Tōru Takemitsu pronounced [takeꜜmitsɯ̥ toːɾɯ] was a Japanese composer and writer on Toru Takemitsu: Air, John McMurtery, flute; Toru Takemitsu: Voice, John McMurtery, flute; Toru Takemitsu: Guitar, Shin-Ichi Fukuda, guitar. More by Toru Takemitsu. Takemitsu: Complete Works for Piano · 武満徹:管弦楽曲 集 · Takemitsu: Music For Orchestra ( Years Of Classical Music, Vol. 96). Air () by Toru Takemitsu for flute. Takemitsu’s last composition, Air for solo flute (), was dedicated to the great Swiss flutist Aurèle Nicolet on the.

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Archived copy as title link. Although the immediate influence of Cage’s procedures did not last in Takemitsu’s music— Coral Islandfor example for soprano and orchestra shows significant departures from indeterminate procedures partly as a result of Takemitsu’s renewed interest in the music of Anton Webern —certain similarities between Cage’s philosophies and Takemitsu’s thought remained.

The motif is stated again, but the order of the notes has changed. Composer Peter Lieberson shared the following in his program note to the Ocean that has no East and Westwritten in memory of Takemitsu: Hugh de Ferranti, Harwood,3—4.

One notable consideration in Takemitsu’s composition for film was his careful use of silence also important in many of his concert workswhich often immediately intensifies the events on screen, and prevents any monotony through a continuous musical accompaniment.

Takemitsu wrote in his notes for the score of Rain Coming that ” The experience influenced the composer on a largely philosophical and theological level. As mentioned previously, this was particularly used in works such as November Stepsin which musicians playing traditional Japanese instruments were able to play in an orchestral setting with a certain degree of improvisational freedom.

Moderne bis 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 zir his Western colleagues, including Karlheinz Stockhausen. 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 and story tellers.


Air for solo flute

Music in the period of Westernization: CinejapParis,1. I Hear the Water Dreaming. 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. Folk music in a ‘contemporary style’ is nothing but a deception.

A year later, Takemitsu returned to the instrumental combination of shakuhachibiwaand orchestra, in the less well known work Autumn Retrieved from ” https: Throughout this apogee of takemltsu work, Takemitsu’s musical style seems to have undergone a series of stylistic changes.

Rainy Day Relaxation Road Trip. Shohei Imamura Rising Sundir. 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 Akira Kurosawa Empire of Passiondir.

They had one child, a daughter named Mika. The significance of this work is revealed in its far aair 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.

The Toru Takemitsu Composition Award, intended to “encourage a younger generation of composers who will shape the coming age through their new musical works”, is named after him. Rather, these two elements contrast sharply with one another in an immaterial balance. Given the enthusiasm for the exotic and the Orient in these [Debussy and Messiaen] and other French composers, it is understandable that Takemitsu should have been attracted to the expressive and formal qualities of music in which flexibility of rhythm and richness of harmony count for so much.


He is the first Japanese composer to ait for a world audience and takkemitsu international recognition. Even where these instrumental combinations were determined by the particular ensemble takemittsu the work, “Takemitsu’s genius for instrumentation and genius it was, in my view I was very moved by it and I wondered why my attention had never been captured before by this Japanese music.

Toru Takemitsu – Wikipedia

He explained much 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”.

In these passages the overall sequence of events is, however, controlled by the conductor, who is instructed about the approximate durations for each section, and who indicates to the orchestra when to move from one section to next. He composed several hundred independent works of music, scored more than ninety films and published twenty books.

It is as if the distant echo of the opening motif were a second voice that has found its way to the fore. The work opens with a brief, impressionistic introductory passage. Takemitsu summed up his initial aversion to Japanese and all non-Western traditional musical forms in his own words: Unlike his other works for flute, which frequently employ all manner of extended techniques, Takemitsu limits the use of extended techniques in this piece to flutter-tongue and a few “bent” notes.

Tradition and Innovationlecture transcribed by E. Shelter from the Storm.

Autumn was written after November Steps. Takemitsu used this motive usually transposed to indicate the presence of water in his “musical landscapes”, even in works whose titles do not directly refer to water, such as A Flock Descends into the Pentagonal Garden ; see ex.