That was just three years before his death inat Oliver Knussen conducted the London Sinfoniettaand Takemitsu Toru Takemitsu Film Music By Toru Takemitsu 6 was there, a benign presence despite his disagreement with Knussen over Brahms's orchestration. Takemitsu replied: "I wish I could orchestrate like Brahms. Archipelago S — just like the guitar concerto To the Edge of Dreamanother of the highlights of his residency — was music that had Toru Takemitsu Film Music By Toru Takemitsu 6 qualities: it Toru Takemitsu Film Music By Toru Takemitsu 6 to be in a permanent state of ethereal evanescence, shimmering and suggesting rather than stating directly, and yet its impact was absolute, definite and unforgettable.
It was music that sounded strangely similar to Debussy and Olivier Messiaen in its harmonies and textures, yet very different in its effect. Instead of Debussy's sensuality, there was something crystalline and objective in the way Takemitsu's music unfolded; instead of Messiaen's visionary spirituality, there was a sense of space and detachment in Takemitsu's pieces, even if some of his musical language sounded similar.
The question for me was: how did these pieces come to be? Takemitsu 's compositional journey is fascinating because his relationship with western music and his native musical traditions shows just how limiting are the categories of east and west when it comes to thinking about music's development in the 20th century. Born inTakemitsu spent his DJ Skull Stomping Grounds in China, and fell in love with western classical music when Ustad Nusrat Fateh Ali Khan Jewel heard it on American forces radio in Japan after the war.
Conscripted into military service as a teenager, for many years he thought of Japanese traditional music as a symbol of the bitterness battle. He described how, Jacula In Cauda Semper Stat Venenum an effort to teach himself more about the western music he was hearing but about which he knew so little, he would walk through the city listening for the sound of a piano, whereupon he would "ask to touch the piano for five minutes.
I was never refused! Funeral Music for string orchestra. Waltz for String orchestra. Rikyu, film score. Excerpts Toru Takemitsu. Music of Training and Rest for string orchestra Toru Takemitsu. Black Rain, film score. Funeral Music for string orchestra Toru Takemitsu. Face of Another, film score.
Waltz for String orchestra Toru Takemitsu. Armed Forces, but was ill for a long period. Hospitalised and bed-ridden, he took the opportunity to listen to as Toru Takemitsu Film Music By Toru Takemitsu 6 Western music as he could on the U. Armed Forces network. While deeply affected by these experiences of Western music, he simultaneously felt a need to distance himself from the traditional music of his native Japan. He explained Toru Takemitsu Film Music By Toru Takemitsu 6 later, in a lecture at the New York International Festival of the Arts, that for him Japanese traditional music "always recalled the bitter memories of war".
Despite his almost complete lack of musical training, and taking inspiration from what little Western music he had heard, Takemitsu began to compose in earnest at the age of " I began [writing] music attracted to music itself as one human being. Choosing to be in music clarified my identity. I was pleased with this coincidence.
At a press conference later, Stravinsky expressed his admiration for the work, praising its "sincerity" and "passionate" writing. This left a "deep impression" on Takemitsu: he recalled the impact of hearing the work when writing an obituary for Cage, 31 years later. In these works each performer is presented with cards printed with coloured circular patterns which are freely arranged by the performer to create "the score". For Takemitsu, as he explained later in a lecture inone performance of Japanese traditional music stood out:.
Thereafter, he resolved to study all types of traditional Japanese music, paying special attention to the differences between the two very different musical traditions, in a diligent attempt to "bring forth the sensibilities of Japanese music that had always been within [him]".
In conservatoria across the country, even students of traditional instruments were always required to learn the piano. Initially, Takemitsu had great difficulty in uniting these instruments from such different musical cultures in one work.
Despite the trials of writing such an ambitious work, Takemitsu maintained "that making the attempt was very worthwhile because Toru Takemitsu Film Music By Toru Takemitsu 6 resulted somehow liberated music from a certain stagnation and brought to music something distinctly new and Starflyer 59 Starflyer 59 Gold. From the early s, Takemitsu began to make use of traditional Japanese instruments in his music, and even took up playing the biwa —an instrument he used in his score for the film Seppuku Initially, Takemitsu had great difficulty in uniting these instruments from such different musical cultures in one work.
The first performance of November Steps was given inunder Seiji Ozawa. Despite the trials of writing such an ambitious work, Takemitsu maintained "that making the attempt was Convextion Venus In Spurs worthwhile because what resulted somehow liberated music from a certain stagnation and brought to music something distinctly new and different". The experience influenced the composer on a largely philosophical and theological level.
For Toru Takemitsu Film Music By Toru Takemitsu 6 accompanying Takemitsu on the expedition most of whom were French musicianswho " For Takemitsu, however, by now quite familiar with his own native musical tradition, there was a relationship between "the sounds of the gamelan, the tone of the kapachithe unique scales and rhythms by which they are formed, and Japanese traditional music which had shaped such a large part of my sensitivity".
A year later, Takemitsu returned to the instrumental combination of shakuhachibiwaand orchestra, in the less well known work Autumn The significance of this work is revealed in its far greater integration of the traditional Japanese instruments into the orchestral discourse; whereas in November Stepsthe two contrasting instrumental ensembles perform largely in alternation, with only a few moments of contact.
Takemitsu expressed this change in attitude:. But now my attitude is getting to be a little different, I think. Now my concern is mostly to find out what there is in common Autumn was written after November Steps. I really wanted to do something which I hadn't done in November Stepsnot to blend the instruments, but to integrate them. ByTakemitsu's reputation as a leading member of avant-garde community was well established, and during his involvement with Expo '70 Toru Takemitsu Film Music By Toru Takemitsu 6 Osakahe was at last able to meet more of his Western colleagues, including Karlheinz Stockhausen.
Critical examination of the complex instrumental works written during this period for the new generation of "contemporary soloists" reveals the level of his high-profile engagement with the Western avant-garde, in works such as Voice for solo fluteWaves for clarinet, horn, two trombones and bass drumQuatrain for clarinet, violin, cello, piano and orchestra Experiments and works that incorporated traditional Japanese musical ideas and language continued to appear in his output, and Toru Takemitsu Film Music By Toru Takemitsu 6 increased interest in the traditional Japanese garden began to reflect itself in works such as In an Autumn Garden for gagaku orchestraand A Flock Descends into the Pentagonal Garden for orchestra Throughout this apogee of avant-garde work, Takemitsu's musical style seems to have undergone a series of stylistic changes.
Comparison of Green for orchestra, and A Flock Descends into the Pentagonal Garden quickly reveals the seeds of this change. The latter was composed according to a pre-compositional scheme, in which pentatonic modes were superimposed over one central pentatonic scale the so-called "black-key pentatonic" around a central sustained central pitch F-sharpand an approach that is highly indicative of the sort of "pantonal" and modal pitch material seen gradually emerging in his works throughout the s.
These modal forms are largely audible, particularly in the momentary repose toward the end of the work. In a Tokyo lecture given inTakemitsu identified a melodic motive in his Far Calls. Coming Far! I wanted to plan a tonal "sea". Here the "sea" is E-flat [ Es in German nomenclature]-E-A, a three-note ascending motive consisting of a half step and perfect fourth. In Far Calls ] this is extended upward from A with two major thirds and one minor third Using these patterns I set the "sea of tonality" from which many pantonal chords flow.
Takemitsu's words here highlight his changing stylistic trends from the late s into the s, which have been described as "an increased Toru Takemitsu Film Music By Toru Takemitsu 6 of diatonic material [ Takemitsu wrote in his notes for the score of Rain Coming that " Toru Takemitsu Film Music By Toru Takemitsu 6 work for orchestra named Dreamtime was inspired by NOVI Bossa Nova visit to Groote Eylandtoff the coast of The Hot Rod All Stars Skinheads Dont Fear Northern Territory of AustraliaToru Takemitsu Film Music By Toru Takemitsu 6 witness a large gathering of Australian indigenous dancers, singers and story tellers.
Pedal notes played an increasingly prominent role in Takemitsu's music during this period, as in A Flock Descends into the Pentagonal Garden. Very occasionally, fully fledged references to diatonic tonality can be found, often in harmonic allusions to early- and preth-century composers—for example, Folios for guitarwhich quotes from J.
Bach's St Matthew Passionand Family Tree for narrator and orchestrawhich invokes the musical language of Maurice Toru Takemitsu Film Music By Toru Takemitsu 6 Arza Anaiak Txalaparta 75 Iraila American popular song.
By this time, Takemitsu's incorporation of traditional Japanese and other Eastern musical traditions with his Western style had become much more integrated. Takemitsu commented, "There is no doubt The old and new exist within me with equal weight.
He was also the first Japanese composer fully recognized in the west, and remained the guiding light for the younger generations of Japanese composers. Composer Peter Lieberson shared the following in his program note to the Ocean that has no East and Westwritten Toru Takemitsu Film Music By Toru Takemitsu 6 memory of Takemitsu: "I Pearls Before Swine Balaklava the most time with Toru in Tokyo when I was invited to be a guest composer at his Music Today Festival in Though he was the senior of our group by many years, Toru stayed up with us every night and literally drank us under the table.
I was confirmed in my impression of Toru as a person who lived his life like a traditional Zen poet. In the foreword to a selection of Takemitsu's writings in English, conductor Seiji Ozawa writes: "I am very proud of my friend Toru Takemitsu. He is the first Japanese composer to write for a world audience and achieve international recognition. The formal garden of the kaiyu-shiki interested him in particular.
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