One of the few consolations amid the relentless damp and humidity of the Japanese rainy season are the irises and hydrangeas whose colors seem to become ever more limpid in the mist.

Another consolation is the beginning of the hogaku summer season, with its presentations of interesting concerts in comfortably cooled halls, providing an enjoyable way to escape the heat.

Kioi Hall is continuing its series of concerts comparing themes in Western and Japanese music. Over the last few years, they have taken certain themes, such as rain, ghosts, insects, cats, snow and drink, and examined how they are treated and presented in both Western and Japanese music. For their seventh concert of this series, they focus on the concept of "hell."

Hell is a popular theme in both East and West, though interpretations differ considerably. Western European composers, schooled in Christian thought, took the idea of hell quite seriously; it was, after all, the furthest one could be separated from their idea of God. In Gluck's "Orfeo ed Euridice," the pathos of the irretrievable loss of one's soul mate to the underworld's eternal darkness is poignantly expressed in Orpheo's aria, sung at the point when he realizes Euridice will not return.

Likewise, Gounod's "Faust," based on Goethe's version of the tale, posits the alluring trickery of the devil Mephistopheles against the human frailties and strivings of the elderly Dr. Faust, who exchanges his soul for eternal youth in the quest for knowledge. The fate of modern Western man, at least according to Goethe's original work, depends on Faust's ability to outwit the cunning Mephistopheles.

Now, how does hell fare in hogaku? A bit differently, it would seem. Although the jigoku (hell) of Japan frightens with its demons and dangers, there is no concept of eternal damnation, which is so prevalent in the West. Hell in hogaku can actually be quite fun and inspire many humorous situations. In the Itchu-bushi shamisen song, "Iezakura Keisei Sugata," Soga Juro hangs a sake bottle from a cherry tree and lights a fire below to heat it up. From the smoke a tiger appears to relate his sufferings of hell. I could certainly think of worse visions of hell than drinking hot sake in a forest with a talking tiger.

In the Tokiwazu (another genre of shamisen singing) piece, "Sanzeso," there is a humorous section where the protagonists meet up on the other side of the River Styx (Sanzu no Kawa), and in the Gidayu piece "Gotenjiku," the legendary Chinese Songoku monkey has a tit-for-tat with Enma, hell's guardian deity.

To be fair, not all Western music is overly serious about hell. A humorous piece from Jacques Offenbach's operetta "Orfee aux Infers" has as its setting two flies who make their way to the underworld.

Both serious and light, the upcoming Kioi Hall concert will present all the above hogaku works, with explanations (in Japanese) by religious and music experts.

"Comparing Hogaku with Western Music: Hell," 6:30 p.m. July 4 at Kioi Small Hall, telephone (03) 5276-4500. Located between JR Yotsuya Station and subway Akasaka Mitsuke Station. Admission 4,000 yen, 3,000 yen. For tickets or more information call Kioi Hall ticket center, (03) 3237-0061. Kioi Hall Web site: www.kioi-hall.or.jp

Living National Treasure koto player and composer Toshiko Yonekawa is celebrating her 88th birthday with a grand koto concert celebration at the National Theater Small Hall. Because of the special meaning of the number eight in Japan, reaching one's 88th birthday entails a special celebration, known as beiju. Yonekawa, who began learning koto at age 3, will celebrate her long years of dedication to this instrument by inviting her friends and colleagues to join her on stage. Considering she has been a leader in the hogaku world for many decades, her accompanists are absolutely the best hogaku musicians Japan has to offer.

Three other Living National Treasures, the 101-year-old Hiroshima-based shakuhachi player Hanzan Shimabara, the elegant and highly refined Yamada-style koto player Hiroyuki Nakata and the well-known shakuhachi master Reibo Aoki, will join her.

These are just the top billings. Dozens of elder and mid-career performers, all who have had close relationships with Yonekawa over the years, will also be featured.

Although Yonekawa is known for her rendition of the classical pieces, she has also been a pioneer in composing new works for the koto, and the program will include, along with the well-known classics, compositions by Yonekawa and her contemporaries. The concert is split into two sections, one beginning at 11 a.m., consisting mostly of her students, and the other from 6 p.m., in which the grand masters will perform.

"Yonekawa Toshiko, 88th Birthday Celebration Concert," 11 a.m. & 6 p.m., July 2, National Theater Small Hall. Admission 4,000 yen for the whole day. For information and tickets call the Kensokai (in Japanese) at (03) 3359-3800.

The Yokohama live house Manabiya, which I wrote about a few weeks ago, continues with its presentation of hogaku in an intimate, warm setting. I will be doing a program there July 8, focusing on traditional and contemporary shakuhachi solo pieces. There will be a presentation of noh dance and noh flute playing July 15, and songs from the islands of Okinawa July 29, with accompaniment by Okinawa shamisen (shimauta), will be presented.