For the past 40 years, Pro Musica Nipponia has taken an active role in the contemporary hogaku music scene by commissioning and performing new works for traditional instruments. The highly professional and talented ensemble has premiered dozens of works by both Japanese and foreign composers and has built up an impressive repertoire of new pieces. This fall, they will present two concerts that will resurrect some of this previously performed repertory.

I say resurrect because most newly commissioned works are usually performed only once, then shelved and forgotten. Even if a piece manages to have a repeat performance, it is hardly ever published or made available on a commercial basis. This is unfortunate because new compositions, like wine, can improve with age: Repeat performances enable the musicians to better internalize them and perform them more naturally.

The first of the "repeat" concerts in the ensemble's fall series will feature early works by Katsutoshi Nagasawa ("Shamisen Concerto," 1967), Pehr Henrik Nordgren ("Seita," 1978, for shakuhachi and three koto) and Etsuo Kawasaki ("Double Concerto for two Biwa," 1991). The second will feature an compositions by Minoru Miki ("Paraphrase for Ancient Japanese Instruments," 1966), Ryohei Hirose ("Homage to Sesshu," 1998) and Sesshu Kai ("Music for Ten Players," 1974).

The earlier concert will also revive the popular koto ensemble version (premiered in 1975) of "Spring and Winter" from Vivaldi's "Four Seasons." Playing Vivaldi on the koto is pure kitsch, but if you've ever wondered how fast koto players can move their hands, this is the piece to see.

"Critics Project Series, No. 1: Relation of the Individual to the Mass": Sept. 20, 7 p.m., at Tsuda Hall (in front of Sendagaya Station). "Critics Project Series, No. 2: Territory of Contemporary Music for Japanese Traditional Instruments": Nov. 2, 2 p.m., at Dai Ichi Seimei Hall (an eight-minute walk from Katsudokibashi Station on the Toei Oedo subway line).

Tickets (for both concerts) are 5,000 yen, 4,000 yen and 3,000 yen (500 yen more at the door). For reservations or details, call Pro Musica Nipponia at (03) 3378-4741, e-mail [email protected] or see the Web site at www.promusica.or.jp

The mission of the Fukuoka Gendai Hogaku Festival, the brainchild of American composer Dr. Joseph Amato (see Hogaku Today, March 17, 2002), is to educate composers and audiences about the creative possibilities for new contemporary hogaku works. This fall, it breaks onto the scene with its first concert, featuring winning works from its composition contest.

FGHF sent out a worldwide call for scores in February, and by the deadline in mid-July, it had received a total of 47 pieces. Twenty-four of the works were submitted by Japanese, the rest were submitted by non-Japanese from all over the world: the United States, Canada, Korea, England, the Czech Republic, Netherlands, Germany and Australia. These were amazing results, considering that the festival is in its first year and does not yet have the funds to pay international travel costs or prize money.

The only stipulation was that the piece be written for any combination of the following instruments: shakuhachi, female voice, shamisen, 13-string koto, 17-string koto or kabuki percussion. A total of seven pieces were chosen for the performance: "Forbidden Circles," by Byron Au Yong (U.S.); "Hokano Inshou," by Brett Larner (U.S.); "A Woman Was Named," by Hyo-Shin Na (Korea); "Sayo Kaze for Female Voice, Shakuhachi, Shamisen and Percussion," by Yoko Nakatani (Japan); "Koetsu Fragment," by Harold Oliver (U.S.); "Setsugekka," by Goh Ookawa (Japan); and "Kagura," by Akihiko Takeuchi (Japan).

As part of their educational activities, the FGHF will sponsor a bilingual performance/workshop for students of local Japanese and international schools in Fukuoka. The workshop will precede the concert and focus on traditional hogaku music and instruments.