To the Edge of Dream

Takemitsu Toru (武満 徹) – To the Edge of Dream (1983), for guitar and orchestra.
John Williams, guitar
London Sinfonietta/Esa-Pekka Salonen.

A review by Blue Gene Tyranny

This 13-minute work was commissioned by Ichiro Suzuki and the Festival International de Liége held in Belgium. It is scored for an orchestra typical of Debussy (the Romantic period orchestra plus two harps and expanded percussion section), as are most of Takemitsu’s other orchestral works. Takemitsu himself was known as a fine guitarist and much of the decidedly virtuosic writing for the guitar solo is a series of fantastical, dreamy interpretations of traditionally “typical” guitar gestures (various kinds of strumming, triplet-feel Dowland-like dances, various arpeggios); but the primary idea is a series of complex harmonic variations on the e-minor seventh chord which is heard, at forte level, at the guitar’s first entrance in the piece. The rich lower open E-string sound implies the richly resonant harmonics that form the basis of the subtly shifting tone colors in the work. Takemitsu layers timbres in dense textures, like Webern or Schoenberg, or creates fleeting passages where densely harmonized lines occur in rhythmic unison among several instruments (for example, the shimmering tutti figures for two harps, celesta, vibraphone and glockenspiel in the fourth measure of the introduction). As a whole, the piece seems to proceed from conscious gestures “to the edge of dream” – after the final extended cadenza for the guitar, the orchestra enters with a brief yet stunning coda built of string section harmonics alternating with otherworldly chords played by a double harp/ celesta / vibraphone / triangle / woodwind / trumpet combination, the whole forming a fragmented event horizon of consciousness.

Takemitsu Soundtrack Documentary

Su You Tube c’è un bel documentario sulla musica da film scritta da Toru Takemitsu, una parte molto importante e significativa della sua produzione.

Il documentario è sottotitolato in inglese e include varie interviste con il compositore e con alcuni dei famosi registi per cui ha lavorato, oltre a numerosi estratti musicali.

Questa è la prima parte. I link alle altre sono riportati sotto. Purtroppo la parte 2 è stata bloccata dal solito idiota “per motivi di copyright”, ma tutte le altre sono visibili.

Eclipse

Tōru Takemitsu (武満 徹, Takemitsu Tōru, October 8, 1930 – February 20, 1996) was a Japanese composer and writer on aesthetics and music theory. Though largely self-taught, Takemitsu is recognised for his skill in the subtle manipulation of instrumental and orchestral timbre, drawing from a wide range of influences, including jazz, popular music, avant-garde procedures and traditional Japanese music, in a harmonic idiom largely derived from the music of Claude Debussy and Olivier Messiaen.

In 1951 Takemitsu was a founding member of the anti-academic Jikken Kōbō (実験工房, “experimental workshop”): an artistic group established for multidisciplinary collaboration on mixed-media projects, who sought to avoid Japanese artistic tradition. The performances and works undertaken by the group introduced several contemporary Western composers to Japanese audiences. During this period he wrote Saegirarenai Kyūsoku I (“Uninterrupted Rest I”, 1952: a piano work, without a regular rhythmic pulse or barlines); and by 1955 Takemitsu had begun to use electronic tape-recording techniques in such works as Relief Statique (1955) and Vocalism A·I (1956).

During his time with Jikken Kōbō, Takemitsu came into contact with the experimental work of John Cage. Although the immediate influence of Cage’s procedures did not last in Takemitsu’s music, certain similarities between Cage’s philosophies and Takemitsu’s thought remained. For example, Cage’s emphasis on timbres within individual sound-events, and his notion of silence “as plenum rather than vacuum”, can be aligned with Takemitsu’s interest in ma (a japanese concept usually translated as the space between two objects). Furthermore, Cage’s interest in Zen practice (through his contact with Zen Master Daisetz Teitaro Suzuki) seems to have resulted in a renewed interest in the East in general, and ultimately alerted Takemitsu to the potential for incorporating elements drawn from Japanese traditional music into his composition:

I must express my deep and sincere gratitude to John Cage. The reason for this is that in my own life, in my own development, for a long period I struggled to avoid being “Japanese”, to avoid “Japanese” qualities. It was largely through my contact with John Cage that I came to recognize the value of my own tradition.

In particular, Takemitsu perceived that, for example, the sound of a single stroke of the biwa or single pitch breathed through the shakuhachi, could

so transport our reason because they are of extreme complexity […] already complete in themselves.

This fascination with the sounds produced in traditional Japanese music brought Takemitsu to his idea of ma which ultimately informed his understanding of the intense quality of traditional Japanese music as a whole:

Just one sound can be complete in itself, for its complexity lies in the formulation of ma, an unquantifiable metaphysical space (duration) of dynamically tensed absence of sound. For example, in the performance of nō, the ma of sound and silence does not have an organic relation for the purpose of artistic expression. Rather, these two elements contrast sharply with one another in an immaterial balance.

So we can see this strange situation: an eastern composer that first avoid the eastern music, reconcile with it thanks to a western composer.

Rain Tree Sketch

Toru Takemitsu: “Rain Tree Sketch” (1982) – Roger Woodward, piano.

Toru Takemitsu created his own unique musical language by merging elements of Eastern and Western traditions.

The origin of the Rain Tree Sketch can be traced back to Takemitsus Rain Tree (1981) for percussion trio. Rain Tree (the percussion trio) was based on a description of a rain tree in Kenzaburo Oe’s novel Clever Rain Tree (1980). Oe’s story describes a tree with countless tiny leaves that collect and retain water from the morning rain shower so that throughout the day, after the storm has abated, the rain still falls from the tree. In Oes novel, the rain tree is used as a metaphor of water circulating in the cosmos.

Takemitsu employed Messiaen’s modes of limited transposition in order to construct pitch collections evocative of cosmic imagery. Takemitsu carefully notates differentiated dynamics and accents, as well as precise pedaling techniques to lend careful nuance to these moment-to-moment contours.

Textures

Di Toru Takemitsu, vi presento questo delizioso Textures del 1964, recuperato da un vecchio vinile.

In questo brano, l’orchestra di 73 elementi è divisa in due gruppi uguali, piazzati da parti opposte rispetto al pianoforte, sistemato in posizione centrale. Questo espediente, coadiuvato dalla scrittura, serve ad ottenere un marcato effetto stereofonico.

La scrittura, inoltre, è solistica fino al livello del singolo esecutore per creare tessiture sonore elaborate e cangianti.

  • Toru Takemitsu – Textures (1964), per orchestra

Yuki

https://m.media-amazon.com/images/M/MV5BZmM1ZmRkMjItZjc3Ny00ZWQzLWFhYmUtMWE0Y2QwOWY0MTMxXkEyXkFqcGdeQXVyMTIyNzY1NzM@._V1_.jpg

Takemitsu’s recent works have been marked by the use of traditional Japanese instruments as in the case of Eclypse for the Shakuhachi and Koto, or the music in the film, Kwaidan (Ghost Stories), which includes extremely original concepts. Here again, the motive of composition seems to seek through these instruments special effects which otherwise could not be obtained. And it is true that he has until now been so successful that one could not expect more. It seems as if it were aimed at producing an interminable dynamic drama from the succession of the momentary sounds from the hand and the mouth of the musician. This is the quality very akin to that which realizes infinite freedom at the very moment of heightened tension as in the case of Japanese calligraphy and the tea ceremony.

Asterism

Born in Tokyo, Takemitsu first became interested in western classical music around the time of World War II. He heard western music on American military radio while recuperating from a long illness. He also listened to jazz from his father’s ample collection.
Takemitsu was largely self-taught in music. He was greatly influenced by French music, and in particular that of Claude Debussy and Olivier Messiaen. In 1951 he founded the Jikken Kobo, a group which introduced many contemporary western composers to Japanese audiences.
Takemitsu at first had little interest in traditional Japanese music, but later incorporated Japanese instruments such as the shakuhachi (a kind of bamboo flute) into the orchestra. November Steps (1967), a work for shakuhachi and biwa (a kind of Japanese lute) solo and orchestra was the first piece to combine instruments from east and west. In an Autumn Garden (1973-79) is written for the kind of orchestra that would have played gagaku (traditional Japanese court music). Works such as Eclipse, (1966) for shakuhachi and biwa, Voyage (1973), for three biwas should also been mentioned as works that are decidedly derived from traditional genres.
Takemitsu first came to wide attention when his Requiem for string orchestra (1957) was accidentally heard and praised by Igor Stravinsky in 1959. (Some Japanese people wanted Igor Stravinsky to hear some tape recorded music by Japanese composers and put in the wrong side of the tape; when they tried to take it out, Stravinsky didn’t let them.) Stravinsky went on to champion Takemitsu’s work.
During his career, Takemitsu composed music for motion pictures, including scores for directors Hiroshi Teshigahara, Akira Kurosawa, Masaki Kobayashi, and Shohei Imamura.
Takemitsu died in Tokyo on February 20, 1996

Commissioned in 1968 by RCA Records, this work is for piano and orchestra with an expanded percussion section with unusual methods of articulation: the spine of a comb is run across a suspended cymbal, a double-bass bow used on three suspended cymbals, and so on. All three definitions of the title constitute the poetic meaning of this music – a group of stars, a constellation; crystallized minerals showing a starlike luminous figure in transmitted or reflected light; and the three asterisks placed before a passage to direct attention to it. The music is characterised by lovely crystalline textures from glockenspiel, harp, metallic percussion and the piano. Impressionistic chords from the high strings, and Messiaen-like brass chords provide celestial imagery. Sliding tones from plucked strings and lower brass suggest more earthiness. A brief solo statement from the piano is followed by breaking sounds (light bells, ratchets, rattles) from the percussion suggest the punctuation nature of the title. Toward the end, the music enters a quasi-random chaotic crescendo of uncoordinated cycling motifs and sizzling cymbals and gongs. Suddenly, the sound is suspended and a quiet transparent texture emerges, then silence, and a single final note from the piano. A lovely, brief, poetic vision.

Download Takemitsu music from AvantGarde Project 24.

Toru Takemitsu – Asterism (1968), per piano e orchestra
Toronto Symphony Orchestra – Seiji Ozawa (conductor) – Yuji Takahashi (piano)