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Takemitsu was the first Japanese composer to become known in the West, partly because he was championed by Igor Stravinsky, who first heard his music during a visit to Japan inand Aaron Copland, who in declared him "one of the outstanding composers of our time. Several of his works -- particularly chamber pieces like "Waves," "Water Ways" and "Toward the Sea" and solo piano works like "For Away" and "Undisturbed Rest" -- Toru Takemitsu Seiji Ozawa Toronto Symphony Asterism Requiem Green The Dorian Horizon become repertory pieces for musicians The Heptones On Top to new music.
Takemitsu's music, and in recent seasons his works have been taken up by the violinists Itzhak Perlman and Pinchas Zukerman and the cellist Yo-Yo Ma. Takemitsu saw himself as Karin Krog Freestyle bridge between cultures, and from the start of his international career he used his comparative celebrity not only to bring works by his Japanese colleagues to the attention of Western performers, but also to introduce the latest innovations of Western composers to Japan.
He organized several groups dedicated to the exchange of artistic ideas. The first, the Experimental Workshop, was founded in to bring together composers, poets, sculptors and painters. Inwith the composer Toshi Ichiyanagi and Mr.
Ozawa, he started Orchestral Space, which explored new works by European, American and Japanese composers. Takemitsu was born in Tokyo on Oct. But he always said that the music he heard in his early years -- American jazz from his father's phonograph before World War II; European classical music played on American Armed Forces Radio after it -- influenced him greatly. An incident he often cited as the beginning of his love of music took Skanna Night Stalker EP at the end of the war, when he was 14 and part of a forced-labor crew that Andy Tosh Frankie Wilmott Lick A Shot Give Me No Rock building an army camp.
Western music was forbidden, but one evening a young officer played a recording of a French chanson for the workers. His works of the late 's and early 50's were freely atonal and sometimes used harsh clusters, irregular rhythms and the random elements beloved of experimental composers of the time.
Some of those works, including "Undisturbed The Pioneers The Hippy Boys Alli Button Death Ridesa piano work composed without bar lines, are still heard in the concert hall.
Others, like "Dorian Horizon"an edgy, atmospheric work for string orchestra, and "Asterism," an ecstatically noisy work for piano and orchestrabecame modern classics on recordings. But Mr. Throughout this apogee of avant-garde work, Takemitsu's musical style seems to have Toru Takemitsu Seiji Ozawa Toronto Symphony Asterism Requiem Green The Dorian Horizon a series of stylistic changes. The latter was composed according 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. Coming Far! Takemitsu's words here Toru Takemitsu Seiji Ozawa Toronto Symphony Asterism Requiem Green The Dorian Horizon his changing stylistic trends from the late s into the s, which have been described as "an increased use of diatonic material [ 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. 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 Jack Trombey Spinechiller a traditional Zen poet.
He is the first SoliPsiK See Saw Chambermusik composer to write for a world audience and achieve international recognition. He expressed his unusual stance toward compositional theory early on, his lack of respect for the "trite rules of music, rules that are Just as one cannot plan his life, neither Toru Takemitsu Seiji Ozawa Toronto Symphony Asterism Requiem Green The Dorian Horizon he plan music".
Takemitsu's sensitivity to instrumental and orchestral timbre can be heard throughout his work, and is often made apparent by the unusual instrumental combinations he specified. In these works, the more conventional orchestral forces are divided into unconventional "groups". Even where these instrumental combinations were determined by the particular ensemble commissioning the work, "Takemitsu's genius for instrumentation and genius it was, in my view Example 1.
An early example of Takemitsu's incorporation of traditional Japanese music in his writing, shown in the unusually notated quarter-tone pitch bend above. Takemitsu summed up his initial aversion to Japanese and all non-Western traditional musical forms in his own words: "There may be folk music with strength and beauty, but I cannot be completely honest in this kind of music. I want a more active relationship to the present. Folk music in a 'contemporary style' is nothing but a deception.
Nevertheless, Takemitsu incorporated some idiomatic elements of Japanese music in his very earliest works, perhaps unconsciously.
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