This album contains is composed of two sections: Legend of the Water Flame (New Version) and The Usuzumi－Yoshitsune's Flute.

[The Usuzumi -Yoshitsune's Flute]
This section contains the pieces recorded at Oya stone quarry. I chose this venue in hopes of capturing the sound of a breath flowing through the beautiful form of the Usuzumi flute. Likening this dark and cool underground quarry to a vast tomb, I imagined the life of Yoshitsune and dedicated my performance to the repose of his soul.

[Revived Soul of the Fue]
There are many types of traditional bamboo flutes in Japan, such as Kagurabue (for Shinto music), Ryuteki (for Gagaku music), Shinobue (for Kabuki and folk music) and Nohkan (for Noh theater), It is rare, even in the world, to find such differentiation in the usage of flutes, 'This is due to the distinct historical background of each flute. Nor example, Nohkan is primarily used in Noh and Kabuki theater, and Ryuteki would not be used in its place for a Noh play. Conversely, music written for the Ryuteki cannot be played with the Nohkan, Even if the range is comparable, the functions of the flutes are utterly different. It may be likened to singing Nagauta in the style of Utai: the delicate beauty of the Nagauta would be destroyed in an instant. Likewise, it would be impossible to sing, the Utai with the vocal technique of the Nagauta.

From early on in her career, Michiko Aka has endeavored to breathe new life into an ancient musical instrument: the fue, or traditional Japanese bamboo flute, 'The most notable effect of her work is that the thick walls of tradition, which once demarcated the domains of each flute, have been completely removed. Only a few decades ago, no one could have imagined that an artist would compose new music for the Nohkan or Ryuteki. This was first accomplished by Ms. Akao, and it could be said that the traditional world of the fue has been renewed, She brought to light the deep and clear resonance of the instrument.

In Japanese folklore, when a young man plays the fue under the light of a bright moon, otherworldly beings and gods appear, helplessly drawn to the music. The instrument in these stories could never be a western concert flute or a recorder-it must be the fue. There is mystical beauty to the Japanese bamboo flute. What may be the soul of the fue has been revived and brought back into the present by Ms. Akao.
- Somei Satoh (Composer)


[A Story of Beauty and Eternity]
In ancient Japanese legends there exist numerous instances of stories of a maiden being fought over by two suitors and her attempt to resolve the dilemma by committing suicide. The stories of Mama no Tekona of Katsushika and Unai Otome of Ikutagawa are two examples. The maiden of Ikutagawa is found over and over again in the literature of the Manyoshu, the Yamato Monogatari, the noh play "Motomezuka" and Ogai Mori's modern play, "Ikutagawa.”

When Michiko Akao first asked that I write a story for her recital, I discussed this with director Akio Jissoji and composer Maki Ishi. I wondered what it would be like to retell a story around the ancient themes of beauty and eternity or 'death and rebirth' but in a new way.

“Legend of the Water Flame" was written, first and foremost, for music.
The story line places importance on the simplicity of old legends of the past. However, at the same time, it is a work which takes the form of a colloquy with poetry to address a kind of metaphysical subject.
- Makoto Ooka (poet)

[New version Legend of the Water Flame]
In search of new possibilities of the yokobue, I have organized a number of independent performances under the title The World of Michiko Akao since 1977. In 1990, I released Legend of the Water Flame as an attempt to create contemporary kagura (Japanese ceremonial music performed to entertain Shinto gods) and seek the inner voice of the bamboo flute. This album contains the following scores arranged for string sextet, percussion sextet and a yokobue flutist: the first performance in 1990, the new Legend of the Water Flame composed by Maki Ishii in 2002, as well as other works composed by Mr. Ishii for the yokobue, and lastly In February by Isao Matsushita. At the time of the first performance in 1990, I focused my attention solely on performing the musical score, and left the direction
and composition of the piece in the capable hands of Akio Jissoji and Maki Ishii respectively. Years later, I have continued to study Makoto Ooka's piece in an attempt to grasp his vast knowledge of ancient Japan.

I dove into the world of Manyoshu, Kojiki, Shinobu Origuchi and Kunio Yanagida, researching ancient forms of marriage, symbolism of swans, and the meaning of yominokuni or "the land of the dead." I have tried to sharpen my senses and awaken the ancient memory buried in the depths of my body.

The musician I respect the most is Dinu Lipatti. As Herbert von Karajan wrote in his memory, Lipatti's work is "Music in its purest form, with the harmony that can only be given by someone who is already no longer quite with us." The hardship he endured during the war and his tragic early death add complexity to his story, but I am most drawn to his work because of his Romanian heritage. Like Lipatti, I hope to more boldly express spirituality, and perform the sound of my ancestral blood-that which flowed through history from the ancient Jomon period to the era of the warriors, and courses through my veins today. For this reason, I chose not to include the words from Mr. Ooka's play, yet each piece flowed out from his work. This is my challenge to realize the sound-world I envisioned.
- Michiko Akao