Masterful playing of the qin zither, in China considered the most noble of instruments, as if tracing the shapes and meanings of silence.

‘The geomungo is a six-string zither with sixteen frets. The resonating board is made of paulownia wood. Its origins trace back to the ancient kingdom of Goguryeo (37 BCE to 668 CE), which dominated the territory of present-day North Korea and a large part of Manchuria.
‘The geomungo makes dramatic sounds, through the friction created by the plectrum striking the strings, or the rustling created by subtle movements of the left hand over the strings.
‘Here Lee Jae-hwa performs the suites Geomungo Hoesang and Geomungo Sanjo, in the respective styles of the south and north of the Korean peninsula: distinct forms, techniques and rhythms, with a shared subtlety, sensitivity and emotional power.’

‘New, cool, melodic, funky pop from Japan. Six irresistible new songs from veteran members of 90s Tokyo underground pop bands like Love Tambourines, Arch and Bridge, with roots in 80s dance music, the funkier elements of post-punk and the Factory Records roster, and groups like Young Marble Giants and Weekend.’

A magical, poignant selection from sixty 78s issued in 1942. Featuring Noh theatre musicians, many trained by artists active before the Meiji period, prior to 1868.

Refined, improvisatory, endangered traditional music for a quartet of two-stringed spike-fiddle, zither, two lutes.

Exquisite music for shamisen lute, koto zither, and shakuhachi flute, running back more than a hundred years, to the end of the Edo era. Expertly performed by this accomplished trio of graduates of the Tokyo National Conservatory.

‘As with many other ethnic groups of the area, a traditional singing pattern is used with each singer adapting words to context. Many of these songs express intimate, strong emotions that bring tears to the performers while they are singing. The cascading mournful feel of this music is beautifully transcendent. You’ve never heard anything like it.
‘Instruments used by the ensemble include the babi (single tree leaf ) and mepa (tree leaf rolled up into the shape of a horn or mirliton), a chiwo (three-stringed bowed instrument), a labi (six-holed bamboo flute), a lahe (three-stringed small lute) and a meba (vertical reed instrument).’

‘Shidaiqu means ‘songs of the era’: a hybrid musical genre arising in the cosmopolitan city of Shanghai in the late 1920s, blending traditional Chinese elements with western pop, jazz, blues, and Hollywood-inspired film soundtracks. It represented a musical and cultural merging that would go on to shape a golden age of Chinese popular song and film in the interwar period.
‘Waiting For Your Return ranges from early beginnings — like the 1927 recording Drizzle, often considered the first shidaiqu 78, composed by Li Jinhui and performed by his daughter Li Minghui — through to more polished examples in succeeding decades, by such stars as Bai Hong, Wu Yingyin, Yao Lee, and most prolifically Zhou Xuan.
‘The recordings here reach up until the shidaiqu’s local demise in the early 1950s, when the Chinese Communist Party denounced it as ‘yellow music’, outlawing nightclubs and the manufacture of pop music, and destroying western-style instruments. At this point many of these singers decamped to Hong Kong, enjoying further success throughout the 1950s and into the 1960s.’

Haunting, ravishing blends of western art song, blues and jazz with traditional and classical Japanese music. Wonderful.

Playing the xun, an ancient ocarina, the xiao, a vertical flute, and the qin zither, half the time with ‘amateur’ ensemble or zheng zither accompaniment. A last exponent in 1996, haunting and poised… dead now.

With accompaniment on the sanshin lute — a lovely, melodic blend of Japanese, Chinese and South East Asian styles characteristic of the Okinawa archipelago (formerly the independent kingdom of Ryukyu).