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

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Yoshiko Kakudo and Glen Glasgow, Berkeley,— When spelt in German Es-E-Athe motive can be seen as a musical “transliteration” of the word “sea”.

Shall begin from the end November Steps for biwashakuhachi and orchestra Asterism for piano and orchestra Eucalypts I for flute, oboe, harp and string orchestra Autumn for biwashakuhachi and orchestra Quatrain for clarinet, violin, cello, piano and orchestra Far calls. A clearly articulated four-note motif is then played twice in the high register, the second echoing the first.

Throughout his career, he had created exceptionally original pieces that featured the flute and alto flute, such as Toward the Sea I, II, III, for various combinations of alto flute, strings, harp and guitarVoice for Solo FlutistI Hear the Water Dreaming for flute and orchestra, takemirsu Mask He was also the first Japanese composer fully recognized in the west, and remained the guiding light for the younger generations of Japanese composers.

When, from the early s, [2] Takemitsu began to “consciously apprehend” the sounds of traditional Japanese music, he found that his creative process, zir logic of my compositional thought[,] was torn apart”, and nevertheless, “hogaku [traditional Japanese music Masahiro Shinoda Dodesukadendir. In other projects Wikimedia Commons. The Sea in Spring.

Hugh de Ferranti, Harwood,3—4. Takemitsu wrote in his notes for the score of Rain Coming that ” Joining the choir of great musicians to leave us inNicolet passed away just after his 90th birthday at the beginning of the year.

Takemitsu: Air, a song by Toru Takemitsu, Emmanuel Pahud on Spotify

Nagisa Oshima Randir. In these passages the overall sequence of events is, however, controlled by the conductor, who is instructed about the approximate durations for each section, and who indicates to the orchestra when to move from one section to next.


For Takemitsu, as he explained later in a lecture inone performance of Japanese traditional music stood out:. The opening is repeated with descending whole-tone scales, and again the motif is repeated.

The music becomes more lively with use of flutter-tongue technique and insistent marcato accents descending through two octaves. His Requiem for string orchestra attracted international attention, led to several commissions from across the world and established his reputation as one of the leading 20th-century Japanese composers.

Toru Takemitsu – Air For Flute

I want a more active relationship to the present. I wanted to plan a tonal “sea”. I really wanted to do something which I hadn’t done in November Stepsnot to blend the instruments, but to integrate them.

ByAlr reputation as a leading member of avant-garde community was well established, and during his involvement with Expo ’70 in Osakahe was at last able to meet more of his Western colleagues, including Karlheinz Stockhausen.

Given the enthusiasm for the exotic and the Orient in these [Debussy and Messiaen] and other French composers, it is understandable that Takemitsu should have been attracted to the expressive and formal qualities of music in which flexibility of rhythm and richness of harmony count for so much. Music in the takemitdu of Ai Hiroshi Teshigahara Harakiridir. Japanese Guitar Music, Vol.

Toru Takemitsu

The formal garden of the kaiyu-shiki interested him in particular. In Quotation of Dreamdirect quotations from Debussy’s La Mer and Takemitsu’s earlier works relating takemirsu the sea are incorporated into the musical flow “stylistic jolts were not intended”depicting the landscape outside the Japanese garden of his own music.

InTakemitsu received a commission from the National Theatre of Japan to write a work for the gagaku ensemble of the Ajr Household; this was fulfilled inwhen he completed Shuteiga “In an Autumn Garden”, although he later incorporated the work, as the fourth movement, into his minute-long “In an Autumn Garden—Complete Version”. Archived copy as title link. Then the motif is treated in an all-ascending order. Unlike in his other flute works, Takemitsu uses few unusual techniques in this piece, other than flutter-tonguing and a few “bent” or slow glissando notes.


In conservatoria across the country, even students of traditional instruments were always required to learn the piano. The opening is repeated, now with descending whole-tone scales, and the motif is presented again, but opened up through arpeggiation. I try to extend his feelings with my music.

The motif is again repeated, this time emphatically. This page was last edited on 12 Decemberat An extended lyricism pervades the work until we hear the final statement of the motif repeated boldly twice at the end, each at an equal dynamic level. Composed inAir for flute solo, lasting slightly over six minutes, is Takemitsu ‘s last completed tzkemitsu.

The mood soon becomes more introverted, with little sighing figures and an occasional flighty gesture. Now my concern is mostly to find out what there is in common Debussy and currents of ideas”. He composed several hundred independent works of music, scored more than ninety films and published twenty books. Masaki Kobayashi Assassinationdir. For Takemitsu, Debussy’s “greatest contribution was his unique orchestration which emphasizes colour, light and shadow Takemitsu commented, “There is no doubt For Takemitsu, however, by now quite familiar with his own native musical tradition, there was a relationship between “the sounds of the gamelan, the tone of the kapachithe unique scales and rhythms by which they are formed, and Japanese traditional music which had shaped such a takemitsuu part of my sensitivity”.

Air – Solo flute

The significance of this work is revealed in ar far greater integration of the traditional Japanese instruments into the orchestral discourse; whereas in November Stepsthe two contrasting instrumental ensembles perform largely in alternation, with only a few moments of contact.

The old and new exist within me with equal weight. New York, February 21, Here the “sea” is E-flat [ Es in German nomenclature]-E-A, a three-note ascending motive consisting of takkemitsu half step and perfect fourth.

Akira Kurosawa Black Raindir. Several recurring musical motives can be heard in Takemitsu’s works.