THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC
TŌRU TAKEMITSU: THE ROOTS OF HIS CREATION
By HARUYO SAKAMOTO
A Treatise reatis e submitted to the School of Music in partial fulfillment of the requirements for the degree of Doctor of Music
Degree Awarded: Spring Semester, 2003
The members of the Committee approve the treatise of Haruyo Sakamoto defended defended on December 10 , 2002. 2002 .
________________________ __________ __________________________________ Leonard Leonard Mastrog Mas trogiacomo iacomo Professor Directing Treatis Treatisee ________________________ __________ __________________________________ Victoria McArthur Outside Committee Member ________________________ __________ __________________________________ Carolyn Bridger Committee Member ________________________ __________ __________________________________ James Streem Committee Member
Approved: ___________________________________________________ ________________________ _______________________________________________ ____________________ Seth Beckman, Be ckman, Assistant As sistant Dean, School of Music Musi c The Office of Graduate Studies has verified and approved the above-named committee members.
The members of the Committee approve the treatise of Haruyo Sakamoto defended defended on December 10 , 2002. 2002 .
________________________ __________ __________________________________ Leonard Leonard Mastrog Mas trogiacomo iacomo Professor Directing Treatis Treatisee ________________________ __________ __________________________________ Victoria McArthur Outside Committee Member ________________________ __________ __________________________________ Carolyn Bridger Committee Member ________________________ __________ __________________________________ James Streem Committee Member
Approved: ___________________________________________________ ________________________ _______________________________________________ ____________________ Seth Beckman, Be ckman, Assistant As sistant Dean, School of Music Musi c The Office of Graduate Studies has verified and approved the above-named committee members.
In memory memory of my mother mother whose love and support made it possible for me to complete complete my studies
With all my m y love love and a nd appreciation appreciation
iii
I wish to express my deepest appreciation to Professor Leonard Mastrogiacomo for his encouragement, support, and insightful advice for the completion of this treatise. I would also like to thank the members of my committee, Dr. Carolyn Brid ger, Dr. Victoria McArthur, and Professor James Streem for their generous help, cooperation, and guidance. Dr. and Mrs. Stephen Van Camerik have been kind enough to offer assistance as editors. Lastly, but not least, I extend my heartfelt gratitude to my family and friends, who stood by me with love and understanding.
iv
Page LIST OF EXAMPLES ...................................................................................................vi ABSTRACT...................................................................................................................viii Chapter I. BACKGROUND: CH ILDHOOD AND YOUTH.............................................1 II. INFLUENCES ....................................................................................................14 From the West ................................................................................................17 From Japan.....................................................................................................23 III. SOLO PIANO MUSIC .......................................................................................40 Uninterrupted Rests .....................................................................................43 Piano Distance ................................................................................................50 For Away ..........................................................................................................55 Les yeux clos ...................................................................................................59 Rain Tree Sketch ............................................................................................62 CONCLUSION..............................................................................................................66 APPENDIC ES ...............................................................................................................69 A. LIST OF WORKS...................................................................................70 B. DISCOGRAPHY OF PIANO WORKS ..............................................79 C. CHRONOLOGY OF EVENTS ............................................................97 SELECTED BIBL IOGRAPHY.................................................................................107 BIOGRAPHICAL SKETCH......................................................................................114
v
1.
Messiaen’s second mode.....................................................................................19
2a. Takemitsu’s sketch, Japanese garden ............................................................29 2b. Takemitsu’s sketch, Arc .....................................................................................29 3
Uninterrupted Rests I, opening measures....................................................45
4.
Uninterrupted Rests I, line 2 ............................................................................45
5.
Uninterrupted Rests I, line 6, precise markings..........................................46
6.
Uninterrupted Rests II, lines 3-4, Ma ............................................................47
7.
Uninterrupted Rests III, mm. 7-9....................................................................49
8.
Piano Distance , mm.7-11 ...................................................................................51
9.
Piano Distance , mm. 22-37................................................................................53
10. Piano Distance , opening measures..................................................................54 11. For Away, line 10..................................................................................................56 12. For Away , opening measures ............................................................................57 13. For Away, line 26, flavor of Indonesia—gamelan.........................................58 14. For Away, lines 5-7, cyclic progression ...........................................................59 15. Les yeux clos , opening measures .....................................................................60 16. Les yeux clos , line13 ...........................................................................................61 17. Les yeux clos, line 13, rhythmic pattern........................................................62 vi
18. Rain Tree Sketch, lines 10-11, depiction of rain ...........................................64 19. Rain Tree Sketch, opening measures..............................................................64
vii
Tōru Takemitsu was arguably among the most important, although lesser known, musical figures of the twentieth century. Born in Japan in 1930, and having lived there through World War II and the post-war occupation, Takemitsu assimilated many strong, life-altering influences both from the West and from his mother country. This fertile mix of powerful oriental and occidental influences played a major role in the development of Takemitsu’s musical genius. Although never a conscious goal or deliberate objective, the collective body of Takemitsu’s musical works has come to be appreciated by many as a highly significant cultural bridge between the East and the West. Takemitsu’s music accomplishes this unique melding of cultures and traditions, especially through the use of traditional Japanese instruments, in his completely innovative works that are heavily influenced by the Western model. Takemitsu’s music displays various Western musical concepts and sensibilities, particularly those of Debussy and Messiaen. These unmistakable, potent European musical forces have been deftly woven in and around the core of the long-venerated philosophical, metaphysical, and conceptual elements of traditional Japanese music and its own foundations in Zen Buddhist philosophy. Together they form a rich musical tapestry. viii
A prolific writer until the end of his life in 1996, Takemitsu described his concept of music in relatively simple haiku-like terms, i.e., in physical environmental terms. Music, for him, was simply a part of ‘the stream of sounds’ that surrounded him.
Imbued with such an uncomplicated concept
of music, together with his broad and deep love of nature, Takemitsu subscribed to the philosophy that music was not something to ‘construct.’ His compositional approach was to collaborate with and incorporate the world of spontaneous natural sounds around him, thus providing an environment where ‘sounds can meet dramatically.’ In this study, the author has sought to survey the wide spectrum of social, cultural, and natural influences that has heavily impacted on Takemitsu’s compositional methods, and to examine how Takemitsu’s compositional philosophy has been eloquently shaped and expressed in five selected piano pieces: Uninterrupted Rests, Piano Dist ance, For Away, Les yeux clos, and Rain Tree Sket ch . The principal focus has been on the
sources and origins of his unique and prolific creativity which underpinned Takemitsu’s rich musical legacy. Various examples of Takemitsu’s profound, revelatory remarks, as well as spoken and written observations, have been cited.* These offer invaluable insights toward the enhanced understanding of both Takemitsu, the man, and his music. ____________________ *All the quotes from Japanese writings were translated by the author. ix
I had one strong desire. I wanted to touch the piano. Buying one was unthinkable, so I came up with a good idea; I made a paper keyboard. I fashioned the keys using the same dimension as that of a real piano. Best of all, this paper substitute was portable, and I could fold it and easily carry it around. My paper piano served me well for a long time until much later when I was able to obtain a real piano. The silent portable keyboard ‘sounded’ far more tones [than a real piano].1
Tōru Takemitsu was born on October 8, 1930, in Tokyo, Japan. At the time of his birth, his father was working for an insurance company in Dalien, China. When Takemitsu was only a month old, his mother moved to China with him to join her husband. 2 (An interesting coincidence that occurred during the same period of Japanese expansion and colonization in China was that another notable Japanese musician, namely Seiji Ozawa, the famed former conductor of Boston Symphony, was born in the colony. Perhaps it was more than destiny that Takemitsu and Ozawa established a
1Takemitsu, 2Jun-ichi
Chosaku-sh ū, 2:167.
Oto, Kotoba, Imeji (Tokyo: Seido Sha, Konuma, Takemitsu T ōru:
1999), 19. 1
close, long-term friendship and fo rmed a composer-conductor working relationship decades later in life.) Takemitsu used to recall fondly the early childhood memories of his father listening to Western music—jazz, blues, and Dixieland—and dancing and playing the shakuhachi, a traditional Japanese bamboo flute, for whole days at a time. Perhaps Takemitsu was drawn to music through his father’s love for music. Having been exposed to a rich musical environment at such a young age must have played a vital role in developing Takemitsu’s latent musical potential, even influencing his compositional style of later years. 3 In 1937, at six years of age, Takemitsu returned alone to Japan to enter elementary school. During this period he lived with his aunt who was a koto (Japanese zither) teacher. Forty years later, at the height of his fame, Takemitsu recalled his childhood days. While reminiscing during an interview by Louis Dandrel for Le Monde de la Musique , he noted that he had often become tired of hearing the koto all day long. Later in 1937, Takemitsu was rejoined by his parents who returned to Japan because his father was gravely ill. It was unfortunate that his father died in the spring of 1938, when Takemitsu was only seven years old. Another catastrophic period in the life of Takemitsu began with the onset of World War II. As a direct consequence, it would be an understatement to say that the subsequent four war years were the most difficult period of his life.
3Ibid., 20.
2
Takemitsu recalled with respect to those darkest years: During World War II, I worked long hours in the food s toragedistribution warehouse of a Japanese military base located deep in the mountains of Saitama Prefecture with many other boys. In earl y August, 1945, we, young boys of fourteen or fifteen years of age, worked and lived just like older combat soldiers. We were abused and punished for no reason and were living miserably. . . . During that time, the Japanese military prohibited everything Western: English language, music of any form and the like. 4 It was towards the end of the wa r, the summer of 1945, when Takemitsu had a sudden reawakening of Western music. As background, during the war Takemitsu and fellow young conscripts were often forced to sing Japanese military songs. One day, Takemitsu and other young conscripts were invited by an older soldier to listen to a French chanson, Parlez-moi d’amour, sung b y Lucienne Boyer.
(Takemitsu had mistakenly
thought for many years that the singer was the famous, black American chanteuse, Josephine Baker.) 5 Takemitsu later referred to this incident as ‘the fatal encounter,’ and described the e xperience as follows: “My heart was like a hollow cave, and I let the song seep into it. It flowed into my body and soul like a huge body of water.”6 He instantly realized that “the enemies had such beautiful music!”7 Takemitsu even later recalled, “This very experience
4Takemitsu,
Chosaku-sh ū, 2:227.
Oto no Kawa no Yukue , eds. Seiji Choki and Ryūichi Higuchi, Takemitsu T ōru: Ryūichi Higuchi (Tokyo: Heibon Sha, 2000), 299. 5
6Takemitsu, 7Konuma,
Chosaku-sh ū, 1:269.
18. 3
transformed me into a musician. As the war was ending, my heart and mind were consumed with the thoughts of music.
I quite literally could not
think of anything but music.” 8 Since his school life had begun and ended with the war, World War II indeed had a tremendous impact on Takemitsu’s most formative years. In this very vein, Takemitsu observed: Everything I came to be ori ginated from my many traumatic experiences incurred from this war of defeat as well as my post-war life. For me, music, poetry, love—they all developed from these horrific e xperiences. 9 Of course once the war ended, and the occupation commenced, doors to Western culture were flung open, and Western music including jazz was heard everywhere in Japan. Now with a great hunger for Western music, Takemitsu listened to it intensively. One day, he happened to hear César Franck’s Prelude, Chorale and Fugue on the radio.
Takemitsu later called this incident his “second
discovery” in that in this piece by Franck, he had found the absolute music, i.e., music without words. In traditional Japanese music, the music and words are inseparable, but the Prelude , Chorale, and Fugue was performed by a single instrument, the piano, and in this format spoke to his inner senses. For Takemitsu, this Franck piece proved to be a compelling
Tachibana, “Takemitsu Tōru: Ongaku Sōzō eno Tabi,” Bungakukai (June 1992): 263, quoted in Higuchi, 30 0. 8Noboru
9Takemitsu,
Chosaku-sh ū, 1:270.
4
revelation set against the backdrop of his horrific war experiences. The impact of ‘the second discovery’ was comparable to that of the first ‘fatal encounter ’ with the French chanson, both of which were indelible experiences. Thereafter, the war seemed so senseless, cruel and foolish to him. Since the strong musical experience as a teenager, he had one desire: “to touch” the piano, but he realized that his family was too poor to afford an instrument. His highly imaginative solution was to fashion a paper piano. 10 Takemitsu was so caught up in his dream and his love to learn more about music that he would literally open up and play his paper keyboard every time he had a few free minutes. His creative imagination was so powerful that he could finger over the keys and actually hear the tones that would have been produced correspondingly on a real piano. His enthusiasm for music was so strong that when walking down the street and hearing the sound of a piano, he would knock on the door and ask the resident to allow him to come inside to play. Interestingly enough, he was never denied access to these strangers’ homes or pianos. Finally, through an acquaintance, Takemitsu was able to actually rent one of the venerable Pleyels that had been brought back from France some years before by the renowned pianist/teacher, Kazuko Yasukawa. This acquisition of the Pleyel was an exciting event in his life. Takemitsu later wrote in his essay, Oto Chinmoku to Hakarieruhodoni, [Sound Measuring with Silence] as follows:
10 Ibid., 2:
167. 5
That piano brought an elegant atmosphere that was almost out of place in my little room. To me, it produced the ‘nasal’ sounds heard in the [spoken] French language. I never wanted to play etudes on it. I played many Debussy and Fauré pieces, but I don’t know if they sounded like the actual musical pieces. My performance was very poor. My friend, Toshi Ichiyanagi came and played a Ravel piece fluently. While listening to him, I felt envious of him. . . . Soon, I fell behind on the payment of the rental fee, and the unpaid back payment became substantial. I composed Lento in due movimenti on that piano. It received a review from Ginji Yamane, saying it was ‘pre-music,’ which I could not appreciate, after the premiere performance at the Shin Sakkyokuha Kyoukai recital, but the piece meant much more to me than any other piece I had ever composed.11 In this essay, Takemitsu also remarked that he had sad memories associated with the piano. 12 Indeed, Takemitsu ended up returning the piano because he was unable to pay the escalating rental fees. Because of his bitter war experiences, Takemitsu disliked everything that was associated with Japanese tradition. This feeling persisted for many years. He observed that his career path as composer had begun with the rejection of anything Japanese.13 Perhaps, it was inevitable that Takemitsu‘s aversion for Japanese culture would change abruptly. One day in the early 1960’s, Takemitsu had an unexpected opportunity to attend the Bunraku14 puppet show and hear traditional Japanese music. He later
11 Ibid., 1:24-5. 12 Ibid. 13 Ibid., 3:50. 14 Bunraku:
Japanese puppet theater of three-hundred-year-old history. Life-sized puppets are controlled by people dressed in black and act out a drama tic narrative, called jōruri. There is a narrator, and an accompanist playing the shamisen, a Japanese string instrument. 6
recalled that it was a shock to discover such “powerful” music. 15 Takemitsu suddenly realized that there was another type of music that was totally different. Undoubtedly, this belated encounter with traditional Japanese music at the Bunraku was a very strong, eye-opening experience, especially because of his earlier denial of his own rich mother culture and traditions. It was ironic that in the backdrop of his prior sole interest in the study of modern European music, Takemitsu found a new heightened appreciation. In a lecture delivered in 1988 in New York, Takemitsu spoke of the meaningfulness of his encounter with traditional Japanese music at Bunraku: Had I never been under the sway of Western music, I know my appreciation of Japanese music would have been very different. I think this is an extremely important point. From that time on I devoted a great deal of energy—as much as possible—to studying Japanese musical traditions, with particular attention to the differences between Japanese music and Western music. With great diligence I tried to bring forth the sensibilities of Japanese music that had always been within me. 16 He also spoke of another revelation upon first hearing Gagaku: 17 “The sounds were rising toward the sky like a tree.” 18 When directly comparing
15 Takemitsu,
Chosaku-sh ū, 3:50.
16
Idem, “Contemporary Music in Japan,” Perspectives of New Music 27 no.2 (Summer 1989): 201. 17 Japanese
traditional court music from Heian Period (794-1185). It is orchestral music involving hichiriki, ryuteki (wind instruments), sho (mouth Organ), sono koto, biwa (string instruments), shoko (gong), and various types of drums. Takemitsu, Chosaku-sh ū, 1:40.
18
7
traditional Japanese music to Western music, Takemitsu succinctly observed as follows: “The sounds in Western music progress horizontally, but the sounds of the shakuhachi rise vertically like a tree.” 19 Takemitsu had no history of formal training or studies in music, except for intermittent contact with Yasuji Kiyose (1900-1981), the founder of the Japanese branch of the International Society for Contemporary Music. Kiyose was the standard bearer for the group of composers known as ‘the nationalists’ who faithfully maintained distinctively Japanese qualities in their compositional idioms.20 It was as if by fate that Takemitsu came to Kiyose to study. Coincidentally, Takemitsu had previously been deeply inspired by Kiyose’s violin sonata, and already had great respect for him. Takemitsu reported having been elated when he learned that this distinguished composer would be willing to mentor him. Kiyose did not provide Takemitsu with conventional music lessons. He simply allowed Takemitsu unlimited access to his musical scores and recordings in support of his self-teaching.21 Fortuitously, Takemitsu found in Kiyose’s music what he had been searching for, and that was “the real music without any ostentation.”22
19 Idem,
Confronting Silence (Berkeley: Fallen Leaf Press, 1984), 87.
Koozin, “The Solo Piano Works of T ōru Takemitsu: A Linear/Set-theoretic Analysis” (Ph.D. diss., University of Cincinnati, 1989), 19. 20 Timothy
21 Higuchi, 22 Noriko
301.
Ohtake, The Creative Sources for the Music of T ōru Takemits u (Aldershot: Scolar Press, 1993), 15. 8
Perhaps in this context, it is helpful to relate to the reader one incident which occurred just a few months before Takemitsu came under the tutelage of Kiyose, as an indication of Takemitsu’s awareness for his musical direction from an early age.
In spring of the late 1940’s, Takemitsu took the
two-day entrance examination to the Tokyo University of Fine Arts. After the first day, he sensed that “it was not quite right.” Further, he felt that “composers will not be born from this.” 23 Takemitsu did not take the next examination, and thereby forfeited his chances for academic musical studies. Therefore, until he came under the direct influence of Kiyose in June, 1948, Takemitsu was limited to the support of his friends and colleagues, who shared their passion for music by studying musical scores with him. 24 Although having no prior formal experience or credentials, Takemitsu must have been regarded by Kiyose as possessing considerable talent. During the two years of study with Kiyose (1948-1950), Takemitsu came to know Fumio Hayasaka (1914-1955), a composer who was considered the forerunner of the Japanese nationalistic movement. Hayasaka was also a major figure in the composition of film music. Because of his admiration and respect for Hayasaka’s music, Takemitsu became interested in film music early in his caree r. 25 He wrote some of the most recognized film music in the
23 Higuchi,
3 00.
24 Ibid. 25 Ohtake,
15-6. 9
history of Japanese cinema. Takemitsu’s encounter with Kiyose and subsequent meeting with Hayasaka indirectly propelled Takemitsu to the musical scene as a composer. In 1956, Takemitsu composed a work commissioned by the Tokyo Metropolitan Symphony Orchestra. He entitled it Requiem for Strings, in memory of Hayasaka, who had died the previous year. The work was premiered by the Tokyo Metropolitan Symphony in June 1957. It drew the attention of Stravinsky during his visit to Japan, and he praised the work highly saying, “This is a wonderful work.
It is very intense. [It is
remarkable] such intense music came out of such a small man!”26 This special recognition brought international attention and fame to Takemitsu, and quickly paved the way to future success. In 1950, Takemitsu’s piano composition Lento in due movimenti was introduced at a Shin Sakkyokuha Kyoukai [The Association of New School of Composition] concert. Takemitsu had a special fondness for this work. It was his very first piece to be performed in public, but the critical review by Ginji Yamane in the Tōto Newspaper was a devastating one to the composer. One can only imagine the level of disappointment he endured.
It was far
beyond what words could ever describe, and Takemitsu put the score of his fondest piece away. Eventually it was lost; however, he later gathered the
Ōoka, “Takemitsu Tōru wo Meguru Nisan no Kansatsu,” in Takemitsu T ōru no Sekai, eds. Shinji Saito and Maki Takemitsu (Tokyo: Sh ūei Sha, 1997), 73. 26 Makoto
10
fragments of the piece from memory and wrote Litany , a second version. 27 After this taxing experience, Takemitsu and his colleagues launched a new cultural club, Jikken-kōbō [experimental studio] in November 1951. Jikken-kōbō provided the opportunity to introduce new compositions by its members, as well as Western avant-garde music to the cultural community. The association included prominent artists, poets, musicians, and technicians. The diverse membership reflects both the cultural sophistication and the multi-media nature of the club. This organization was different from the Shin Sakkyokuha Kyoukai in that it had a non-academic bias, a fact that helped Takemitsu, who was not an academically-trained musician, to consolidate his position. 28 Moreover, Jikken-kōbō served as a ready-made forum, a vehicle, for the performance of his works. Takemitsu was very fortunate to have had his works premiered by some of the most renowned professional musicians in Japan. Around this same period, Takemitsu also began experiments with musique concrète , which was to become an important compositional method
for him. Regarding this, Takemitsu later wrote in his essay, Boku no H ōh ō [My Method], that as early as 1948 he had already become aware of incorporating random natural sounds. He realized that to compose was to
27 Higuchi, 28 Peter
301-2.
Takemits u (Cambridge: Cambridge University Press, Burt, Music of T ōru
2001), 39. 11
find ways to bring meaning to ‘the stream of sounds’ around him. 29 The idea of ‘stream of sounds’ was to become the core element of his music throughout his compositional effort. In this highly stimulating environment of Jikken-kōbō, Takemitsu had invaluable opportunities and experiences.
In retrospect, he was keenly
receptive and absorbed everything he could, nurturing and developing his musical creativity. In 1953, however, his health and financial situation became a serious concern. His tuberculosis worsened, and he was hospitalized for a long period. As a result Takemitsu was no longer able to participate in Jikken-kōbō activities. Greatly discouraged, he even expressed a wish to withdraw from membership. 30 The new year, 1954, began. As a young man of twenty-three his life was at its lowest point, but by May his situation had improved. He became well enough to be released from the hospital, and in the following month he married Asaka Wakayama. Although he was still frail after the long illness , and very much in the grip of financial difficulties, with Asaka’s deep devotion and support Takemitsu was able to come out of the difficult times and proceed toward his yet-to-be-seen dynamic musical career. Upon reflection, it is indeed remarkable that in several short years, despite the hardships and setbacks he endured, Takemitsu went from being
29 Higuchi,
306.
30 Ibid., 305.
12
unknown to becoming one of the brightest stars of the modern Japanese musical scene. This chapter has presented only the early part of his background, which was the most formative period. From the late 1950’s to the end of his life in 1996, Takemitsu was highly productive, not only as a composer but also as a lecturer and writer. He was blessed with a natural talent and personal goodness, to which was added a great wealth of unique life experiences. Combined with strength of will, dedication, self-discipline, and determination, they effectively served to mold an extraordinary human being and true musical genius, Tōru Takemitsu.
13
Japan and I have arrived at the present with great contradictions. . . . Speaking from my own intuition, rather than from a simple-minded resolution to blend Western and Japanese elements, I choose to confront those contradictions, even intensify them. And those contradictions are for me a valid visa for the world. That is my act of expression. . . . Nothing that truly moves us will come from the superficial blending of East and West. Such music will just sit there.31
Various factors contributed to the uniqueness of Takemitsu’s music. They derived from both the West and Japan, and there was one factor that was particularly salient, i.e., he never had formal musical training. Because of this background, both Western and Japanese influences had an especially profound effect upon him, making Takemitsu’s music uniquely his own. In the course of traditional musical training, students typically establish their own style through the musical environment to which they are exposed. With respect to a compositional style, even the most innovative ideas originate in large part from the student’s formal musical education.
31 Takemitsu,
Confronting , 92-3.
14
The years corresponding to Takemitsu’s life (1930-1996) constituted a time of dramatic, rapid, and even revolutionary innovations and changes, leading to great diversity and riches in the musical world, as well as in other spheres of modern life. This was a period that was open to new ideas, and was generally much more accepting of unconventional methods. Likewise, composers tried to find their individual ways to create a ne w and unique musical language. Nonetheless, it may be more reasonable to appreciate that the “new” modern music that appeared during Takemitsu’s time was not totally independent of what had been composed previously, but included developments and expansions of inheritances from the past. As for Takemitsu, his style was a product of his being what he was. It represented his Japanese sensibilities that evolved from tradition and then came in contact with Western music. This could not have been developed by the mere blending of Japanese cultural idioms with superficial Western musical elements. Takemitsu never adopted such an approach, much less showed any interest in it. He believed that music had the power to speak to the deepest part of the soul and was a very personal experience. He thought superficial blending was meaningless and would not have the power to move the soul.32 It was his desire to confront and even intensify the differences and contradictions of Western and Japanese elements. One example is his composition November Steps in which traditional Japanese instruments, the
32 Idem,
Chosaku-sh ū, 2:20.
15
biwa and the shakuhachi, are used with a Western orchestra. Takemitsu acknowledged the differences between two remarkable cultures and created music of his own. Composing November Steps was an invaluable experience. From it was realized the vast realm of sounds that existed. November Steps became his landmark piece because he followed his intuition and let the music speak for itself. It also gave him hope that it was possible for people from different cultures to de velop a deep understanding of each other. 33 Takemitsu’s musical influences came from various sources. Some affected him directly, others indirectly. He himself did not even become aware of their subtle effects until years later; however, they were the powerful, underlying force of his musical concepts. For Takemitsu, it was not possible to think of Eastern and Western elements in the same dimension. Music was capable of speaking out for itself once the ‘universality’ was achieved, and it did not matter who was behind it. 34 To Takemitsu, music was a universal expression that spoke out from within. This chapter will examine the influences that played significant roles in Takemitsu’s musical development and creativity, namely Western and Japanese composers, and traditional Japanese music and culture. Furthermore, it will introduce Takemitsu’s own thoughts and philosophies which are connected to Zen Buddhism and derive their origins from his
33 Ibid., 3:30-1. 34 Ohtake, 5.
16
heritage.
Claude Debussy (1862-1918) had a significant effect on Takemitsu from the beginning. It has been said that the root of Takemitsu’s music is in Debussy, and Takemitsu agreed with this assessment.35 He observed that Debussy had been influenced by oriental music, and his music was re-imported to the Orient and influenced the compos ers there reciprocally. 36 Debussy came in contact with the music of the East at the Paris Exhibition in 1889. This experience, especially the encounter with Javanese gamelan music, made a tremendous impact. It opened up new avenues to richer sonorities, particularly in his choice of instruments. Similar to Debussy, Takemitsu was interested in creating shades of color in many layers in his placement of sounds. It is understandable that Takemitsu’s music, such as Riverrun, resembles Debussy with its luminous and transparent sound. 37
Moreover, some of Debussy’s characteris tics seen in his piano works, such as
35 Ryūtaro
Iwata, Kafe Takemitsu: Watashi no Takemitsu Ongaku (Tokyo: Kaimei
Sha, 1992), 161. 36 Takemitsu, 2:162.
Williams, “Tōru Takemitsu, a Gatherer of Sounds: An Analysis of Riverrun ” (D.M.A. diss., Manhattan School of Music, 19 97), 18. 37 Justin
17
fragmentary melodies, use of indeterminate pedal signs, and ethereal tone quality, are also found in Takemitsu’s piano music. Olivier Messiaen (1908-1992) was another who had a strong connection to Takemitsu and his music. Takemitsu observed, regarding his relation to Messiaen: “Among many things I learned from his music, the concept and experience of color and the form of time will be unforgettable.” 38 Takemitsu and Messiaen developed a strong bond between them. Messiaen spoke of his affinity to Japan: Japanese music is static, and I myself am a static composer because I believe in the invisible and in the beyond; I believe in eternity. Now, Orientals are on much closer terms with the be yond than we are, and that’s why their music is static. The music written by me, a believer, is equally static. This no doubt explains my attraction to Japan.39 Messiaen’s spiritual beliefs and respect for nature are reflected in his music, which has much in common with Takemitsu. Their music shares static, timeless, and meditative qualities, and minimizes a sense of development or direction. Messiaen’s modes of limited transposition (Example 1) allowed him to achieve those qualities in his music.40 Takemitsu also incorporated Messiaen’s mode in works such as Lento in due movimenti and Uninterrupted Rests .
38 Takemitsu,
Confronting , 141.
39 Oliver Messiaen,
“Music and Color: Conversations with Claude Samuel,” trans. Thomas Glasow (Oregon: Amadeus Press, 1994), 102, quoted in Justin Williams, 19. 40 Williams, 19.
18
Example 1: Messiaen’s second mode
Among Takemitsu’s works, Quatrain (1975) is the one with the most direct influence. Takemitsu visited Messiaen in New York and received advice, guidance, and encouragement for this piece. In Quatrain , Takemitsu used the same instrumentation as Messiaen’s Quartet for the End of Time .41 Takemitsu later reflected on Messiaen’s music: I learned so many things f rom Messiaen’s music; among them is the invaluable experience of learning the concept of color and ‘form of time’ and its application, which will stay with me forever. 42 Above all, that sensuous sound—abundance in tone color and sonority. I thought, ‘Oh, this is what I have been looking for.’ It matched my senses perfectly.43 Another connection between Takemitsu and Messiaen lies in their
41 Takemitsu,
Confronting , 141.
42 Idem, Chosaku-sh ū, 3:164.
Tachibana, “Takemitsu Tōru: Ongaku Souzou eno Tabi,” Bungakukai (October, 1 992): 225, quoted in Higuchi, 30 3. 43 Takashi
19
love for the universe that embraces both men and nature.44 Nature was very important to them, and they incorporated the sounds of nature in their music, although their methods were different. Messiaen translated actual bird songs into music, whereas Takemitsu’s music mainly reflected his thoughts of nature. 45 Although Takemitsu and Messiaen had common characteristics and interests, they were at opposite ends in their philosophy. Takemitsu viewed nature as a coexistence of man and nature itself, 46 which relates to his musical concept that music flows around everything, including himself. 47 It was from the standpoint of man and nature being one entity, making man a part of nature itself. On the other hand, Messiaen’s view was that of a unified entity of man and god, thus separating man and nature. 48 Although it is not possible to categorize them in a simple manner, it is apparent that Takemitsu’s association with Messiaen influenced him strongly enough to reflect in his music. It was the way Takemitsu viewed his surroundings and not the logic of rules that controlled his attitude and philosophy toward composing and music. His creation was a reflection of his inner thoughts,
44 Iwata,
166.
45 Ohtake, 7. 46 Iwata,
166.
47 Takemitsu, 48 Iwata,
Chosaku-sh ū, 3:53.
166. 20
which had a strong tie to his Japanese heritage. Takemitsu was particularly inspired by Messiaen’s passion and effort to compose while imprisoned in a German camp during World War II. 49 From his own miserable war experience, Takemitsu was able to measure the difficulty that Messiaen must have faced, and the depth of his desire to let his music speak out even under horrific conditions. Takemitsu also had a close tie to John Cage (1912-1992), as a friend and colleague. When Cage visited Japan in 1962, Takemitsu traveled with him to Sapporo during Cage’s concert tour. Cage had a strong interest and appreciation for Zen philosophy, and it was through him that Takemitsu came to recognize the depth and value of Japanese tradition.50 Takemitsu expressed his appreciation in these words: I must express my deep and sincere gratitude to John Cage. . . . It was largely through my contact with John Cage that I came to recognize the value of my own tradition. 51 His association with Cage had a strong and profound effect on Takemitsu’s musical concept; however, Cage’s influence went beyond the spiritual realm. For example, the structural organization of Takemitsu’s Dorian Horizon was modeled after Cage’s Quartet for twenty-four strings.
The physical placement of instruments was unique in Quartet, resulting in
49 Ohtake., 8. 50 Ibid. 51 Takemitsu, Perspectives,
199. 21
many layers of sounds in the musical space. Likewise, Takemitsu’s Dorian Horizon followed a similar plan, with the well-calculated placement of the
seventeen string instruments creating the subtleties in diverse tone colors in different gradations.52 He was keenly aware of the sound effects of physical positions of instruments, and was specific in placing them.
Takemitsu wrote
on the death of Cage: I lost another important person. I learned from Cage “life,” that is how to live, and that music does not exist away from life. This simple, clear fact has long been forgotten. Art and life have become separate existences, and professionals have put excess concerns on the framework of methodology. Aesthetics became the priority, and music was becoming mere paper work. At such a moment, John Cage shook the foundation of Western musical art, and evoked the forgotten essence of sound and the existence of silence as the mother of sound with naïve clarity. Through John Cage, sound regained its freedom. 53 There were other Western composers who influenced Takemitsu. For example, the sparse texture, emphasis on shifts of timbre, fragmentary melodies, and melodic cells weaving a musical tapestry—these vividly reflect the music of Anton Webern. Takemitsu acknowledged that at one point in his career, he was enthralled by the music of Webern. Other influences include Iannis Xenakis, Aaron Copland, Luigi No no, Pierre Boulez, Isang Yun, Arvo Pärt, and Pierre Schaffer.54
52 Ohtake, 9. 53 Takemitsu, 54 Iwata,
Chosaku-sh ū, 3:166-7.
175-6. 22
It was Weste rn music that first drew Takemitsu’s attention toward music, but there are also Japanese musicians to be considered. As mentioned in Chapter One, Yasuji Kiyose was the most significant one among them. Takemitsu’s own words confirm Kiyose’s influence: I cannot describe how much I learned from Mr. Kiyose. Through his works, I learned the fertility of musical soil where many different thoughts and feelings co-exist.55 Kiyose represented a group of composers known as nationalists who tried to create a new compositional idiom, while maintaining distinctly Japanese qualities. Sadao Bekku, the well-known Japanese musicologist and theorist, described Kiyose’s music: He does not approach music theoretically but rather in such a way as to express his intimate emotion with quiet naïveté. … His harmonic treatment seems Japanese in nature but not theoretical; he seems to follow the dictate of his natural and simple sensitivity.56 Kiyose believed that even though an act of creation is a personal matter, a composer must be aware that it has to relate to one’s own people. Otherwise, in a broader sense, the arts would be meaningless to them.57
55 Takemitsu,
Chosaku-sh ū, 1:273.
56 Sadao
Bekku, “The Composer in Japan Today,” Music—Eas t and West (Tokyo: Executive Committee for 1961 Tokyo East-West Encounter, 1966), 94-5, quoted in Koozin, The Solo Piano Works , 20. 57 Takemitsu,
Chosaku-sh ū, 1:273.
23
Shortly after his studies with Kiyose, Takemitsu came to know Sh ūzō Takiguchi (1903-1979), a surrealist poet. The importance of this encounter with such a remarkable poet was clearly stated: I don’t know how to express my gratitude. No words are sufficient to show my appreciation even for the opportunity to come to know Mr. Takiguchi. I often waver when making decisions about various things or how to behave. At these times, I think of select, few persons whom I wish to be proud of me. Mr. Takiguchi was always among them. Many times, I was an intruder in his quiet garden of thoughts. I learned to direct my attention toward internal things after having the chance to spend time with him. He awakened me in all areas of arts.58 At about the same time, other notable figures came in contact with Takemitsu and became his life-long friends and colleagues, namely, Kuniharu Akiyama, J ō ji Yuasa, Kazuo Fukushima, and Toshi Ichiyanagi. The long history of Japanese traditional arts and values was a part of Takemitsu and was ingrained in his body and soul. Serenity, silence, simplicity, austerity, tranquility of soul, and sensitivity to nature, originating in Zen Buddhism, had been deep in Japanese culture. Poetry, art, calligraphy, archery, swordsmanship, traditional music, flower arranging, landscaping of gardens, tea ceremony, etc. all hold Zen spirit. As a more popular example, one can compare sumo, Japanese traditional wrestling originating from the seventh century, to non-Japanese sports. Sumo wrestlers do not show their emotions. No matter what their feelings are at the time of victory or loss, they maintain calmness in their facial and physical
58 Ibid.
24
expressions. This manifests tranquility of the soul, indicating the inner strength that cannot be affected by the outside world. Takemitsu found in Zen Buddhism what he was s earching for in his musical expression. Zen values the “margin of life, the blank space.” 59 As emptiness of the mind, Mu [void], is essential for meditation and enlightenment in Zen, silence and stillness were important factors in the uniqueness of Takemitsu’s music. His words, “To make the void of silence live is to make live the infinity of sounds,” 60 originated from the Zen philosophy that underlies Japanese culture. Just as it was to Takemitsu, nature has a unique place in the minds of most Japanese people. Consider that from ancient times, the changes of the four seasons have a significant meaning. These seasonal changes relate to life—beginning, ending, growth, progress, etc., with each season bringing strong, specific sentiments. One indication is haiku poetry. It must contain kigo, a word that refers to a season.
Japanese have incorporated nature in
their life style in various ways. For example, in ordinary letter writing, it is polite and customary to begin one’s correspondence with remarks relating to the weather. One may write, “The coolness of the morning air indicates the approaching fall,” or “The spring equinox has passed, but our days are still
59 L.
James Hammond, “Ten Zen Basics,” A Newsletter on Philosophy and Literature, June 2001. 60 T ōru
Takemitsu, “T ōru Takemitsu: Miniature II,” (Japanese Deutsche Grammophon, MG2411), quoted in Timothy Koozin, “Tōru Takemitsu and the Unity of Opposites,” College Music Symposium 30, no.1 (Spring 1990): 35. 25
cold,” and so on. It may be interesting to the reader to learn that the spring equinox and the autumnal equinox are national holidays in Japan. Although there is no special or specific celebration, the Japanese enjoy the beginnings of new seasons. Still another example is that in selecting a home, the direction—north, south, east, and west—to which the rooms will face, becomes an essential part of decision-making. The southern exposure brings the sunlight into the house during the winter months and eliminates the evening sun in the summer, creating warmth in the winter and coolness in the summer. Even with today’s modern technology, people still want such naturalness in their lifestyle. The softening or intensifying sunlight that changes from time to time or season to season also brings a certain feel to them. Moreover, a traditional Japanese house should never be painted with artificial colors. Doors, walls, and floors use all natural material with neutral shades. In the modern day, houses may not look quite the same, but there is usually a traditional Japanese room, which provides the atmosphere of calmness, warmth, simplicity, and serenity. The depth of its beauty may not be fully understood or appreciated by someone who has a decorative, colorful taste, but the Japanese find profound beauty and depth of character in it. There are numerous other indications—too many to list; however, knowing the Japanese mentality and sentiment for nature would certainty shed light on Takemitsu and his music.
26
This philosophy, living in harmony with nature, is at the core of Takemitsu’s compositional activity. His own words confirm his musical concept and the sou rce of his creative energy: I do not compose by using sounds. I collaborate with them; however, I feel so inadequate because I still cannot speak my collaborator’s language well. 61 I am a very religious man. Music is a form of prayer to me. . . . I used to think each tone was like a building block, and that musical work was similar to architecture that needs to be constructed little by little, but my thinking started to change when I studied traditional Japanese music. I was influenced by its philosophy. The act of composing is like reaching a stream, feeling the river bed, and becoming one with it. . . . I now only think about the stream of sounds that surrounds me and try to listen to its sounds. I no longer pay attention to its structure or giving it a beginning and an ending. There is no be ginning or ending. When I compose, I touch the stream and express it as it is.62 Takemitsu’s concept derives its origin from Zen philosophy, which sees the ego, I , not as independent but as merged with the surrounding world, and puts one in touch with nature.63 Takemitsu had a special fondness for old Japanese gardens. He expressed his thoughts in his essay, Ongaku no Yohaku Kara [From the Margins of Music]: I love gardens because they never refuse people. There, we can stroll or stop freely as we wish. We can look at the whole garden or gaze at one
61 Idem, Chosaku-sh ū , 62 Ibid.,
3:241.
52-3.
63 Hammond.
27
tree. Plants, rocks, and sand, they display their various changes. They are constantly changing. Their existence is in one space in different time cycles, the changes of seasons, weather, day, and night—they are all music.64 Takemitsu’s creative activity involved being in touch with nature as the source of inspiration. His use of the word, Niwa [garden], in the titles of some of his works indicates his strong affinity to it. Takemitsu also used it as a metaphor where he ‘saw’ and heard music. Piano and Orchestra.
One example is Arc for
In this work the piano has the role of a stroller
walking through the orchestral garden (Examples 2a & 2b). It is clear that there is a strong link between some of his music and Japanese gardens, in that their element of spacing is an integral part in understanding the spatiality in Takemitsu’s music. 65 Takemitsu observed that the Japanese listen to sounds in the manner of ‘kikidasu’ [extracting the sound you are searching from the sounds that surround you]. He said that they draw sounds rather than expressing through sounds. 66 Traditional Japanese music has the concept that one tone
is music in itself, and it focuses on deepening the meaning of a sound itself. 67
64 Takemitsu,
Chosaku-sh ū, 2:23-4.
65 Funayama,
Hibiki no Umi e (Tokyo: Ongakunotomo Takashi, Takemitsu T ōru:
Sha, 1998), 172. 66 Takemitsu,
Chosaku-sh ū, 2:74.
67 Ibid., 170.
28
Example 2a: Takemitsu’s sketch, Japanese garden
Example 2b: Takemitsu’s sketch, Arc
Each tone is complete, and timbre became a very important element for subtlety in tonal expression, much more so than in Western music. Thus it 29
became necessary to have a means to express varied tone colors for subtle nuances. As a result, varieties of instruments of the same family were created for more precise tonal production.68 Takemitsu was quick to become aware of this practice. He thought that such Japanese artistic sense and concept of naturally existing sounds and noises reflecting the whole worldview, and not being mere material for expression, led to the creation of a highly refined art such as Noh. 69 There, the deepest level of the concept of connection to nature exists.70 Japanese people love to listen to the sounds of nature: of leaves blown by the wind, of ocean waves, bird calls, a cricket making noise, etc. In a Japanese sense, they are all music. There are folk songs and children’s songs about insects making their ‘music’ on a summer day. They call the insects’ noise(s) mushi no ne, literally meaning insect’s tones. In such a culture, it is natural that traditional Japanese instruments such as the shamisen and the biwa (string instruments) produce the resonance, sawari, which is close to the sound of noise. Its sound quality and make-up are complex, and in a Western musical sense, it is simply a noise. Yet, it is a very important part in traditional Japanese music.
68 Fumio
Koizumi, Nihon no Oto (Tokyo: Heibon Sha, 1994), 27.
69 Ancient
Japanese literature of highly aesthetic stage form, which combines dance, drama, music, and poetry. 70 Takemitsu,
Chosaku-sh ū, 2:74.
30
Takemitsu thought that the word sawari, which holds multi-meanings, is the desire itself to draw the true meaning of a sound [kikidasu], and to listen to the whole world in one tone, and that its true meaning possessed an attitude of motion that was closely tied to life. This one tone had to be pure and independent; at the same time it had to resonate strongly as a part of sound as a whole. It was essential for the performer to produce a subtle sound that is almost indistinguishable from noise. The sounds of these instruments are produced spontaneously and resonate through the performer. 71 Takemitsu’s expression of his understanding of Japanese concept and his philosophy deriving from it would take extensive studies of ancient Japanese culture and history to fully comprehend; however, for music that came from centuries of tradition, theoretical thinking is of no use because a single strum or pluck is too complex and too complete in itself to allow any theory. 72 Takemitsu’s own claim for the uselessness of analyses of his works finds its parallel here. In speaking of nature and a pure, independent tone, which relates closely to Takemitsu’s music, the shakuhachi is another instrument that needs to be mentioned. Although the idea of a bamboo flute may not bring a refined image of the instrument or its music, a shakuhachi is a carefully
71 Takemitsu, 72 Idem,
Chosaku-sh ū, 1:322-3.
Confronting, 51.
31
crafted instrument, made with the utmost precision for delicate tone production. Its sound is said to replicate the full range of natural life on earth. Takemitsu spoke of the shakuhachi sound: Western people separate natural sounds and musical sounds, but in our case, a shakuhachi player will become satisfied if the sounds he produces from the instrument resemble that of the wind traveling across the bamboo forest.73 Shakuhachi, because of its usage by Buddhist monks since around the seventeenth century, was often associated with religion, and perhaps for this reason it seems to lead the mind directly into spiritual thought. Thus, a single tone of the shakuhachi can bring one to the world of Nirvana, 74 a state of fulfillment that is expressed by a phrase, “ichion j ōbutsu.” The Western shakuhachi master Barry Nyosui Weiss’s words bring a clearer understanding of shakuhachi music: The measure of artistry with the Shakuhachi is ichion j ōbutsu, the quality of enlightenment in one note. To the Shakuhachi player, every note and note and every space between the notes has equal importance to each other. There is no sound without silence and silence without sound. Nothing, not a singe breath through the flute can go to waste. In the mind of Shakuhachi master, each moment in this wo rld has its distinct existence and then is gone forever; each sound and silences is an opportunity for enlightenment. 75
73 Idem,
Chosaku-sh ū, 2:163.
74 Montly
H. Levenson, “Shakuhachi: The Sound of Nature,” (10 August 2 002). 75 Barry
Nyosui Weiss, “Blowing Zen,” (10
August 2002). 32
Weiss has an insightful story as follows: Hundreds of years ago, the Japanese emperor asked a monk named Kakua to teach what he had learned on a Zen retreat to China. The monk bowed, stood silently, played one note on his Shakuhachi and departed. In that one note, he showed his enlightenment. 76 The concept that originated from Zen philosophy and has been imbedded in Japanese culture for centuries may not be easily understood by a non-Japanese; however, it is a source contributing much to traditional Japanese music. Furthermore, it influenced Takemitsu’s creative mind. As a young man, Takemitsu was awakened to his heritage and affected by it, which led him to develop his own compositional philosophy and style. The meaning of one single tone became of utmost importance to him. Having been in tune with nature, he did not try to create a sound. He thought sound was always a part of nature, and with complexity and integrity, it stood alone. I want to give up the idea of constructing music. In the world where we live, there are both silence and infinite sounds. I want to chisel the sound with my own hands and gain one struggling sound. It must be strong to face and measure with silence. 77 Takemitsu opined that the goal of a Japanese tone is to reach Mu, the state of nothingness. Once again, it relates to Zen philosophy in which everything exists in relation to all things around. By itself, it is in the state
76 Ibid. 77 Takemitsu,
Chosaku-sh ū, 1:40.
33
of Mu. As each tone was polished and became distinct, the scale to which it once belonged lost its meaning. It is as if the sound is refusing to belong there. 78 The state of Mu of a tone has a parallel in the state of nothingness in Zen, which is essential to attain enlightenment. In traditional Japanese music a single tone is already music itself.79 Takemitsu keenly observed this aspect of Japanese culture and traditional music through the master performers of shakuhachi. One day the shakuhachi player [for November Steps ] came. I asked him to play one note and hold it as long as possible. He did so, and it was ninety seconds long. I said to him I wanted him to make it longer. Then he began some physical exercises. He took my words very seriously. Three months later he came back. This time, the tone lasted for two minutes. It was an incredibly beautiful sound with a variety of colors. Everything existed in that one tone. 80 Another element that relates to nature is the Japanese sense of time; the sound contains nature within itself and exists in relation to time.81 In the frame of time, beats exist. In traditional Japanese music, there is no concept of beat in the Western sense. Beats can be extended or contracted. When the degree of extension or contraction becomes so great, the music comes to the point that there is no perceivable unit of time. Takemitsu described his impression upon hearing traditional Japanese music: “Gagaku
78 Ibid., 234. 79 Ibid.,
2:170.
80 Ibid., 3:53. 81 Ibid.
34
seemed as if it tried to prevent time from being measured. It was static like an artistic design and appeared occasionally like an arrow shot toward heaven.” 82 The music of Noh also exemplifies the concept of Japanese beats. The typical Noh text is comprised of combinations of sets of seven and five syllables; however, these have to be fitted into “Yatsubyōshi,” a unit of eight beats. In Noh, the dramatic script is emphasized more than the accompanying music. Thus, it becomes important that the Noh performers accommodate these syllables by making slight differences in the duration of each beat, while making the script flow smoothly.83 The beats arranged in such a way create unique rhythms. Through the use of such novel patterns, the highest level of refinement in free rhythms was achieved. 84 Another concept essential and unique to traditional Japanese music is Ma. Ma is present in all Japanese art forms as a meaningful space. It is ‘heard’ in Takemitsu’s music almost as his signature. This derives from Zen, which teaches that the blank space in consciousness, a state of no thoughts, can lead one to enlightenment. The essence of Takemitsu’s composition is the somewhat esoteric balance and interplay of time and space, Ma. In a
82 Idem,
Oto, Chinmoku to Haka rieru Hodoni (Tokyo: Shinchō Sha,197 1), quoted in
Funayama, 160. 83 Koizumi, 84 Shigeo
180.
Kashiba, Traditional Music of Japan (Tokyo: Kokusai Bunka Shinkokai,
1969), 12. 35
broader sense, it accounts for the previously-mentioned treatment of beats. Takemitsu said it was not possible to explain Ma in terms of the Western concept of time per se, but it was his view that Ma was rather more readily defined as a physical phenomenon. 85 He stated: The most important thing in Japanese music is space, not sound. I think Ma is time-space with tension. Always, I have used few notes, and many silences, from my first piece.86 From the foregoing and the following, it can be understood that Takemitsu’s thoughts on Ma are as powerful as Ma itself. A single strum of a string or one blow [of shakuhachi] is too complex to fulfill the role of carrying out the theoretical thinking. It is complete in itself. The complexity of its resonance, that makes the tone whole in itself, created Ma, a continuity of the physically intense form of the state of no-sound. . . . The Japanese sensitivity, that was formed through hearing the complexity of sound that achieves completeness and its refined single tone, created the concept of Ma. 87 Ma holds different meanings in different contexts.
In music, it refers to the
time and space intervals between the sounds and silence. Ma is not something to count or calculate, but to feel and ‘hear.’ Takemitsu observed that traditional Japanese music holds within itself many different layers of time. For example, if three musicians play
85 T ōru
Taidan Sh ū Takemitsu, Hitotsu no Oto ni Sekai wo Kiku: Takemits u T ōru (Tokyo: Shōbun Sha, 1996), 234. 86 Frederic Lieberman,
“Contemporary Japanese Composition: Its Relationship to Concepts of Traditional Oriental Musics” (M.A. thesis, University of Hawaii, 1965), 140-1, quoted in Dana Richard Wilson, “The Role of Texture in Selected Works of T ōru Takemitsu” (Ph.D. diss., University of Rochester, Eas tman School of Music, 1982), 20. 87 Takemitsu,
Chosaku-sh ū, 1:200.
36
together, there can be three different layers, with each musician keeping his own time. There is Ma in between the layers. The Japanese find beauty in the meaning of Ma. 88 This is unlike most Western music, in which performers play together adhering to the same time frame in strict beats. People listen to Ma in traditional Japanese music as much as they listen to the sounds. The concept of Ma can be likened to that of the unspoken thought, with the intervals of silence playing as active a role as that of the sounds throughout a musical development. Takemitsu said, “Music is either sound or silence. As long as I live, I shall choose a sound as something that confronts silence. It has to be one, strong sound.” 89 While Ma relates to time and space, another uniqueness in traditional Japanese music is tempo, expressed by the word, johaky ū. What was previously discussed about yatsub ōshi has a parallel in referring to tempo. Johaky ū can be applied to, for example, one day’s activity or the beginning, middle, and end of a piece, or even to one beat. In traditional Japanese music, even one stroke of a drum can contain johaky ū, reflecting the complexity and highly developed state of beats. 90 Lastly, another dimension to be studied is the use of dynamics. As stated earlier, traditional Japanese music focuses on drawing a sound and
88 Ibid.,
2:172.
89 Ibid., 1:39. 90 Koizumi,
26. 37
“deepening” it, which indicates the importance of expressing the subtle nuances inherent in a single tone. Consequently, getting the exact dynamic level almost on a note-to-note basis becomes essential. These subtleties and complexities also require a variety of instruments in the same family. This has a connection to the spoken Japanese language, which does not have accents in the Western sense. Japanese words have high and low intonations. In addition, they are comprised only of syllables. All of these features of spoken Japanese extend into the realm of Japanese vocal music, creating distinct differences compared to lyrics of Western vocal music. For example, a two-syllable word, hashi , cannot be correctly defined usin g the Western alphabet. If the first syllable, ha , is emphasized higher (approximately in between a major and minor third), it means chopsticks. Alternatively, if the second syllable, shi , is emphasized higher, it can mean bridge(s) or edge(s). In the written form, the meanings are clear based on the use of different Kanji (Chinese characters). In the spoken form, the different intonations and contexts in which specific words are used would differentiate the meanings. The uniqueness of the language, in addition to the Japanese concept of one tone being music itself, has had much to do with the need for many different levels of dynamics in traditional Japanese music. Expressed in the typical Western way, many more signs would have to be used: fff ff f fmf f
mfm
mpm
mp
pmp
p
pp
ppp.
38
Further, it would require a sign
for each note. 91 Naturally, traditional Japanese music would use its own mode for dynamic indication. It is not possible to describe the characteristics of traditional Japanese music in a simple way since it involves highly complex elements and aspects; however, knowing the integral part of it will brin g a better understanding of the link between Takemitsu’s music and his Japanese heritage. His mother country nurtured and supported his development as a person and musician. A much more substantial understanding and appreciation for the relationships between the man and his origins would require a comprehensive, in-depth review and study of Japanese history and Buddhism, and its profound role in the development of Japanese culture. The differences between Western and traditional Japanese music go well beyond the superficial and obvious features. The attitudes and approaches toward mastering traditional Japanese instruments with regard to tone production, development of technique, practice regimen, and performance are worlds apart with respect to their Western counterpart, in which a talented young child can play the works by great composers. A Japanese biwa master brought enlightenment on this issue in a conversation with Takemitsu on his experience of biwa studies during the early part of the twentieth century:
91 Ibid.,
25. 39
We sat [on the floor in a meditative manner] in a Zen temple from three o’clock in the morning until nine at night for one week. During that time, we did not play the biwa. We only sat there, but our thoughts were focused on the biwa sound. Other times, we went to the temple at seven in the morning in the snowy weather with the biwa in our arms. We sat [za-Zen- meditated] on the cold floor, and when the time came, we played one person at a time. . . . Without za-Zen, the true sound cannot be produced. I learned this later when someone who had never sat [za-Zen] came. . . . You must go through sufferings to gain the true sound.92
92 Yasutsugu
Taidan-sh ū (Tokyo, Shōbun Sha, Tsuji, conversation in Takemitsu T ōru
1975), 45-6. 40
I have not tried to explain my own works in detail. It is not necessary because the music fully speaks for itself. If I included program notes, reading them would interfere with the actual listening process that should be done by ears. Too much explanation may change and even limit the direction the music can go. It can even inhibit the evocative power of music, which has a potential to go far beyond what the composer could expect. It is only natural that critics are interested in the written language of the composer since that is their business, but I still wish music to be experienced with ears. 93
Takemitsu wrote piano music from the early stage of his musical career to the very last. He had a very close connection to the piano and used it in numerous instrumental works. Even so, he wrote only seventeen solo piano pieces, including two unpublished works, Kakehi (1948) and At Circus (1952). Coincidentally Stravinsky, who brought Takemitsu to the attention of the world, also had a strong affinity to the piano.
Takemitsu’s piano
pieces display the effects of various influences; however, it is difficult to specifically describe the essence of his style. Takemitsu said: The role of a musician is not to deal with the physical function of
93 Takemitsu,
Chosaku-sh ū, 5:15.
41
sounds. It should begin with an understanding of the essence of sound itself and how to experiment with it. . . . It is true that music was born from the acts of men creating natural sounds and from men’s simple movements; however, during the lon g history, we came to merely utilize the sounds within a frame of their convenience and function. The abundance of sounds around me, they have to be alive in my music. I feel I must be courageous enough to let them be alive. . . . A sound has a duration; it is temporal. In that sense, it is vain to construct music within a meas ured formality.94 Japanese aesthetic values and philosophy are manifested in Takemitsu’s piano works. The signature elements of Takemitsu’s sound—sparse texture, spatial placement of notes, meaningful silences, and the unfolding of musical experience, like a walk in a garden that is neither forced nor imposed—all relate strongly to traditional Japanese culture and music. In light of his compositional philosophy and Japanese heritage, five of Takemitsu’s piano pieces Uninterrupted Rests (1952-9), Piano Distance (1961), For Away (1973), Les yeux clos (1979), and Rain Tree Sketch (1982) will be examined to find how the link between Takemitsu and Japanese tradition has been manifested in his music. Mitsuo Aki, an event producer and writer on music, described Takemitsu’s music: Nature—flowers and grasses, bushes and trees, rocks and sand; they all breathe according to their own timing. Cycles of four seasons, changing of the weather in a day, changing of the thoughts of a person strolling through the garden—they all have their own cycles of e xistence. Takemitsu sculpted an image of sound from observing these natural
94 Ibid., 2:30-1.
42
phenomena and finding the multi-layers of time and space in nature. 95
Uninterrupted Rests is comprised of three movements.
The first
movement was written in 1952, while the other two were completed in 1959. The title, Uninterrupted Rests , was taken from a poem by Sh ūzō Takiguchi, which was the fifth poem in an anthology published as Fairy’s Distance in 1937.96 Takemitsu did not intend to depict the poem musically, but rather to capture the atmosphere of the poem that was very delicate and yet very powerful. Uninterrupted Rests was dedicated to the renowned Japanese pianist, Takahiro Sonoda (b. 1928). The text of the original poem is as follows: Of never folding win gs Callow moth is enduring the weight of the night’s colossal Bottle Transient white statue is frozen from the memory of snow The winds perching on gaunt twig are adapting to scant light All Ever silent spherical mirror on the hill Shūzō Takiguchi translated by Noriko Ohtake
The first movement,
=48, is marked, “Slowly, sadly and as if to
95 Mitsuo Aki,
to Nihonteki na Mono ni Tsuite,” in Takemitsu T ōru “Takemitsu T ōru no Sekai , eds. Shinji Saito and Maki Takemitsu (Tokyo: Sh ūei Sha, 1997), 128. 96 Funayama,
84. 43
converse with.” It is unmeasured and in A-B-A form with a coda.
In its
atonal structure, Takemitsu created the atmosphere of the ominously heavy and dark night with carefully placed sounds and silence. It opens with a descending half step with an accent and a fermata over the second note. A dotted vertical line is placed after the two notes. Judging from Takemitsu’s concept of the completeness of a single tone and the character of the tones produced, it is logical to think that he wanted the two notes to speak as a phrase. The prolonged second tone, sounding pure and strong as if to draw a sound, resembles the sound of the shakuhachi in its placement and character. Takemitsu’s treatment of this second tone reflects its importance; however, it is noteworthy that it does not connect to the melodic line.
Instead, it is tied
to the inner voice (Example 3). The composer’s concept of one tone being complete within itself and one tone being music seems to be a reasonable and appropriate explanation for such a treatment. In this movement, Takemitsu used Messiaen’s second mode97 (Example 4; See also Example 1 on page 19). Considering the year it was composed, this connection to Messiaen is understandable, but the Japanese quality manifested here at such an early stage of his career is subtle, yet surprising. Throughout the movement, a certain pattern is apparent; the music progresses with carefully attacked strong tones fading away as the next musical event unfolds. Its timing scheme lends a feeling that it is
97 Ohtake,
79. 44
happening effortlessly, like a natural phenomenon of the physical world. This is very much a characteristic of Takemitsu’s music. The recurrence of such an event seems to bring coherence and unity to the listening process. In his careful placements of notes, the music flo ws, with the perfect timing of sound and silence coexisting, very much in the spirit of Zen.
Example 3: Uninterrupted Rests I, opening measures
Example 4: Uninterrupted Rests I, line 2
The second movement, “quietly and with a cruel reverberation,” is quite different from the first movement. There is no sense of melody, and it is pointillistic with a twelve-tone quality. Takemitsu indicated in detail the dynamic markings ranging from pppp to sfff , which reflects the sensitivity of 45
traditional Japanese music that requires many levels of dynamic nuance. He even placed ppp under a rest sign, which appears to indicate the high level of intensity of the silence (Example 5). The note ranges are also extreme, guiding the sound production so as to create “a cruel reverberation” effect.
Example 5: Uninterrupted Rest II, line 6, precise markings
This movement contains many silences not specifically indicated by rest signs. Again, Takemitsu’s concept that sound and silence are equal, with its origins in traditional Japanese music, is seen here. Even though it is measured, a free-rhythm quality exists, with the held notes fading away into silence. Wide intervals and the placement of notes lend the impression that Takemitsu indeed created the environment where “sounds meet dramatically.”98 This movement does not seem to try to please the ear, but its sonorities are most appropriate. Indeed, the composer carefully “chiseled the excess sound” to reach that particular pure sound that always
98 Francisco Feliciano,
Four Asian Contemporary Composers: The Influences of Tradition in Their Works (Quezon City: New Day Publishers, 1983), 74.
46
existed. The spatialization of time and musical flow in Takemitsu’s music is reminiscent of a Japanese garden and traditional Japanese art forms, such as sumie painting, flower arranging, the tea ceremony, or poetry, as mentioned
in Chapter Two. They all value and incorporate the aspect of time and space, Ma (Example 6). The depth of thoughts and meanings expressed in the brevity of sounds also resembles the effects of haiku poetry.
Example 6: Uninterrupted Rests II, lines 3-4, Ma
Takemitsu indicated the precise tempo in this movement—one measure to be played in three seconds. A tone lasting for eight seconds in ppp is not audible for its entire duration.
These silences are active in the
musical event, defining the exact duration of each quiet action. Here again, 47
each action-silence serves as a unifying factor in the recurrence of the sound coming in after the silence. Although Takemitsu did not intend it, the movement appears to impose upon the listener a feeling that sounds floating freely in space were carefully selected one by one by the composer, and placed into an environment where they could “meet dramatically.” Takemitsu’s application of dynamics, duration of sounds, entering of new tones, and the slow progression of sounds and silences produce the ‘come-pause-go’ pattern of the musical event that is neither constructed nor planned; yet it is like a precisely timed movement of quietly rotating planets comprising our solar system. This effect seems to derive from Takemitsu’s delicate use of silences created by soft prolonged notes, which seem to end the musical flow, as well as from the way the sound continues with stronger tones entering. It also resembles a leisurely walk through a garden. The possibilities of spacing of sound and silence are, of course, infinite; however, created by Takemitsu, they are most intriguing, much less aesthetically remarkable. In any case, an attempt to describe this sound experience would be as futile as explaining a beautiful sunset to someone who has never seen colors. The third movement, “a song of love,” is measured and employs time signatures; however, the free-rhythm quality prevails with long-held notes in slow motion (Example 7). It is quiet and soft with mostly pp and ppp
48
markings. Here again, the carefully attacked notes fade away followed by other such tones. Just as a delicate timbre is essential in traditional Japanese music within a limited variety of instruments, Takemitsu indicated dynamic signs for subtle differences in tone production. It is the most lyrical and sorrowful of the three movements
Example 7: Uninterrupted Rests III, mm. 7-9
The last movement was dedicated to Sh ūzō Takiguchi. Takemitsu’s note on the original manuscript sounds confusing: “Since I wrote my first music based on Mr. Takiguchi’s poem, for the last piece I will also write my first piece based on his poem.”99 Takemitsu later wrote a violin and piano duo, Hika, based on this piece.
: Throughout Uninterrupted Rests there are no exaggerated statements, except for the ‘cruel reverberation[s]’ of the second movement. Quiet, intense, pure, simple, and unassuming are some of the words that
99 Funayama,
92. 49
might be used to characterize the first and third movements, as completely consistent with the aesthetic and spiritual principles of Takemitsu and Japanese culture. The title, Uninterrupted Rests, although not created by Takemitsu, seems appropriate, given that there are very few long rest signs written in the score. Further, there are many prolonged silent moments after the tones have died away. The silences, Ma, are intense and active, allowing no interruptions.
Piano Distance was composed in 1961, the beginning of the second
period of Takemitsu’s career. It was composed for pianist Yuji Takahashi. Takemitsu’s encounter with this musician was especially meaningful in that it affected the development of Takemitsu’s creativity for piano writing. The first performance by Takahashi was said to have been magnificent and almost miraculous to the extent that no one else could have ever achieved it.100 Regarding this work the composer said, “The title does not have any special meaning, but it could be interpreted as a small essay on a gradation of
100 Ichiro
Oto no Kawa no Yukue, eds. Choki Seiji and Nodaira, Takemitsu T ōru: Higuchi Ryuichi (Tokyo: Heibon Sha, 2000), 75.
50
coloristic changes in the soft dynamic ranges.” 101 Indeed, the title is suitable because the music extends to different dimensions of varied tone colors, wide registers, and dynamic ranges.
It is an expanded sound activity that goes
out in every direction (Example 8).
Example 8: Piano Distance , mm. 7-11
Piano Distance is Takemitsu’s first piece in which he consciously
explored the issue of space in music. 102 Takemitsu stated that in Piano Distance he was to free the sounds from the frame of bar lines, and to work
out the connection among truly alive sounds; moreover, each note that appears the same in the physical manifestation in the score must be understood and played as if possessing a different character. He observed that Piano Distance was similar to the structure of Noh, with regard to space
101 Takemitsu,
Chosaku-sh ū, 5:452.
102 Funayama,
151. 51
and time.103 Piano Distance continues from the pointillistic musical language of Uninterrupted Rest II and is the driest sounding piece among his piano
music. The texture is sparse and the music seems to unfold extemporaneously. It does not ha ve a time signature; however, it is measured, bearing the tempo marking of three seconds per measure. The precise length of each measure seems to indicate that Takemitsu timed the duration of fading-away tones to create the exact sonority he had in mind (Example 9). It is seventy-nine measures long and opens with a single note marked “with feeling.” This is another indication of Takemitsu’s philosophy of one tone being complete within itself. Takemitsu indicated the pedal and dynamic markings precisely with specific words such as ‘very short, ’ ‘tenderly hard,’ ‘quickly,’ ‘cut,’ etc . For the exact manner in which to use the pedals, he employed unique signs. Takemitsu’s sensitivity to every note and sound is manifested in such places. The frequent changes and the complexity involved require coordinated footwork that affects the reverberation of the keys struck. The fading sounds, sonority created by harmonics, the sudden outbursts of fff notes, and the duration of the tones all contribute to the formation of multi-layers of timbre, texture, and tone color within the boundaries of the limitations of the piano. One example is seen in the
103 Takemitsu, Chosaku-sh ū,
5:431. 52
opening measures: D-flat harmonics are placed to last four measures, during which time the notes C, D-flat, B-flat, and A that are within the interval of a minor 10th, and a cluster chord, E-F-B-C#-D, are played. They are placed ever so meticulously to create many different layers of sonority (Example 10). Takemitsu’s intense focus on drawing the sounds is manifested here.
Example 9: Piano Distance , mm. 22 -37
53
Example 10: Piano Distance, opening measures
Although measured, the free-rhythm quality exists with the long-sustained tones. Active and meaningful silences, Ma, and cyclic musical occurrences permeate the piece, as in Uninterrupted Rests . Here again, Takemitsu’s signature elements, the cycles of sound and silence, are apparent, and reconfirm their origin in Japanese culture deriving from Zen. Without knowing its meaning and significance, the listener may overlook the coherence and unity of the piece. The isolated strong tones suddenly break the peace of the quiet moment, which is followed by another silence—such recurrence seems to intensify the strength of sounds.
In Piano Distance Takemitsu created a musical world full of spaces and distances: from pppp to fff , from the lowest D to the highest A-flat, and long sustaining sounds and silences. The spaces permeate the musical activities in which the sounds freely travel to every direction and distance. Even though Takemitsu did not have a specific meaning for the title, it seems
54
most appropriate. For Takemitsu, Piano Distance was a pioneer piece in the use of a title with multiple meanings.
Piano indicates both the dynamic
indication, p, and the instrument, pianoforte. Likewise, Distance indicates the distance of the upper and lower ends of physical parameter. The sonority demands careful attention of both performer and listener to be appreciated for its multi-dimensional quality.104 It is also likened to a garden in which plants and rocks coexist in the cyclical and changing temporal world.
For Away was composed in 1973, eleven years after Piano Distance .
Takemitsu’s fame grew during those years with his many instrumental works and screen music. His landmark piece, November Steps , had been composed in 1967, and by 1973 the composer Tōru Takemitsu was a major international figure in the musical world. For Away has often been mistaken for “Far Away.” Takemitsu said, “The title is a strange one. The piece is my personal gift to Roger Woodward, and at the same time my expression of praise and offering to the vast atmosphere of life, which is not merely or solely for the realm of mankind.” 105 For Away was premiered by the
104 Iwata,
122-3.
105 Takemitsu,
Chosaku-sh ū, 5:451.
55
dedicatee. It was the first of several titles drawn from Finnegan’s Wake by Irish novelist, James Joyce. For Away employs regular bar lines as well as dotted lines that
further divide the measures. Even so, it is not easy to feel the beats in this piece that contains many grace notes, arpeggio-like figurations, and sustained tones. The texture is thicker and the silences are shorter compared to Uninterrupted Rests or Piano Distance. Takemitsu’s notation of dynamic, pedal, tempo, and nuance markings indicates how he focused on the details of each sound. It was never his goal to make his music resemble traditional Japanese music; however, such details display the characteristics of Japanese music in which timbre is of utmost importance (Example 11).
Example 11: For Awa y, line 10
56
The opening grace notes possess the character of sounds created by plucking the strings of the koto (Example 12). This effect is used a number of times. With the grace notes in each hand moving in the opposite direction, based on an octatonic scale, the music creates unique sounds that would remind a Japanese person of koto music.
Example 12: For Away , opening measures
Upon hearing the piece the clear, pure sounds haunt the ear. Takemitsu used repeated tones over the reverberation of pedaled tones. Although they are played very softly, they ‘speak out’ convincingly with their pure, strong character. This effect supports the composer’s philosophy of a tone being a part of the ‘stream of sounds’ and the aim of Japanese traditional music to make a sound complete within itself by strengthening it. For Away also poses a flavor of Indonesia.
Takemitsu visited the island of
Bali and wrote For Away to commemorate his visit and experience with gamelan music106 (Example 13).
106 Iwata,
175. 57
Example 13: For Away , line 26, flavor of Indonesia—gamelan
The musical progression is quicker, and again there is a cyclic element: there are many notes that appear as if they are traveling freely at will without restraint. When the musical activity rests on one tone, the cycle is concluded (Example 14).
: The concept of the deepening of sound, one tone being music itself, is manifested strongly with the recurrence of the musical activities coming to rest on one tone. In the use of numerous notes with a variety of characters that are so far apart from each other in dynamic and register distances, his words, “I don’t compose with sounds.
I collaborate with
them,”107 become real. He united them by ‘collaborating’ with each one; together they created the “Takemitsu sound.”
107 Takemitsu,
Chosaku-sh ū, 3:54.
58
Example 14: For Away , lines 5-7, cyclic progression
Les yeux clos , meaning closed eyes, was completed in August 1979 in
memory of Shūzō Takiguchi, who died a month earlier. The piece refers to the lithograph of Odilon Redon with the same title. According to Takemitsu,
59
“closed eyes” evoked “open ears” in him. He said that facing the death of this remarkable poet changed his musical feeling for the work, and that the calm expression on Takiguchi’s face and the eyes that would never open again made the relation of the title and the work go beyond his intent or plan, and the composer himself could not even analyze it 108 (Example 15).
Example 15 : Les yeux clos, opening measures
The sounds here are very complex with many layers of sono rity, and seem to create a third dimension. Takemitsu noted in the score: “[The] most important thing in performing Les yeux clos is to produce subtle changes of the color and the time as floating.” The unceasing sound activity is complex with every level of sonority reverberating. The delicate, carefully placed notes resonate as if to deepen themselves (Example 16).
108 Ibid., 5:424.
60
Example Example 16: 16 : Les yeux clos, line line 13
Takemitsu akemit su expressed a number of times that he was not interested intereste d in constructing constructing music.
One i ndication of this is in a quasi-isorhy quasi-is orhythmic thmic passag pas sagee
in which each hand plays different rhythmic patterns against one another (Exampl (Examplee 17). Takemitsu akemit su did not not preserve preserve this in the orchestral orchest ral version version of the piece, Visions . Many Western est ern composers would would have taken advantage of 109 Takemitsu’s such a musical construction and tried to use it again. 109
intention for composing composi ng was only to provide pro vide a meeting place for sounds to gather together, together, and structural organiza organization tion neve neve r had had a maj m ajor or place in his creative mind.
109 Burt, Burt,
24 4. 61
Example 17: 17 : Les yeux clos, line 13, 13 , rhythmic pattern patt ern
In Les yeux clos , Takemit Takemitsu su explored the piano’s capacity for sonority to its limi lim it and utilized it at the highest highest level, a level le vel he he himself him self could not fully analyze. Harmonics, held tones, cho cho rds—sounds are superimposed superimpos ed in every every possible poss ible way and create multi-layers multi-l ayers of sonority. sonority. His careful attention to the details of sound production emphasizes the importance of each tone and timbre as in traditional Japanese music.
Rain Rai n Tree Tree Sketch was was composed in 1983 19 83 as a s a fiftieth birthday birthday gift gift for a
friend, Maurice Ma urice Fleuret, Fleu ret, the F rench writer writ er.. In the 1980’s 198 0’s Takemitsu’s Takemitsu’s career was unshakable unshakab le and the popularity popularit y of his his music m usic gre gre w. Rain Tree Sketch was was inspired by Japanese Ja panese writer Kenzab Kenzaburo uro Ōe , whose works works bear the words words Rain Ra in 110 Tree, such as “W “ Women Listening List ening to the Rain Ra in Tree,” Tree,” or “Clever “Cl ever Rain Rai n Tree.” Tree.” 110
110 Iwata,
49. 62
Takemitsu akemit su and Ōe responded to each other’s works wo rks by writing music and 111 novels. Rain is the last of such activities between the the two. 111 Rai n Tree Tree Sketch is
Rain Tree Sketch after Takemitsu akemit su wrote Rain Tree after reading a pas sage from from Ōe’s Clever Rain Tree :
When it rains at night, Rain Tree lets the droplets of water wate r fall until the following day because it stores the water within its thumb-sized, dense layer of leaves. All the other trees dry up quickly, quickly, but rain tree keeps 112 the water. water. It’s a clever tree. tree . 112 Takemitsu akemit su had a special s pecial aff a ffinity inity for ‘rain ‘rain’’ and ‘tree,’ and used these words in the titles titl es of his works. works. He e ven named named his daughter daughter Maki, Ma ki, literally litera lly meaning ‘true ‘true tree,’ after Ki no Kyoku [Music [Musi c of Tree]. The traditional tradit ional Japanese concept of everything being a part of a temporal, cyclic, transient 113 Takemitsu moment is similar to the state of rain. 113 akemit su depicted the state of an
opulently wet tree dripping drippin g droplets of water ( Exampl Examplee 18). The Japanese Jap anese influenc influencee does not appear a ppear so much muc h in the compositional aspect as in his thoughts thoughts behind b ehind the music. musi c. Rain Rai n Tree Tree Sketch is in A-B-A form.
It is meas ured; however howeve r, there the re is
no time tim e signature. The number number of beats bea ts in a measure changes constantl constantly y, and the first five measures meas ures display displa y an interesti interesting ng feature: Takemit Takemitsu su used the melody notes of A-G#-E-F in every e very measure, switching from right hand to
111 Ibid., 50. 112 Kenzaburo
Onnatachi, quoted in Takemitsu, Ōe, Ame no Ki wo Kiku Onnatachi,
Chosaku-sh ū ū, 5:385. 113 Ohtake,
87. 63
left hand in different rhythms (Example 19). He indicated two different tempo markings:
=3
= 63~56 (Tempo I) and
=2
= 84~80
(Tempo II). There is a parallel to the music of Noh in the treatment of tempo and the unequal measures.
Example 18: Rain Tree Sketch , lines 10-11, depiction of rain
Example 19: Rain Tree Sketch , opening measures
64
The texture here is thicker and the musical activity is clearer and more concise. The static quality seen in his earlier works is not present and there is also an improvisational quality. Takemitsu’s musical philosophy is still seen once again in specific, detailed markings:
for strong,
moderate, and
medium long,
soft accents;
for very long,
and
short pauses. To Takemitsu, each tone was complete in itself and needed much attention.
In the 1980’s, Takemitsu’s music was entering a new stage, “densification of space.” 114 Rain Tree Sketch displays his new approach in its texture, flow, and Ma . Rain and tree had a special affinity for Takemitsu and he loved them. He was always a part of nature, and his tone a part of the ‘stream of sounds’ that surrounded him.
114 Iwata,
152. 65
In this study the author has touched only the surface of the most profound intention and expression behind Takemitsu’s music. Shortly before his death, Takemitsu expressed the desire to be a whale, to possess a strong body to swim across the ocean where there are no boundaries of East or West. Takemitsu received influences from both hemispheres. He was exceptionally receptive and assimilated new and foreign concepts and ideas, which was particularly remarkable for the time. He was open to question, accept, discard, absorb, then ultimately found the ‘true music’ for which he had been searching. Along the way, rejection became acceptance, inspiration became creation, and intellectual philosophy built musical foundation; but above all, there was one strong influence that molded T ōru Takemitsu into a truly unique composer—Japan, with its long heritage of Zen philosophy and refined culture. Many, if not most, of the concepts and values embodied in Takemitsu’s music find their underpinnings in the mainstream Japanese tradition. Takemitsu’s concept of sound and silence being eq ual originated in the Japanese culture, and reflects the temporal sense of the Zen view of 66
nature. This concept is manifested in his music, not obviously, but in somewhat abstract terms. Knowing the essence of Japanese culture is essential for a clear understanding and deeper appreciation of his music. He was truly a Japanese composer to the core. In a conversation with Seiji Ozawa, Takemitsu expressed his affinity to Japan: In my case, it is when I see the nature and scenery and become inspired by them. Only then, I feel my musical senses coming out from inside. It has to be the Japanese trees and mountains. I don’t know the reason why, and it may seem strange, but I can compose only when I am in Japan. I travel abroad with staff paper on hand, but I cannot compose anything. Tōru Takemitsu’s music does not call for an explanation, but for a performer’s acute sense of sound and silence to be understood properly. One needs to merge with the musical flow; only then does it unfold its profound meaning. Takemitsu always claimed his music did not need justification for what it was or require any deep analysis. His music was neither a result of mere blending of Eastern and Western musical elements nor a planned construction.
Its expression is pure and strong, and it was never calculated
to satisfy the rules of standard musical frames. His piano works introduced in this treatise suggest the various influences. Their manifestation is subtle but powerful, and reconfirms his Japanese heritage. The sounds that flowed in the ‘stream of sounds’ were given the time and space, and gained meaning and direction. They were discovered from where they always existed and given life by the master’s hands. 67
For me, the act of composing consists of creating an environment where sounds can meet dramatically. T ōru Takemitsu
68
69
1948
Kakehi*
1949
Romance Two Pieces for Piano
1950
Lento in due movimenti
1952
At the Circus* Uninterrupted Rests (I)
1959
Uninterrupted Rests (II & III)
1960
Love Me
1961
Piano Distance
1962
Corona for Pianist(s), graphic score Crossing, graphic work for piano(s)
1973
For Away
1979
Les yeux clos Little Piano Pieces for Children 1. Breeze 2. Cloud
1982
Rain Tree Sketch
1988
Les yeux clos II
1989
Litany, in memory of Michael Vyner 70
1992
Rain Tree Sketch II, in memory of Olivier Messiaen Golden Slumbers (transcription of work by John Lennon and Paul McCartney)
* Unpublished works
1957
Requiem for String Orchestra
1958
Tableau noir: for narrator and orchestra Solitude sonore
1959
Scene: for cello and string orchestra
1961
Music of Trees
1962
Coral Island: for soprano and orchestra
1963-6
Arc Part I: for piano and orchestra (revised 1976) I. Pile (1963) II. Solitude (1966) III. Your Love and the Crossing (1963)
1964-66 Arc Part II: for piano and orchestra (revised 1976) I. Textures (1964) II. Reflection (1966) III. Coda . . . shall begin from the end (1966) 1966
Dorian Horizon: for seventeen strings
1967
Green
1967
November Steps: for biwa, shakuhachi and orchestra
1968
Asterism: for piano and orchestra
1970
Crossing: for four soloists—piano/celesta, guitar, harp, vibraphone, female voices and two orchestras Eucalypts I: for flute, oboe, harp and string orchestra
71
1971
Cassiopeia: for percussion solo and string orchestra (includes electric guitar) Winter: for three orchestras Gemeaux Part 1: for oboe, trombone and two orchestras
1973
Autumn: for biwa, shakuhachi and orchestra
1974
Gitimalya: for marimba solo and orchestra
1975
Quatrain: for clarinet, violin, cello, piano and orchestra
1976
Marginalia
1977
A Flock Descends into the Pentagonal Garden
1980
Far Calls. Coming, Far!: for violin and orchestra
1981
Dreamtime A Way a Lone II: for string orchestra Toward the Sea II: for alto flute, harp and string orchestra
1982
Star-Isle Rain Coming: for chamber orchestra
1983
To the Edge of Dream: for guitar and orchestra Lacrima for String Orchestra (transcription of film music, Yogen[Prophecy])
1984
Orion and Pleaides: for cello and orchestra Vers, ‘arc-en-ciel, Palma: for guitar, oboe d’amore and orchestra Riverrun: for piano and orchestra
1985
Dream/Window
1986
Gemeaux: for oboe, trombone, two orchestras and two conductors
1987
I Hear the Water Dreaming: for flute and orchestra Nostalgia– in Memory of Andrei Tarkovskij: for violin and string orchestra
1988
Twill by Twilight–In Memory of Morton Feldman Tree Line 72
1989
A String Around Autumn: for violin and orchestra
1990
Visions From Me Flows What You Call Time: for five percussionists and orchestra
1991
Fantasma/Cantos: for clarinet and orchestra How Slow the Wind Quotation of Dream—Say Sea, Take Me!: for two pianos and orchestra
1992
Family Tree—Musical Verses for Young People: for narrator and orchestra Ceremonial—An Autumn Ode: for shō and o rchestra
1993
Archipelago S.: for twenty-one players
1994
Fantasma/Cantos II: for trombone and orchestra Spirit Garden Three Film Scores 1. Music of Training and Rest 2. Funeral Music 3. Waltz
1995
Spectral Canticle: for violin, guitar and orchestra
1996
Nami no Bon: for orchestra, harp, celesta and synthesizer Alone on the Pacific: for orchestra Two Cine Pastorali: for koto and orchestra 1. Orin 2. Kaoru Dodes’ka-Den: for orchestra, harp and celesta Death and Resurrection: for string orchestra
1955
Concerto de chambre: for thirteen wind instruments
1958
Pananpe no Omoigakenai Shouri no Hanashi: for clarinet, vibraphone, piano, guitar, drums, double bass, 73
baritone and bass 1958-60 Le son calligraphié: for four violins, two violas and two cellos Landscape: for string quartet 1960
Be Sleep Baby!: for flute, saxophone, drums and bass.
1961
Ring: for flute, terz guitar and lute
1962
Sacrifice: for alto flute, lute and vibraphone Corona II: for strings
1963
Arc for Strings
1965
Sonant: for two flutes, violin, cello, guitar and two bandoneons (renamed Valeria in 1969 for two piccolos, violin, cello, guitar and electric organ).
1969
Stanza: for soprano, piano (celesta), guitar, harp and vibraphone
1971
Eucalypts II: for flute, oboe and harp
1973
In an Autumn Garden: for Gagaku orchestra
1974
Garden Rain: for brass ensemble
1976
Bryce: for flute, two harps and two percussionists Waves: for clarinet, horn, two trombones, percussion
1977
Quatrain II: for clarinet, violin, cello and piano
1978
Waterways: for clarinet, violin, cello, two harps, two vibraphones
1979
In the Autumn Garden (complete version): for Gagaku orchestra
1981
A Way a Lone: for string quartet
1982
Rain Spell: for flute, clarinet, harp, piano and vibraphone
1986
Entre-temps: for oboe and string quartet 74
1987
Signals from Heaven—Two Antiphonal Fanfares: for two brass groups I. Day Signal II. Night Signal
1992
And Then I Knew ’twas Wind: for flute, harp and viola
1993
Between Tides: for violin, cello and piano Harbstlied: for clarinet and string quartet (transcription of a solo piano piece by Tchaikovsky)
1951
Distance de fée
1957
Solitude sonore: for flute
1959
Masque, Continu/Incidental I: for two flutes
1960
Masque, Incidental II: for two flutes
1966
Eclipse: for shakuhachi and biwa Hika: for violin and piano
1970
Seasons: for percussion and tape or four percussions
1971
Voice: for flute Munari by Munari: for percussion solo Stanza: for harp and tape
1972
Distance: for oboe (and shō)
1973
Voyage: for three biwa
1974
Folios: for guitar Over the Rainbow: for guitar
1975
Le fils des étoiles – Prélude du 1er acte “La vocation”: for flute and harp (transcription of a piano piece by Eric Satie) 75
1977
Twelve Songs for Guitar (transcription of works by other composers)
1981
Rain Tree: for three percussionists Toward the Sea: for alto flute and guitar
1982
Cross Hatch: for marimba and vibraphone or two keyboard instruments
1983
The Last Waltz: for guitar (transcription of Les Reed and Barry Mason) Rocking Mirror Daybreak: for two violins From Far Beyond Chrysanthemums and November Fog: for violin and piano
1984
Orion: for cello and piano
1986
Rain Dreaming: for cembalo
1987
All in Twilight: for guitar
1988
Toward the Sea III: for alto flute and harp
1989
Itinerant–In Memory of Isamu Noguchi: for flute
1993
Equinox: for guitar Fallen Leaves: for guitar (arrangement of work by J. Kosma)
1994
Paths– in Memoriam Witold Lutoslawski: for trumpet A Bird Came Down the Walk: for viola and piano
1995
In the Woods: for guitar Air: for flute
1961
Wind Horse: for female chorus 1. Vocalise I 2. Spell of Fingers 76
1966
Wind Horse: for mixed chorus 3. Vocalise II 4. Vocalise III 5. Legend of the Dining Table
1981
Chiisana Heya de [In a Little Room]: for mixed chorus
1982
Grass: for male chorus Koi no Kakurenbo: for mixed chorus Mienai Kodomo: for mixed chorus Wings: for mixed chorus Shima e: for mixed chorus
1984
Shinda Otoko no Nokoshita Mono wa: for mixed chorus Ο to ∆ no Uta: for mixed chorus Sayounara: for mixed chorus
1987
Handmade Proverbs– Four Pop Songs: for male chorus
1990
My Way of Life—In Memory of Michael Vyner: for baritone, mixed chorus and orchestra
1992
Asu wa Hare Kana Kumori Kana: for mixed chorus
1951
Joi de vivre: for ballet
1953
Ginga Tetusdou no Tabi: for ballet
1955
Static Relief: tape music
1956
Ai no Jouken: tape music Vocalism A. I.: tape music Clap Vocalism: tape music Ki, Sora, Tori: tape music
1958
Sky, Horse, and Death: tape music
1960
Quiet Design: tape music Water Music: tape music 77
1961
Nihon no Monyou: tape music with traditional Japanese instruments
1964
Blue Aurora for Toshi Ichiyana gi: theater music
1966
Seven Hills Events: theater music
1968
Cross Talk: bandoneon and tape
1970
Toward: tape music
1972
In Motion: tape music
1986
A Minneapolis Garden: tape music The Sea is Still: tape music
The works that are not listed in this appendix include more than one hundred pieces for films, numerous television and radio programs, and TV commercials.
78
Recording Labels: A—Angel; BIS—BIS; Cam—Camerata; Cr—Crown; DG—Deutsche Gramophone; EMI—EMI Classics; Etc—Etcetra; Fin—Finlandia; Fon—Fontic; K—King; KO—KOCH International; L—London; MS—Music Scape; Ph—Philips; PRP—ProPiano; R—RCA; TH—Thorofon; To—Toshiba; V—Victor
20-20CD 005*
EMI-TOCE55237 Little Piano Pieces for Children: Breeze and Cloud, Lento in due movimenti, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Litany, Rain Tree Sketch, Rain Tree Sketch II
____________________ *Published by Nippon no Sakkyoku: 21 Seiki en Ayumi Iinkai [Japanese Compositions: The Committee for ‘Steps Forward to the Twenty-first Century’] 79
Fon-FONC5043 (FOCD3202) Rain Tree Sketch, Les yeux clos, Piano Distance, Uninterrupted Rests, For Away
EMI-TOCE55237 Little Piano Pieces for Children: Breeze and Cloud, Romance, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Litany, Rain Tree Sketch, Rain Tree Sketch II
Fon-FONC5043 (FOCD3202) Rain Tree Sketch, Les yeux clos, For Away, Piano Distance, Lento in due movimenti Fon-FOCD3109 Litany, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch Fon-FOCD2522 Litany, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch, Rain Tree Sketch II
Ph-PHCP145 Rain Tree Sketch, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Litany Ph-PHCP1823 Litany 80
BIS-KKCC2229 (BIS805) Litany, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch, Rain Tree Sketch II
Cam-28CM568 Rain Tree Sketch, Rain Tree Sketch II, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Litany
MS-MSCD0001 Rain Tree Sketch, Rain Tree Sketch II, Litany, Piano Distance, For Away, Les yeux clos, Les yeux clos II
R-RCL8377 Piano Distance, For Away, Les yeux clos R-BVCC1508 R-09026-68595-2 Rain Tree Sketch, Rain Tree Sketch II, Litany, Piano Distance, For Away, Les yeux clos, Les yeux clos II R-BVCC8899-8900 Piano Distance, For Away, Les yeux clos
Fon-FOCD3417 Uninterrupted Rests I
EMI-TOCE55237 Romance, Little Piano Pieces for Children: Breeze and Cloud, Lento in due movimenti, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Litany, Rain Tree Sketch, Rain Tree Sketch II 81
A-EAA85013-5; (EAC60153, EMI-18MN1015) Piano Distance
V-SJV1504 (V X23, SJX7506) Piano Distance, For Away V-JVCD1008 Piano Distance, Corona V-KV X5514 Piano Distance DG-MG2408 (POCG3358, 3653) For Away, Piano Distance, Corona DG-C25G00032 For Away, Piano Distance, Corona
Fin-WPCS5752 (Fin-15245) Piano Distance, For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch, Rain Tree Sketch II, Litany
TH-2324 Litany
Etc-NSC214 (KTC1103) Les yeux clos, Les yeux clos II, For Away, Litany, Piano Distance, Corona, Crossing, Rain Tree Sketch L-SLC2365 (POCL2347, 3998) Corona, For Away, Piano Distance
82
Fon-FONC5043 (FOCD3202) Uninterrupted Rests, Rain Tree Sketch, Les yeux clos, For Away, Lento in due movimenti Fon-FOCD3109 Litany, Uninterrupted Rests, For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch Fon-FOCD2522 Litany, Uninterrupted Rests, For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch, Rain Tree Sketch II
Ph-PHCP145 Rain Tree Sketch, Uninterrupted Rests, For Away, Les yeux clos, Les yeux clos II, Litany
BIS-KKCC2229 (BIS805) Litany, Uninterrupted Rests, For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch, Rain Tree Sketch II
Cam-28CM568 Rain Tree Sketch, Rain Tree Sketch II, Uninterrupted Rests, For Away, Les yeux clos, Les yeux clos II, Litany
Cam-32CM318
MS-MSCD0001 Rain Tree Sketch, Rain Tree Sketch II, Litany, Uninterrupted 83
Rests, For Away, Les yeux clos, Les yeux clos II
R-RCL8377 Uninterrupted Rests, For Away, Les yeux clos R-BVCC1508 R-09026-68595-2 Rain Tree Sketch, Rain Tree Sketch II, Litany, Uninterrupted Rests, For Away, Les yeux clos, Les yeux clos II R-BVCC8899-8900 Uninterrupted Rests, For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch, Rain Tree Sketch II
V-VDC1415 For Away
EMI-TOCE55237 Romance, Little Piano Pieces for Children: Breeze and Cloud, Lento in due movimenti, Uni nterrupted Rests, For Away, Les yeux clos, Les yeux clos II, Litany, Rain Tree Sketch, Rain Tree Sketch II A-EAA85013-5; (EAC60153, EMI-18MN1015) Uninterrupted Rests
V-SJV1504 (V X23, SJX7506) Uninterrupted Rests, For Away V-JVCD1008 Uninterrupted Rests, Corona V-KV X5514 Uninterrupted Rests
84
DG-MG2408 (POCG3358, 3653) For Away, Uninterrupted Rests, Corona DG-C25G00032 For Away, Uninterrupted Rests, Corona
Fin-WPCS5752 (Fin-15245) Uninterrupted Rests, For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch, Rain Tree Sketch II, Litany
Etc-NSC214 (KTC1103) Les yeux clos, Les yeux clos II, For Away, Litany, Piano Distance, Uninterrupted Rests, Corona, Crossing L-SLC2365 (POCL2347, 3998) Corona, For Away, Uninterrupted Rests
V-SJX7539
Cr-SWS1-2
DG-C25G00032 Piano Distance, For Away, Uninterrupted Rests DG-MG2408 (POCG3358, 3653) For Away, Uninterrupted Rests, Piano Distance V-JVCD1008 (Yuji Takahashi and Toshi Ichiyanagi) 85
Piano Distance, Uninterrupted Rests
Etc-NSC214 (KTC1103) Rain Tree Sketch, Les yeux clos, Les yeux clos II, For Away, Litany, Piano Distance, Uninterrupted Rests, Crossing L-SLC2365 (POCL2347, 3998) For Away, Piano Distance, Uninterrupted Rests
Etc-NSC214 (KTC1103) Rain Tree Sketch, Les yeux clos, Les yeux clos II, For Away, Litany, Piano Distance, Uninterrupted Rests, Corona
Fon-FONC5043 (FOCD3202) Uninterrupted Rests, Piano Distance, Rain Tree Sketch, Les yeux clos, Lento in due movimenti Fon-FOCD3109 Litany, Uninterrupted Rests, Piano Distance, Les yeux clos, Les yeux clos II, Rain Tree Sketch Fon-FOCD2522 Litany, Uninterrupted Rests, Piano Distance, Les yeux clos, Les yeux clos II, Rain Tree Sketch, Rain Tree Sketch II
Ph-PHCP145 86
Rain Rai n Tree Tree Sketch, Uninterru Uni nterrupted pted Rests, Res ts, Piano Distance, Dist ance, Les yeux yeux clos, clos , Les yeux clos II, Litany Lit any
BIS-KKCC2210 (BIS766) Rain Rai n Tree Tree Sketch
MS-MSCD0001 Litany Lita ny,, Uninterrupted Uninterrupted Rests, Rest s, Rain Ra in Tree Tree Sketch, Rain Tree Sketch II, II, Piano Pia no Dist Distance, ance, Les yeux yeux clos, clos , Les yeux clos II
To-TCM002 Les yeux clos
BIS-KKCC2229 (BIS805) Litany Lita ny,, Uninterrupted Uninterrupted Rests Res ts,, Piano Distance, Les yeux clos, Les yeux yeux clos II, Rain Tree Tree Sketch, Rain Tree Sketch II
Cam-28CM568 Rain Rai n Tree Tree Sketch, Rain Rai n Tree Sketch II, Uninterrupted Rests, Res ts, Piano Distance, Dista nce, Les yeux clos, Les yeux yeux clos II, Litany
R-RCL8377 Uninterrupted Uninterrupted Rests, Res ts, Piano Distance, Dist ance, Les yeux clos R-BVCC1508 Litany Lita ny,, Uninterrupted Uninterrupted Rests, Rest s, Rain Ra in Tree Tree Sketch, Rain Tree Sketch II, II, Les yeux clos, clos , Les yeux clos clos II R-BVCC8899-8900 Uninterrupted Uninterrupted Rests, Res ts, Piano Distance, Dist ance, Les yeux clos 87
V-V V-V DC1415
EMI-TOCE55237 Romance, Little Piano Pieces for Children: Breeze and Cloud, Lento in due movimenti, movimenti, Uni nterrupted nterrupted Rests, Res ts, Piano Distance, Dist ance, Les yeux clos, Les yeux yeu x clos II, II, Litany Li tany,, Rain Tree Tree Sketch, Rain Tree Sketch Sket ch II
DG-C25G00032 Uninterrupted Uninterrupted Rests, Res ts, Piano Distance, Dist ance, Corona DG-MG2408 (POCG3358, DG-MG2408 (POCG3358, 3653) Uninterrupted Uninterrupted Rests, Res ts, Piano Distance, Dist ance, Corona
Fin-WPCS5752 Uninterrupted Uninterrupted Rests, Res ts, Piano Distance, Dist ance, Les yeux clos, Les yeux clos II, Rain Rai n Tree Sketch, Rain Rai n Tree Tree Sketch II, II, Litany
Etc-NSC214 (KTC1103) Rain Rai n Tree Tree Sketch, Les yeux yeux clos, clos , Les yeux yeux clos II, Piano Distance, Dista nce, Litany, Litany, Uninterrupted Uninterrupted Rests R ests,, Corona, Crossing Cross ing L-SLC2365 (POCL2347, 3998) Corona, Piano Distance, Uninterrupted Rests
88
Fon-FONC5043 (FOCD3202) Uninterrupted Uninterrupted Rests, Res ts, Piano Distance, Dist ance, Rain Tree Tree Sketch, For Away Away,, Lento in d ue movimenti movimenti Fon-FOCD3109 Litany Lita ny,, Uninterrupted Uninterrupted Rests, Rest s, Piano Pia no Distance, Dista nce, For Away, Away, Les yeux ye ux clos II, Rain Tree Sketch Fon-FOCD2522 Litany Lita ny,, Uninterrupted Uninterrupted Rests, Rest s, Piano Pia no Distance, Dista nce, For Away, Away, Les yeux ye ux clos II, Rain Tree Sketch, Rain Ra in Tree Tree Sketch II
Ph-PHCP145 Rain Rai n Tree Tree Sketch, Uni Uni nterrupted nterrupted Res ts, Piano Pia no Distance, For Away Away,, Les yeux clos clos II, II, Litany Lita ny
MS-MSCD0001 Litany Lita ny,, Uninterrupted Uninterrupted Rests, Rest s, Rain Ra in Tree Tree Sketch, Rain Tree Sketch II, Piano Distance, Dist ance, For Away Away,, Les yeux yeu x clos II
BIS-KKCC2229 (BIS805) Uninterrupted Uninterrupted Rests R ests,, Piano Distance, Dista nce, For Away Away,, Les yeux yeu x clos II, II, Rain Rai n Tree Tree Sketch, Rain Tree Sketch II
Cam-28CM568 Rain Rai n Tree Tree Sketch, Rain Rai n Tree Sketch II, Uninterrupted Rests, Res ts, Piano Distance, Dis tance, For Away, Away, Les ye ux clos II, Litany Lita ny
R-RCL8377 Uninterrupted Uninterrupted Rests, Res ts, Piano Pi ano Distance, Dist ance, For Away Away R-BVCC1508 Litany Lita ny,, Uninterrupted Uninterrupted Rests, Rest s, Rain Ra in Tree Tree Sketch, Rain Tree 89
Sketch II, For Away, Piano Distance, Les yeux clos II R-BVCC729 R-BVCC8899-8900 Uninterrupted Rests, Piano Distance, For Away
EMI-TOCE55237 Romance, Little Piano Pieces for Children: Breeze and Cloud, Lento in due movimenti, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos II, Litany, Rain Tree Sketch, Rain Tree Sketch II
Fin-WPCS5752 Uninterrupted Rests, Piano Distance, For Away, Les yeux clos II, Rain Tree Sketch, Rain Tree Sketch II, Litany
Etc-NSC214 (KTC1103) Rain Tree Sketch, For Away, Les yeux clos II, Piano Distance, Litany, Uninterrupted Rests, Corona, Crossing
Fon-FONC5043 (FOCD3202) Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Lento in due movimenti Fon-FOCD3109 Litany, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Fon-FOCD2522 90
Litany, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch II
Ph-PHCP145 Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Litany
BIS-KKCC2210 (BIS766) For Away
MS-MSCD0001 Litany, Uninterrupted Rests, Rain Tree Sketch II, Piano Distance, For Away, Les yeux clos, Les yeux clos II
BIS-KKCC2229 (BIS805) Litany, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch II
Cam-28CM568 Rain Tree Sketch II, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Litany
PRP-KKCC2210
KO-7450 Rain Tree Sketch II R-BVCC1508 Litany, Uninterrupted Rests, Rain Tree Sketch II, For Away, Les 91
yeux clos, Les yeux clos II
EMI-TOCE55237 Romance, Little Piano Pieces for Children: Breeze and Cloud, Lento in due movimenti, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Litany, Rain Tree Sketch II
Fin-WPCS5752 Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch II, Litany
Etc-NSC214 (KTC1103) For Away, Les yeux clos, Les yeux clos II, Piano Distance, Litany, Uninterrupted Rests, Corona, Crossing
Fon-FONC5043 (FOCD3202) Rain Tree Sketch, For Away, Piano Distance, Uninterrupted Rests, Lento in due movimenti Fon-FOCD3109 Litany, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Rain Tree Sketch Fon-FOCD2522 Les yeux clos, Litany, Uninterrupted Rests, Piano Distance, For Away, Rain Tree Sketch, Rain Tree Sketch II
Ph-PHCP145 92
Litany, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Rain Tree Sketch
BIS-KKCC2229 Litany, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Rain Tree Sketch, Rain Tree Sketch II
Cam-28CM568 Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Rain Tree Sketch, Rain Tree Sketch II, Litany
MS-MSCD0001 Litany, Uninterrupted Rests, Rain Tree Sketch, Rain Tree Sketch II, Piano Distance, For Away, Les yeux clos
R-BVCC1508 Litany, Uninterrupted Rests, Piano Distance, Rain Tree Sketch, Rain Tree Sketch II, For Away, Les yeux clos R-BVCC725 R-09026-68189-2
EMI-TOCE55237 Romance, Little Piano Pieces for Children: Breeze and Cloud, Lento in due movimenti, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Litany, Rain Tree Sketch, Rain Tree Sketch II
Fon-FOCD3451
93
Fin-WPCS5752 Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Rain Tree Sketch, Rain Tree Sketch II, Litany
Etc-NSC214 (KTC1103) Rain Tree Sketch, For Away, Les yeux clos, Piano Distance, Litany, Uninterrupted Rests, Corona, Crossing
Fon-FOCD3109 Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch Fon-FOCD2522 Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch, Rain Tree Sketch II
Ph-PHCP1823 Uninterrupted Rests Ph-PHCP145 Uninterrupted Rests, Rain Tree Sketch, Piano Distance, For Away, Les yeux clos, Les yeux clos II
BIS-KKCC2229 Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch, Rain Tree Sketch II
94
Cam-28CM568 Uninterrupted Rests, Rain Tree Sketch, Rain Tree Sketch II, Piano Distance, For Away, Les yeux clos, Les yeux clos II
MS-MSCD0001 Uninterrupted Rests, Rain Tree Sketch, Rain Tree Sketch II, Piano Distance, For Away, Les yeux clos, Les yeux clos II
R-BVCC1508 Uninterrupted Rests, Rain Tree Sketch, Rain Tree Sketch II, Piano Distance, For Away, Les yeux clos, Les yeux clos II
Fin-WPCS5752 Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch, Rain Tree Sketch II
Etc-NSC214 (KTC1103) Uninterrupted Rests, Les yeux clos, Les yeux clos II, For Away, Piano Distance, Rain Tree Sketch, Corona, Crossing
EMI-TOCE55237 Romance, Little Piano Pieces for Children: Breeze and Cloud, Lento in due movimenti, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch, Rain Tree Sketch II
Fon-FOCD2522 95
Rain Tree Sketch, Litany, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II
BIS-KKCC2229 Rain Tree Sketch, Litany, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II
Cam-28CM568 Rain Tree Sketch, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Litany,
MS-MSCD0001 Rain Tree Sketch II, Litany, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II
R-BVCC1508 Rain Tree Sketch, Litany, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II KO-7450 Rain Tree Sketch
EMI-TOCE55237 Romance, Little Piano Pieces for Children: Breeze and Cloud, Lento in due movimenti, Uninterrupted Rests, Piano Distance, For Away, Les yeux clos, Les yeux clos II, Litany, Rain Tree Sketch
Fin-WPCS5752 Rain Tree Sketch, Uninterrupted Rests , Piano Distance, For Away, Les yeux clos, Les yeux clos II, Litany 96
Born on October 8th in Tokyo Moved to China Returned to Japan Entered Fujimae Elementary School (April) Father, Takeo, died Entered Keika High School Worked at military base (April) Returned to Tokyo (October) Began music self-study Request to study with Kishio Hirai turned down Became Kiyose’s disciple Joined Shin Sakkyokuka Koukai Premiere of Lento Due Movimenti (début piece) by Haruko Fujita at Yomiuri Hall (December) Organized Jikken-kōbō with several other artists and musicians Wrote Ballet music, Joi de Vivre ; premiered in November
97
Wrote At the Circus and Uninterrupted Rests I Premiere performance of Uninterrupted Rests I by Takahiro Sonoda at Ichigatani Girls’ High School auditorium (August)
Wrote Ginga Tetsudou no Tabi (ballet music) Tuberculosis worsened and was hospitalized Released from the hospital Married Asaka Wakayama (June)
Wrote Concerto de chamber Concerto de chambre premiered at Yamaha Hall (July)
premiered at Yamaha Hall (February) Static Relief Requiem for Strings premiered at Hibiya Hall by Tokyo
Symphony Le son calligraphié I won First Prize at Karuizawa
Contemporary Music Festival by the Twentieth Century Music Institute Won French Ambassador prize with the same piece (August) Solitude sonore, composed as an entry piece for the Art
Festival by NHK, won the Incentive Prize. Performance was broadcast Tableau Noir won Prix Italia at Broadcasting Competition
Joined the Twentieth Century Music Institute. (January) Organized Sakkyokuka Sh ūdan [Composers Group] Requiem for Strings won German Ambassador’s Prize in the
First Tokyo Contemporary Music Festival Ring won German Ambassador’s Prize at the Fourth
Contemporary Music Festival in Osaka 98
Premiere of Piano Distance (April) Daughter, Miki, born ( December) Won Music Award in the 16 th Mainichi Film Music Competition with Mozu [The Shrikes] and Furyou Shōnen [Bad Boys] Held Graphic Score Exhibition in Tokyo with Y ū ji Takahashi, Toshirō Mayuzumi, and Toshi Ichiyanagi Received Blue Ribbon Prize for film music Film music Seppuku and Otoshiana won Music Award in the 17 th Mainichi Cinema Competition. Coral Island won 5th place in the International Rostrum of
Composers held in Paris (June) Invited, along with John Cage, to the Festival of Art at Hawaii East West Center Textures received the Prize for Excellence at the International
Rostrum of Composers held in Paris Organized the contemporary art festival with Toshi Ichiyanagi Orchestral Space held at Nissei Theater in Tokyo Seiji Ozawa and Y ū ji Takahashi among the participants “Music of Tōru Takemitsu,” in four LP records by Japan Victor Co., received Record Award and Record Academy Award (November) Dorian Horizon p remiered in San Francisco by San Francisco
Musica Viva conducted by Aaron Copland Received Music Awards for Tanin no Kao, Akogare and Ki no Kawa in the 21 st Mainichi Cinema Competition Completed November Steps (August) November Steps premiered by New York Philharmonic
Orchestra, conducted by Seiji Ozawa (November) 99
Green won 4th p rize of the International Rostrum of Composers November Steps premiered in Japan during the Orchestral
Space ’68 music festival (June) Invited to Canberra, Australia by Musica Viva for the concert tour with the NHK String Quartet Dorian Horizon, Coral Island, Ast erism and others performed
by Toronto Symphony Orchestra for two weeks, with Takemitsu present Asterism premiered in Toronto conducted by Seiji Ozawa
Became the music director of Steel Pavilion for Expo ’70 held in Osaka Took on many projects related to the Expo including the Space Theater Produced “Music Today,” Contemporary Music Festival at the Steel Pavilion, Expo, ’70 Organized “Persona Series” to bring attention to new performers, and held Y ū ji Takahashi piano recital as its first event, which drew much attention Asterism’s San Francisco performance conducted by Ozawa Cassiopeia ’s premiere in Chicago, conducted by Ozawa
“Music of Tōru Takemitsu” concerts held in Paris Oto Chinmoku to Hakarieru Hodoni [Sound, Measuring with Silence] published by Shinchō Sha
Invited to the United States for Encounters Contemporary Music Series “Music of T ōru Takemitsu” exhibition Won Music Awards in the 26 th Mainichi Cinema Competition Organized “tranSonic” group with six other composers
100
Visited Bali and heard gamelan music “Music of Tōru Takemitsu” exhibition held in London For Away and Piano Distance premiered in London (May)
Organized and prod uced “Music Today,” a contemporary music festival Invited performers and composers from overseas for “Music Today” Won Music Award in the 28 th Mainichi Cinema Competition (February) Tōru Takemitsu Festival held at Nissei Theater in Tokyo (November) Became visiting professor at Yale University (January) Was the featured composer at ‘Meet the Modern Composer ’ series by Brooklyn Philharmonic, directed by Lukas Foss (March) Won Music Award in the 29 th Mainichi Cinema Competition (February). Became the first person to win 8 times in this competition Awarded the Otaka Prize (the top excellence of orchestra works) with Quatrain Invited by the International Friendship of the People’s Republic to tour in China for two weeks as a member of Music Delegation Premiere of revised version of Arc conducted by Pierre Boulez in New York (January) Premiere of A Flock Descends into the Pentagonal Garden in San Francisco (November) “Music of Tōru Takemitsu” concerts in Buffalo, New York, by Center of the Creative and Performing Arts 101
Premiere of Waterways at the 5th “Music Today” concert (May) Traveled to France to serve as a member of the jury at the 6th Rencontres Internationales d’Art Contemporain (June) Selected to become a member of jury at the Competition for Excellence in the Performance of American Music held in Washington, D.C. (September) Became the music director for “Japanese Contemporary Music and Traditional Music” at the “Ma” exhibition of Festival d’Automne in France (October) Takemitsu Festival held at the New York Beacon Theater (December) Won the Music Award in the 33 rd Mainichi Cinema Competition (February) Film Music Ai no Bourei and Moeru Aki received Music Award of the 2nd Japanese Academy Award. Selected an honorary member of Academie der Kunste DDR Death of Shūzo Takiguchui, Takemitsu’s spiritual father Les yeux clos dedicated in memory of Takiguchi (July), and
premiered by Aki Takahashi (September) “Evening of Music of Tō ru Takemitsu” was held by CBC (Canadian Broadcasting Corporation) in Vancouver (March) Awarded the Nihon Geijutsuin Shō Awarded the Otaka Prize for Far Calls Coming, Far. Premiere performance of A Way A Lone at Carnegie Hall in New York Became a regent lecturer for the University of California at San Diego (February) Received Mobil Music Award 102
Premiere of Rain Coming in London Premiere of Star-Isle at the 100 th Anniversary Ceremony of Waseda University in Tokyo Premiere of Rain Tree Sketch by Kazuoki Fujii at Tokyo Cultural Center Premiere of Rain Spell at the First Japanese Contemporary Composer series, “Music of Tōru Takemitsu” (January) Premiere of To the Edge of Dream (March) Guest composer at the New Music Concerts in Toronto. Lectured at Harvard Uni versity, Yale University, Boston University and others Mother, Reiko, died (August) Premiere of Rocking Mirror Daybreak at Carnegie Hall Selected as a member of American Academy and Institute of Arts and Letters (March) Premiere of Orion and Pleiades “Composer’s Exhibition—Tōru Takemitsu” was held by Suntory Foundation Attended “France-Japan Music Festival” Premiere of Vers, 1’arc-en-ciel, Palma Premiere of Riverrun in Los Angeles (January) Awarded the Asahi Prize (January) “Music of Tōru Takemitsu” concerts were held in Banff, Canada (February) Awarded Ordre des Arts et des Lettres by French Government 103
Premiere of Dream/Window conducted conducted by Seiji Ozawa in Kyoto (September) Became an honorar honorary y member of the t he American Institute of Arts Arts and Letters Selected honorary honorary member memb er of the Academie Academ ie des Beaux Arts in France (February) Received the M usic Award Award of Japa J apan n Academy Academ y Award Award “Works “Works of Tōru Takemit Takemitsu, su, Special Concer C oncerts” ts” held in Denmark Denmark Premiere of Rain Washing hington, ton, D.C. (June) Rai n Dreami Dreaming ng i n Was Featured composer at a t Tanglewood Tanglewood Festival of Contemporary C ontemporary Music (August) “The Takemit Takemitsu su Event” Event” held in London “Thirteen Steps Ste ps Around Around Tōru Takemitsu” broadcast by BBC Awarded Awarded Los Angeles Film Critics Award for the music for fo r Ran at er Dreaming i n Indianapolis Premiere of I Hear the Water Indianapolis
Invited to Glasgow Glas gow,, England, England, as the featured composer at “Musica Nova” Festival Festival Invited by b y the the International nternat ional Society Societ y of Contemporary Contempora ry Music Musi c to serve serve as a jur j ury y member for the Composition Competition held held in Hong Kong Invited to Dallas , Texas, by Southern Methodist Met hodist University, University, Voices Voices of Change Change (April) Became the t he artistic director of Japan Society S ociety Auditorium Concerts at the first New Ne w York York Internati International onal Art Festival Received the Kyoto K yoto Music Musi c Award, Award, Grand Prize Premiere of Les yeux clos II by Peter Serkin S erkin in i n New Yor York k (November) 104 10 4
i n memory of the sculptor s culptor,, Isamu Isam u Noguchi, Itinerant, composed in premiered by Paula Robinson Robi nson in New York York (February) Received the Japan Culture Design Conference-International Culture Design Award Award (O ctober) Received the Grand Grand Music Mus ic Award Award of the First Hida Hi da Furukawa Furukawa International nternat ional Music M usic Festival (October) (October) Invited by the Donald Keen Center and the Fritz Reiner Center for Contemporary Music, Musi c, Columbia Columb ia University to give lectures and att attend end concerts concerts held held in his hono honorr. P remiere of Les yeux clos II by Peter Serkin at this occasion (November) Anniversary ry of the Chicago C hicago Visions , commissioned for the 100 th Anniversa Symphony, Symphony, premiered by the Chicago Symphony Orchestra, Orchestra , conducted by Daniel Barenboim (March) Received Music Musi c Award Award of the Japan Ja pan Film Music Musi c Academy Academ y Award Award Invited to Stockholm as the featured composer at the Stockholm New Music Festival (May) Awarded Awarded the International International Maurice M aurice Ravel Prize Prize (May) (Ma y) Awarded Awarded an honora honorary ry Doctor Doctor of Music Mus ic degree degree from Durham University (July) Invited to t o Festival Festi val d’Avig d’Avignon non in France as the featured guest composer (July) Wha t You You Call Tim e, Premiere of From Me Flows What th commissioned commis sioned for for the 100 anniversary anniversary of Carnegie Hall (July) (J uly)
Takemitsu’s akemit su’s 60th birthday celebration concerts concerts held at a t San Sa n Francisco Conservatory, Conservatory, Queen Elizabeth Eliza beth Hall Hal l in London, and Suntory Hall in Tokyo Tokyo (October-December) (October-De cember) Awarded Awarded the Tokyo Cultural Honor Ho nor Award Award (January) Received the Mainichi Ma inichi Art Prize Received the Suntory Music Prize (Ma rch) rch) 105 10 5
The Suntory Prize celebration celebrati on concert, “Music of Tor Toru u Takemitsu” akemit su” held in Tokyo (August) (August) Received UNESCO/IMC UNESCO/IMC Music Musi c Award Award (October) (O ctober) Traveled to Seattle, Sea ttle, Washing as hington, ton, to att attend end the music festival festi val as a featured composer (April) Invited to t o Vancouver Vancouver Music Festival Fest ival Premiere of Rain II—in Memory of Olivier Rai n Tree Tree Sketch II—in Messiaen—by Messia en—by Alan Ala n Neveu in Fran France ce Invited to Dallas , Texas, by the Voices of Change (April) Featured at music mus ic festivals in Engla England nd (June), (June), Germany (September), and Austria (November) Received the Japan Ja pan Foundation Award Award (October) ( October) The CD of A Way Way A Lone performed by Tokyo Quartet was nominated for the Grammy Award Received the Graweme Grawemeyer yer Award Award for Fantasm Fa ntasma/Cantos a/Cantos Became an a n honorary honorary member memb er of Royal Academy of Music Musi c Awarded Awarded NHK (Nippon (Nippon Hōs ō Kyoukai) Kyo ukai) Culture C ulture Award Award Became an honorary honorary member memb er of ACL (Asian (As ian Composers League) Lincoln Center Chamber Chamb er Society held ‘Tōru Takemitsu Takemitsu 65 6 5th Birthday concert’ Nicolet’s 70 th birthday, bi rthday, Air I, I, composed for flutist Aurele Nicolet’s premiered in Switzerland Swit zerland by Yasukazu Yasukazu Uemura U emura (January (Ja nuary 29 th) Received Glenn Gould Prize Priz e (February) Died from cance cance r (February 20th)
106 10 6
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Ohtake, Noriko. Creative Sources for the Music of T ō ru Takemitsu . Aldershot, England: Scolar Press, 1993. Rands, Bernard. “Two Views of Takemitsu: ‘I sing only for myself.’” Musical Times 128 (September 1987): 477-480. Reynolds, R. and T. Takemitsu. “Roger Reynolds and T ōru Takemitsu: A Conversation.” Music Quarterly 80/1 (Spring 1996): 61-76. Saito, Shinji and Maki Takemitsu, eds. Takemitsu T ō ru no Sekai [The World of Tōru Takemitsu], Tokyo: Shūei Sha, 1997. Tachibana, Takashi. “Takemitsu T ōru: Ongaku Souzou eno Tabi ,” [Tōru Takemitsu: Journey to Creation of Music]. Bungakukai (1992-8). Takemitsu, Tōru. Confronting Silence . Translated by Glenn Glasow and Yoshiko Kakudo. Berkele y: Fallen Leaf Press, 1995. ________. “Contemporary Music in Japan.” Perspectives of New Music 27/2 (Summer 1989): 199-205. ________. trans. Sumi Adachi, “Mirrors.” Asian Art and Culture 8 (Fall 1995): 32- 49. ________. “My Perception of Time in Traditional Japanese Music.” Contemporary Music Review 1/2 (1987): 9-13. Watanabe, Akio. ed. Masterpieces of Contemporary Japanese Music 1 960. Tokyo: Ongakunotomo Sha, 1960. Wen-Chung, Chou. “Asian Concepts and Twentieth-Century Western Composers.” The Musical Quarterly 57/2 (April 1971): 211-229. Williams, Justin. “T ōru Takemitsu: A Gatherer of Sounds, An Analysis of Riverrun.” D.M.A. diss., Manhattan School of Music.
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Chosaku-sh ū. [Writings of T ōru Takemitsu]. 5 vols. Tokyo: Takemitsu T ōru Shinchō Sha, 2000.
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Vol. 4: Oto, Kotoba, Ningen. [Sounds, Words, Men]. Opera wo Tsukuru. [Creating an Opera].
Vol. 5: Yume to Kazu . [Dream and Number]. Uta no Tsubasa. [Wings of Songs]. Kotoba no Tsue. [Cane of Words].
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Editions Salabert: Paris Uninterrupted Rests (1962) Piano Distance (1962) For Away (1973) Les yeux clos (1979)
Schott Japan Company Ltd: Tokyo Rain Tree Sketch (1982) Les yeux clos II (1990) Litany (1990) Rain Tree Sketch II (1992 )
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