden, etc. and on numerous national and international TV programs (Regis and Kathie Lee, PBS specials, etc.). Their best-selling albums are available on MarcoLienhard.com, Apple Music, Spotify, and Amazon Music. This concert will focus on the five-holed Bamboo flute, the Shakuhachi, of different lengths. Solos and duets will be performed for this program.

Marco Lienhard is the director of Taikoza and the East Winds Ensemble, two New York based groups.He was a lead performer with the famed Japanese Taiko group ONDEKOZA for 18 years from 1981-1998. Marco Lienhard mastered the shakuhachi under Master Katsuya Yokoyama. Lienhard also studied the Fue and the Nohkan (Noh theater flute) with  Yukimasa Isso. Lienhard has performed more than 6000 concerts internationally with appearances at some of the world's most prestigious venues including Carnegie Hall, Lincoln Center State Theater, Madison Square Garden, Hammerstein Ballroom, Zellerbach at UC Berkeley and many others. Marco Lienhard has composed numerous pieces for Shakuhachi, Koto, Fue and Taiko. His compositions have been recorded and performed all over the world. Lienhard has performed in Honolulu on many occasions as a guest with the Hawaii Matsuri Taiko and other groups. He regularly performs in Japan and around the world.Lienhard has released many CDs (Taiko and Shakuhachi) to critical acclaim, including Taikoza: Beginnings, which was nominated for best World music CD for the JPF awards. He can be heard on the award-winning (best score) Nintendo Wii game: Red Steel 1 and 2

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Masayo Ishigure began playing the koto and jiuta shamisen at the age of five in Gifu, Japan. After initial studies with Tadao and Kazue Sawai became a special research student in 1986 at the Sawai Koto Academy of Music. The aim of the academy was to shed new light on koto music by incorporating everything from Bach to jazz, thus changing the koto from being thought of only as a traditional Japanese instrument into an instrument of universal expressiveness.In 1988, Ms. Ishigure received a degree in Japanese Traditional Music at Takasaki Junior Arts College, with a concentration in koto and shamisen. The same year, she was recorded on the CD entitled  "The World of Tadao Sawai". She played koto and shamisen in the educational video. In 1994, she appeared on the CD entitled "Tori no Yoni": (Flying Like a Bird) Tadao Sawai compositions.

Since arriving in New York City in 1992 Ms.Ishigure has performed at Lincoln Center, Carnegie Hall-Weill Recital Hall, BAM, Merkin Hall, Trinity Church and other venues in the New York City metropolitan area. She has performed at Harvard, Yale, Columbia, Princeton, and many other prestigious Universities and Colleges. She was a guest artist with the NY City Ballet Principal Dancer, Mr. Peter Boal, and with the San Diego Symphony Orchestra. Ms. Ishigure has also performed in Hawaii, Alaska, Mexico, Russia, Belarus, and many venues throughout the United States. She has participated in music festivals in Holland, Germany, and France. Ms. Ishigure has appeared in concerts for the World Music Institute, Japan Society, Music from Japan series and Bang on a Can Festival.

Since 1992, Ms.Ishigure has been teaching koto and shamisen in the music department of Wesleyan University (CT) as an artist inResidence, where she formed the Wesleyan Koto Ensemble. She also offers private lessons as the only Sawai Koto Academy Instructor in the New York City and Washington DC area.

She recorded koto music for the soundtrack of the movie Memoirs of a Geisha with Yo-Yo Ma and John Williams. She released her own solo CD, "Grace," in 2001. In 2003 she recorded "East Wind Ensemble," which featured Hayao Miyazaki's animation songs are arranged for koto and shakuhachi music.

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The shakuhachi is an end-blown bamboo flute with four holes in the front and one hole in the back. A type of Bamboo called Madake is used. The bamboo root is used to make the flute. It was used by a certain Buddhist sect (Fuke shu) as a tool of Buddhist meditation. In the Meianji temple in Kyoto, monks used to play the instrument as part of their training. The monk’s philosophy can be defined by the following words, “Ichion Joubutsu,” which means, “a single note to reach enlightenment or Buddhahood.” 

It was also used in court music ensembles as accompaniment to the koto and the shamisen (a three-stringed banjo-like instrument) and in folk songs. Over the years, its presence in popular music has increased and it can now be heard in a wide range of genres. It is believed to have come to Japan from China and perhaps India along with Buddhism; it was then a six-hole instrument. The word shakuhachi means: shaku: a measure similar in length to the foot measure. Hachi refers to 8 of the smaller measures, which would be Sun, which translates as an inch. So literally, the name means "Foot-eight." The traditional standard flute can play the following notes: D, F, G, A, C. Each inch added or subtracted from the length of the flute would change the pitch by half a tone.

The Koto (箏)is a semi-cylindrical zither with 13 strings. Each string has a movable bridge, which allows many different tuning combinations. The strings are plucked with small picks on the thumb and the first two fingers of the right hand, while the left hand raises the pitch or changes the tone. The earliest koto (yamagoto or wagon) had only five strings and was about three feet long. A sixth string was added in the Nara period (710-794). The 13-stringed Koto is modeled on the Chinese Zheng and is approximately six feet long. It also dates from the 8th century and could be found in the court music ensembles. A number of new schools of solo Koto developed in the late 15th century. There is also a bass koto with 17 strings and modern kotos of 20-25 strings.

The Shinobue (篠笛) or simply the Fue is made out of one segment of thinner walled bamboo, the inside is lacquered. The most commonly used bamboo is the Medake (女竹)。 The　Shinobue is part of the family of Japanese side-blown flute, also called simply Fue. The origins of the Fue, like most other Japanese instruments, are unclear. The Fue usually has six to seven holes. It is used in Folk music (Matsuri, Kagura, etc.), Noh theatre and Nagauta for Kabuki music. The Noh flute is lacquered in black and has a very different tuning- usually only one Noh kan is played at a time. The Nohkan replaces the voice and has no exact tuning comparable to Western tuning. There are 12 different sizes, which represent one octave. The largest flute is the Ipponjoushi tuning #1 and the smallest is 12honjoushi, which is tuning #12. The Shinobue comes in two flutes with Western tuning: Uta Bue and Traditional tuning Matsuri Bue, which can vary by region.

 East Winds Ensemble: ONO BERN,  MAy 6th

Marco Lienhard: Shakuhachi

Claudia Erland: Koto

Program:

Chidori No Kyoku by Yoshizawa Kengyo- shakuhachi and koto duet. One of the most popular and known sankyoku traditional piece written for Koto. 

Shimabara no Komoriuta, a lullaby from Shimabara a town in Nagasaki.

Miyama Higurashi by Rando Fukuda. The Cicadas deep in the Valley.

Poeme du Bamboo, shakuhachi and koto duet by Marco Lienhard

Tsuru no Sugomori (Nesting Cranes), traditional Honkyoku (meditation pieces)- Shakuhachi solo traditional

Prime Numbers by John Neptune Kaizan- Koto and Shakuhachi duet

Sanya, traditional Honkyoku (meditation pieces)- Shakuhachi solo

Aika by Toshihiko Yoshizaki. Modern Koto and Shakuhachi duet

Yamagoe, traditional Honkyoku (meditation pieces)- Shakuhachi solo

Fue and Nohkan- Side blown flutes- Folk songs and traditional Noh Piece

Yūzuru, shakuhachi and Koto duet by Marco Lienhard. A piece composed to accompany the story of the Crane Wife, an old folk tale.

Itsuki Lullaby- Shakuhachi solo- A lullaby from Kumamoto

Haru no Umi by Michio Miyagi. A new year celebration song composed early 20th Century, the most well known piece written for the koto.

Note: Some pieces might be  in  different  order the day of  the  concert

East Winds Ensemble has traveled internationally in Japan, Mexico, Europe, and South America. The Ensemble was formed by Marco Lienhard They toured Brazil with the Japan Foundation. Marco Lienhard has appeared at Carnegie Hall, Lincoln Center, Madison Square Garden, etc. and on numerous national and international TV programs (Regis and Kathie Lee, PBS specials, etc.). Their best-selling albums are available on MarcoLienhard.com, Apple Music, Spotify, and Amazon Music. This concert will focus on the five-holed Bamboo flute, the Shakuhachi, of different lengths. Solos and duets will be performed for this program.

Marco Lienhard is the director of Taikoza and the East Winds Ensemble, two New York based groups.He was a lead performer with the famed Japanese Taiko group ONDEKOZA for 18 years from 1981-1998. Marco Lienhard mastered the shakuhachi under Master Katsuya Yokoyama. Lienhard also studied the Fue and the Nohkan (Noh theater flute) with  Yukimasa Isso. Lienhard has performed more than 6000 concerts internationally with appearances at some of the world's most prestigious venues including Carnegie Hall, Lincoln Center State Theater, Madison Square Garden, Hammerstein Ballroom, Zellerbach at UC Berkeley and many others. Marco Lienhard has composed numerous pieces for Shakuhachi, Koto, Fue and Taiko. His compositions have been recorded and performed all over the world. Lienhard has performed in Honolulu on many occasions as a guest with the Hawaii Matsuri Taiko and other groups. He regularly performs in Japan and around the world.Lienhard has released many CDs (Taiko and Shakuhachi) to critical acclaim, including Taikoza: Beginnings, which was nominated for best World music CD for the JPF awards. He can be heard on the award-winning (best score) Nintendo Wii game: Red Steel 1 and 2

Claudia Erland: She began her musical studies at the age of five in piano, going on to study at the New England Conservatory.  In 1984, while living in Japan, she was introduced to the koto and has been playing ever since, earning the advanced Oku-Den Certificate from the Washington Toho Koto Society.  She is a member of the Sawai Koto Academy, w orking with Sensei Naoko Kikuchi in Frankfurt, Germany.  Ms Erland has performed on multiple tapes and CDs during her time with the Washington Toho Koto Society.  She has explored the merging of the Koto with Western instruments, in particular the Irish Harp, with acclaimed Irish Harpist Lily Neillon her debut album, ‘Without Words’.  Additionally, she has performed at numerous venues in Washington, DC area, New York City, San Francisco, Hawaii, Sydney, Australia, and Italy, among others. She currently lives in Lugano, Switzerland.   Ms Erland also has a BS in Physics and Mathematics from Bridgewater State College (MA), and an MA in Physics from Wesleyan University (CT).

The shakuhachi is an end-blown bamboo flute with four holes in the front and one hole in the back. A type of Bamboo called Madake is used. The bamboo root is used to make the flute. It was used by a certain Buddhist sect (Fuke shu) as a tool of Buddhist meditation. In the Meianji temple in Kyoto, monks used to play the instrument as part of their training. The monk’s philosophy can be defined by the following words, “Ichion Joubutsu,” which means, “a single note to reach enlightenment or Buddhahood.” 

It was also used in court music ensembles as accompaniment to the koto and the shamisen (a three-stringed banjo-like instrument) and in folk songs. Over the years, its presence in popular music has increased and it can now be heard in a wide range of genres. It is believed to have come to Japan from China and perhaps India along with Buddhism; it was then a six-hole instrument. The word shakuhachi means: shaku: a measure similar in length to the foot measure. Hachi refers to 8 of the smaller measures, which would be Sun, which translates as an inch. So literally, the name means "Foot-eight." The traditional standard flute can play the following notes: D, F, G, A, C. Each inch added or subtracted from the length of the flute would change the pitch by half a tone.

The Koto (箏)is a semi-cylindrical zither with 13 strings. Each string has a movable bridge, which allows many different tuning combinations. The strings are plucked with small picks on the thumb and the first two fingers of the right hand, while the left hand raises the pitch or changes the tone. The earliest koto (yamagoto or wagon) had only five strings and was about three feet long. A sixth string was added in the Nara period (710-794). The 13-stringed Koto is modeled on the Chinese Zheng and is approximately six feet long. It also dates from the 8th century and could be found in the court music ensembles. A number of new schools of solo Koto developed in the late 15th century. There is also a bass koto with 17 strings and modern kotos of 20-25 strings.

The Shinobue (篠笛) or simply the Fue is made out of one segment of thinner walled bamboo, the inside is lacquered. The most commonly used bamboo is the Medake (女竹)。 The　Shinobue is part of the family of Japanese side-blown flute, also called simply Fue. The origins of the Fue, like most other Japanese instruments, are unclear. The Fue usually has six to seven holes. It is used in Folk music (Matsuri, Kagura, etc.), Noh theatre and Nagauta for Kabuki music. The Noh flute is lacquered in black and has a very different tuning- usually only one Noh kan is played at a time. The Nohkan replaces the voice and has no exact tuning comparable to Western tuning. There are 12 different sizes, which represent one octave. The largest flute is the Ipponjoushi tuning #1 and the smallest is 12honjoushi, which is tuning #12. The Shinobue comes in two flutes with Western tuning: Uta Bue and Traditional tuning Matsuri Bue, which can vary by region.

May 3rd, 2026 Program for Taikoza- Kodama concert 

PROGRAM:

SATSUKI- Taiko

SAKURA- KOTO SHAKUHACHI

KOKURA- Taiko

AKITA OHARA BUSHI (Dance)

KAGURA/KAITORYU- Taiko solo

AMADARE- Taiko

HACHIJO/MIYAKE- Taiko and flutes

ITSUKI NO KOMORI UTA (Shakuhachi)

TABI NO OMOI/HASHIRU- Taiko

EISA/BEGINNINGS- Taiko and flutes

KOTO solo

TORO ODORI (Dance)

ESASHI OIWAKE (Shakuhachi)

ODAIKO Taiko

YATAI BAYASHI Taiko and flutes

Members

MARCO LIENHARD: DIRECTOR OF TAIKOZA, TAIKO, SHAKUHACHI, FUE, NOH FLUTE

MASAYO ISHIGURE : KOTO

MUTSUMI MIYAMOTO: TAIKO

MACCONNELL EVANS: TAIKO

MADELINE HOPFIELD: DANCE, TAIKO

Marco Lienhard, master of Taiko, Fue, and Shakuhachi, is the visionary Artistic Director and founder of Taikoza.

He spent over a decade as a member of the renowned Ondekoza ensemble, from 1981 to 1994.

During his tours as a professional taiko player in Japan, he honed his shakuhachi skills under the legendary Master Katsuya Yokoyama, rapidly rising to become a celebrated virtuoso solo artist. Lienhard also delved into the art of the fue and the Nohkan, the traditional Noh theater flute, under the guidance of Masayuki Isso. In 1995, Lienhard brought his vision to life by founding Taikoza in New York, where he now resides. With Taikoza, he has captivated audiences across the US, Japan, Mexico, and Europe. Lienhard has graced more than 500 stages throughout Europe, Asia, and North America, performing at iconic venues such as Carnegie Hall, Lincoln Center, Boston Symphony Hall, Osaka Castle Hall, Hong Kong Cultural Center, and Suntory Hall in Tokyo. His artistry has been showcased on the Regis and Kathie Lee Show, PBS’s A World of Performances, Canadian National TV, MTV, and NBC’s Macy’s Thanksgiving Day Parade.

He was the featured shakuhachi player in the American premiere of Temple of the Golden Pavilion with the New York City Opera at Lincoln Center and the Voyage X with the Juilliard New Music Ensemble. His talents include recording music for the Nintendo game Red Steel and movie soundtracks and appearing on ESPN during the Sumo tournament at Madison Square Garden.

Program Notes:

SATSUKI: Composed by Marco Lienhard and inspired by the many festivals he got to experience.  It literally means the month of May. The song represents the energy of spring, when nature bursts into vibrant life after the long, quiet winter. This is also a peak season across Japan for lively Taiko festivals known as Matsuri.

SAKURA: Beloved melodies honoring the cherry blossom, brought to life on the koto and shakuhachi.

KOKURA: This song draws its spirit from the vibrant float festival of Kyushu’s Kokura Gion Daiko, a celebration brought to wider fame by the film Muhomatsuno Issho, also known as The Rickshaw Man.

AKITA OHARA BUSHI is a unique rendition of a beloved Akita folk song. In certain corners of Japan, it is known as Owara. This evocative melody weaves the tale of a mournful deer drifting through shadowy woods, alert to the hunter's silent approach. The deer's plaintive cry echoes through the trees, filled with dread for his family's fate should he fall into the hunter's grasp.

KAGURA/KAITORYU: A spirited taiko performance born of the Shinto temple festival in Tobishima village, nestled along the shores of Ise Bay in Aichi Prefecture, the Kaitoryu style pulses with renewed energy. Guided by Mr. Tsukiboshi, who rekindled the melodies of his youth, the festival rose again after a hurricane swept away the temple and its memories. This lively tradition, found only in the Ouhari area near Nagoya, dazzles with two drums and the hypnotic spin of sticks in the left hand.

AMADARE: A song in two movements. The opening section conjures the wild beauty of nature, echoing thunder, rain, wind, and waves. The second movement draws its pulse from the vibrant rhythms of Tame Ire, a festival celebrated in Saitama prefecture.

HACHIJO: This piece draws its inspiration from a vibrant festival song born on the remote island of exile, Hachijo, located near Miyake Island (150 miles south of Tokyo). Taikoza uses the second part of the song in where the drumming intensifies. The opening section features a haunting melody, gently supported by a slow, deliberate drumbeat. It captures the deep sorrow of a samurai forced to part from his beloved in the distant capital, hoping the powerful sound of the Taiko will reach her heart across the sea. The spirit of MIYAKE Island emerges midway through the song. Like many folk traditions, it weaves in movements inspired by everyday life, such as the rhythmic motions of chopping wood or hauling fishing nets from the ocean.

ITSUKI NO KOMORI UTA/KOUJOU NO TSUKI - The gentle lullaby of Itsuki and the haunting melody of The Moon over the Ruined Castle come together as a heartfelt tribute to those affected by the Kumamoto earthquake, which destroyed part of the wall on the historic Kumamoto castle. This Shakuhachi rendition breathes new life into these beloved Japanese songs.

TABI NO OMOI  means Memories of Travels and draws its spirit from wanderlust. It is shaped by countless adventures across the globe and the pulsing rhythms and vibrant energy of drums echoing through the diverse lands we have explored.

EISA/ BEGINNING This original song draws its spirit from the vibrant Eisa festival of Okinawa. Drummers whirl and step, striking tambourine-like drums with a single stick, while others parade a bold red drum through the crowd, their movements alive with dance. Each village adds its own rhythms and melodies, creating a tapestry of sound and celebration. The song’s second part intertwines themes from a Marco Lienhard composition. At its core, the piece honors the spirit of Izanagi and Izanami, the divine creators of Japan, as they rejoice after shaping the world. This moment becomes the first Matsuri, a festival born from their joy and later treasured by people in tribute to the gods.

FLYING LIKE A BIRD: A koto solo composed by the late Sawai Tadao, this piece soars with the spirit of a bird in flight, capturing the essence of boundless freedom.

TORO ODORI is a temple dance inspired by a lively night festival in Kyushu.  Originally danced to a song, we have set it to taiko rhythms, echoing influences from the Hachijo festival song. The dance and its glowing lanterns trace their roots to Kumamoto’s Yamaga Toro Matsuri, where 1,000 women in elegant yukata gracefully balance fragile washi paper lanterns atop their heads. The festival’s origins are woven into a poignant legend from the 1st and 2nd Centuries: when Emperor Keiko’s journey through Kyushu was halted by thick fog near Yamaga, local villagers lit lanterns to guide him safely. In gratitude, the emperor was enshrined at Omiya Shrine, now the heart of the festival. Every year, the night comes alive with lanterns in his honor.

ESASHI OIWAKE is a hauntingly beautiful Japanese folk song that first echoed through the port town of Esashi, Hokkaido. Revered as the king of Japanese folk songs, its intricate melody weaves shimmering trills and the evocative tones of a five-note scale. Born from a horseman's tune in Nagano, the song journeyed north with sailors and traders in the Edo period, transforming along the way. In Esashi, its lyrics embraced the rhythms of the sea, the wildness of nature, and the pulse of the herring trade. The music unfolds as a conversation between the soulful Shakuhachi flute and the thunderous Odaiko drum.

KODAMA – ODAIKO: Odaiko translates to 'big drum.' The word Kodama carries two meanings: the spirit of the tree and the sound of an echo. When played, these drums awaken the spirit within and send echoes that ripple across the world, believed to purify the land with their powerful vibrations. In Japan, the largest taiko drums resound during temple festivals and serve as calls to prayer. Many festivals rely on the taiko's thunderous beats to drive away bad spirits, whether they are pests threatening crops or storms looming on the horizon. Long ago, during droughts, villages would stake their futures on taiko competitions. The river dividing two communities would be claimed by the village whose drummer could play the longest, their rhythms deciding the fate of all.

YATAI BAYASHI  is a Taiko festival from the Chichibu festival in Saitama Prefecture, just north of Tokyo. During the festival, huge shrines on wheels are pushed through the streets by about 200 men. Inside each float, drummers and a Fue player play music to encourage the men moving the shrine. In the past, men from Chichibu would travel to big cities in winter to find work, and some went to Osaka to help build the castle. The wheeled shrines are meant to remind people of the boats that once carried large stones to build Osaka Castle. The festival’s music features two main rhythms: Ko-nami, which means small wave, and O-nami, meaning big wave. On the boats, the Taiko player would set the pace for the rowers and use the rhythm to signal when waves were coming. Another rhythm, called Tama-ire, is played on a small drum called the shime-daiko as the portable shrine turns through the city’s narrow streets. Every December, five floats are pushed around the city. At one point, they all gather in the main square, and fireworks light up the sky.