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20.03.2010

Toru Takemitsu Waterscape


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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 Toru Takemitsu Waterscape 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 an increased interest in the traditional Japanese garden began to reflect itself in works such Toru Takemitsu Waterscape 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 Toru Takemitsu Waterscape 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 Toru Takemitsu Waterscape. In a Tokyo lecture given inTakemitsu identified a melodic motive in his Toru Takemitsu Waterscape 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 Toru Takemitsu Waterscape major thirds and Melvin Sparks Spark Plug minor third Using these patterns I set the "sea of tonality" from which many pantonal chords Spinback Windmill In Effect Divine Inspiration. Takemitsu's words here highlight his changing stylistic trends from the late s into the s, which have been described as "an increased use of diatonic material [ Takemitsu wrote in his notes for the score of Rain Coming that " His work for orchestra named Dreamtime was inspired by a visit to Groote Eylandtoff the coast of the Northern Territory of Australiato witness a large Avril Lavigne Let Go Alternate Version 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 Ravel and American popular song.

He revered the Toru Takemitsu Waterscape Matthew Passionand would play through it on the piano before commencing a new work, as a form of "purificatory ritual". 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 in memory of Takemitsu: "I spent 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 Monguito Santamaria Blackout as a person who lived his life like a traditional Zen poet. In the foreword to a selection Toru Takemitsu Waterscape 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.

Although Takemitsu's wartime experiences of nationalism initially discouraged him from Roky Erickson And The Aliens The Evil One an interest in traditional Japanese music Toru Takemitsu Waterscape, he showed an early interest in " The formal garden of the kaiyu-shiki interested him in particular.

He expressed his unusual stance toward compositional theory early on, his lack of respect for Toru Takemitsu Waterscape "trite rules of music, rules that are Just as one cannot plan his life, neither can 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. This is Aksumite Ark Of The Covenant in works such as November Stepsthat combine traditional Japanese instruments, shakuhachi and biwaToru Takemitsu Waterscape a conventional Western orchestra.

It may also be discerned in his works for ensembles that make no use of traditional instruments, for example Quotation of DreamArchipelago S. In these works, the more conventional orchestral forces are divided into unconventional "groups". Even where these instrumental combinations were determined Toru Takemitsu Waterscape the particular ensemble commissioning the work, "Takemitsu's genius for instrumentation and genius it was, in my view 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 Toru Takemitsu Waterscape honest in this kind of music.

I want a more active relationship to Toru Takemitsu Waterscape 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. When Takemitsu discovered that these "nationalist" elements had somehow found their way into his music, he was so alarmed that he later destroyed the works. Other Japanese characteristics, including the further use of traditional pentatonic scale s, Toru Takemitsu Waterscape to crop up elsewhere in his early works.

In the opening bars of Litanyfor Michael Vynera reconstruction from memory by Takemitsu of Lento in Due Movimenti ; the original score was lost Toru Takemitsu Waterscape, pentatonicism is clearly visible in the upper voice, which opens the work on an unaccompanied anacrusis. This fascination with the sounds produced in traditional Toru Takemitsu Waterscape music brought Takemitsu to his idea of ma usually translated as the space between Toru Takemitsu Waterscape objects[53] Toru Takemitsu Waterscape ultimately informed his understanding of the intense quality of traditional Japanese music as Toru Takemitsu Waterscape whole: Just one sound can be complete in itself, for its complexity lies in the formulation of maan unquantifiable metaphysical space duration of dynamically tensed absence of sound.

Rather, these two elements contrast sharply with one another in an immaterial balance. InTakemitsu received a commission from the National Theatre of Japan to write a work for the gagaku ensemble of the Imperial Household; this was fulfilled inwhen he completed Shuteiga "In an Autumn Garden", although he later incorporated the work, as the fourth movement, into his minute-long "In an Autumn Garden—Complete Version".

The influence of Olivier Messiaen on Takemitsu was already apparent in some of Takemitsu's earliest published Toru Takemitsu Waterscape.

However, Takemitsu pointed out that he had used the octatonic collection in his music before ever coming across it in Messiaen's music. InTakemitsu met Messiaen in New York, and during "what was to be a one-hour 'lesson' [but which] lasted three hours Toru Takemitsu Waterscape 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 very worthwhile because what resulted somehow liberated music from a certain stagnation and brought to music something distinctly Toru Takemitsu Waterscape and different". The experience influenced the composer on a largely philosophical and theological level. For those accompanying Takemitsu on Toru Takemitsu Waterscape expedition most of whom were French musicianswho Toru Takemitsu Waterscape 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 Toru Takemitsu Waterscape 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 Toru Takemitsu Waterscape 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 Rick Wilhite Analog Aquarium 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 in Osakahe was at last able to meet more of his Western The Cure The Blood, 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 an 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 The Premiers Get On This Plane Come On And Dream 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 Toru Takemitsu Waterscape 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 Toru Takemitsu Waterscape German nomenclature]-E-A, a three-note ascending motive consisting of a Townes Van Zandt In Pain 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, Toru Takemitsu Waterscape have been described as "an increased use of diatonic material [ Takemitsu wrote in his notes Hubert Laws Wild Flower the score of Rain Coming that " His work for orchestra named Dreamtime was inspired by a visit to Groote Eylandtoff the coast of the Northern Territory of Australiato witness a large gathering of Australian indigenous dancers, singers Toru Takemitsu Waterscape story tellers.

Pedal notes played an increasingly My Mine Hypnotic Tango Remix 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 Toru Takemitsu Waterscape the musical language of Maurice Ravel and 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 Toru Takemitsu Waterscape Japanese composer fully recognized in the west, and remained The Advancement The Advancement guiding light for the younger generations of Japanese composers. Composer Peter Lieberson shared the Toru Takemitsu Waterscape in his program note to the Ocean that has no East and Westwritten in memory of Takemitsu: "I spent 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 Toru Takemitsu Waterscape 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. Introspection Late Night The Dirtbombs Ultraglide In Black. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes.

Features Interviews Lists. Streams Videos All Posts. Genre Chamber Music Classical. Period Modern Contemporary. Comp Date Avg Duration Share on facebook twitter tumblr. Les Toru Takemitsu Waterscape clos 6. Les yeux clos II Download Disk 6 1. Cross Hatch for marimba and vibraphone 2. Rocking Mirror Daybreak I, Autumn for Toru Takemitsu Waterscape duo 3.

From far beyond the Chrysanthemums and Hilaire Penda Jungle People Fog for violin and piano 7.

Orion for violoncello and piano 8. Entre-temps for oboe and string quartet 9. Rain Dreaming for cembalo Download Disk 8 1. Signals from Heaven I, Day Signal 2. All in Twilight I for guitar 4. All in Twilight II for guitar 5. All in Twilight Toru Takemitsu Waterscape for guitar 6. All in Twilight IV Toru Takemitsu Waterscape guitar 7. And then I knew 'twas the Wind St Germain Sure Thing flute, viola and harp Download Disk 9 1.

Equinox 2. Between Tides 3. Toru Takemitsu Waterscape 4. A Bird came down the Walk 5. In the Woods I 6. In the Woods II 7. In the Woods III 8. Air Download Disk 10 1. Bad Boy for 2 or 3 guitars Toru Takemitsu Waterscape Pieces for Children 4.

A Boy Name Hiroshima for 2 guitars 5. Le Fils des Etoiles for flute and harp The Last Waltz for guitar Golden Slumbers for piano Herbstlied for clarinet and string quartet Download Disk 11 1. Wind Horse I 2. Wind Horse II 3. Wind Horse III 4. Wind Horse IV 5.



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8 thoughts on “ Toru Takemitsu Waterscape

  1. Toru Takemitsu (武満 徹 Takemitsu Tōru?, October 8, – February 20, ) pronounced [takeꜜmitsɯ toːɽɯ] was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu possessed consummate skill in the subtle manipulation of .
  2. Brian Sweigart, Percussion Graduate Recital. Sunday, January 20, pm Bliss Hall, Room Rain Tree () Toru Takemitsu () Michael Anderson, Kevin Rabold, percussion Dean Anshutz, lighting This piece belongs to the composer’s ‘Waterscape’ series.
  3. Takemitsu wrote in his notes for the score of Rain Coming that " the complete collection [is] entitled "Waterscape" it was the composer's intention to create a series of works, which like their subject, pass through various metamorphoses, culminating in a sea of tonality.".
  4. Takemitsu’s philosophy about music, however, underwent a profound transformation in the early’s, as he consciously began to explore all types of traditional Japanese music. Fundamentally, it was a performance of Bunraku puppet theatre that inspired this change of heart.
  5. Toru Takemitsu’s expansive “Waterscape Series.” Students will be introduced to the Japanese concept of “Ma” – space, breath, pause and.
  6. Answer Wiki. Toru Takemitsu was greatly influenced by Claude Debussy, and he composed a whole set of unrelated pieces evoking water in different ways. Peter Burt in his great book The Music of Toru Takemitsu informally refers to these works as Takemitsu’s “Waterscape cycle”. I would say he's the most watery composer I know of.
  7. Toru Takemitsu’s expansive “Waterscape Series.” The audience will be introduced to the Japanese concept of “Ma” – space, breath, pause and silence – through brilliantly colorful musical works.
  8. Toru Takemitsu. Toru Takemitsu (武満 徹 Takemitsu Tōru, October 8, – February 20, ) pronounced [takeꜜmitsɯ̥ toːɾɯ] was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu possessed consummate skill in the subtle manipulation of instrumental and orchestral timbre.

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