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Toru Takemitsu - Film Music By Toru Takemitsu 9 (Vinyl, LP)

29.08.2019

Online shopping from a great selection at CDs & Vinyl Store. A spectacular assembly of Takemitsu's finest work for film (selected by him personally before his untimely death). Takemitsu was able to work in a wide variety of styles -- pop arrangements, electronic music, modern choral melodies, his own unique avant-garde and poetic orchestral writing -- and always produced notable and well-crafted composition; possibly the fact that he was largely self 9/ The latter, the most expensive film made in Japan up to its release in is loosely based on Japanese legend and Shakespeare's King Lear. Composer Toru Takemitsu ranks as highly in the echelons of Japanese music as Kurosawa in film with a prolific output of soundtracks alongside major music 5/5(1).

During the post-war U. Armed Forces, but was ill for a long period. Hospitalised and bed-ridden, he took the opportunity to listen to as much Western music as he could on the U. Armed Forces network. While deeply affected by these experiences of Western music, he simultaneously felt a need to distance himself from the traditional music of his native Japan. He explained much later, in a lecture at the New York International Festival of the Arts, that for him Japanese traditional music "always recalled the bitter memories of war".

Despite his almost complete lack of musical training, and taking inspiration from what little Western music he had heard, Takemitsu began to compose in earnest at the age of " I began [writing] music attracted to music itself as one human being. After the war, music was the only thing. Choosing to be in music clarified my identity. InTakemitsu conceived the idea of electronic music technologyor in his own words, to "bring noise into tempered musical tones inside a busy small tube.

I was pleased with this coincidence. In the late s chance brought Takemitsu international attention: his Requiem for string orchestrawritten as an homage to Hayasaka, was heard by Igor Stravinsky in during his visit to Japan. The NHK had organised opportunities for Stravinsky to listen to some of the latest Japanese music; when Takemitsu's work was put on by mistake, Stravinsky insisted on hearing it to the end.

At a press conference later, Stravinsky expressed his admiration for the work, praising its "sincerity" and "passionate" writing. This left a "deep impression" on Takemitsu: he recalled the impact of hearing the work when writing an obituary for Cage, 31 years later. In these works each performer is presented with cards printed with coloured circular patterns which are freely arranged by the performer to create "the score".

Although the immediate influence of Cage's procedures did not last in Takemitsu's music— Coral Islandfor example for soprano and orchestra shows significant departures from indeterminate procedures partly as a result of Takemitsu's renewed interest in the music of Anton Webern —certain similarities between Cage's philosophies and Takemitsu's thought remained. For example, Cage's emphasis on timbres within individual sound-events, and his notion of silence "as plenum rather than vacuum", can be aligned with Takemitsu's interest in ma.

I must express my deep and sincere gratitude to John Cage. The reason for this is that in my own life, in my own development, for a long period I struggled to avoid being "Japanese", to avoid "Japanese" qualities.

It was largely through my contact with John Cage that I came to recognize the value of my own tradition. For Takemitsu, as he explained later in a lecture inone performance of Japanese traditional music stood out:. One day I chanced to see a performance of the Bunraku puppet theater and was very surprised by it. It was in the tone quality, the timbre, of the futazao shamisenthe wide-necked shamisen used in Bunraku, that I first recognized the splendor of traditional Japanese music.

I was very moved by it and I wondered why my attention had never been captured before by this Japanese music. Thereafter, he resolved to study all types of traditional Japanese music, paying special attention to the differences between the two very different musical traditions, in a diligent attempt to "bring forth the sensibilities of Japanese music that had always been within [him]". In conservatoria across the country, even students of traditional instruments were always required to learn the piano.

From the early s, Takemitsu began to make use of traditional Japanese instruments in his music, and even took up playing the biwa —an instrument he used in his score for the film Seppuku Initially, Takemitsu had great difficulty in Toru Takemitsu - Film Music By Toru Takemitsu 9 (Vinyl these instruments from such different musical cultures in one work. The first performance of November Steps was given inunder Seiji Ozawa.

Despite the trials of writing such an ambitious work, Takemitsu maintained "that making the attempt was very worthwhile because what resulted somehow liberated music from a certain stagnation and brought to music something distinctly new and different".

The experience influenced the composer on a largely philosophical and theological level. For those accompanying Takemitsu on the Toru Takemitsu - Film Music By Toru Takemitsu 9 (Vinyl most of whom were French musicianswho " 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 large part of my sensitivity".

A year later, Takemitsu returned to the instrumental combination of shakuhachibiwaand orchestra, in the less well known work Autumn The significance of this work is revealed in its far greater integration of the traditional Japanese instruments into the orchestral discourse; whereas in November Stepsthe two contrasting instrumental ensembles perform largely in alternation, with only a few moments of contact.

Takemitsu expressed this change in attitude:. But now my attitude is getting to be a little different, I think. Now my concern is mostly to find out what there is in common Autumn was written after November Steps. I really wanted to do something which I hadn't done in November Stepsnot to blend the instruments, but to integrate them.

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

Critical examination of the complex instrumental works written during this LP) for the new Toru Takemitsu - Film Music By Toru Takemitsu 9 (Vinyl of "contemporary soloists" reveals the level of his high-profile engagement with the Western avant-garde, in works such as Voice for solo fluteWaves for clarinet, horn, two trombones and bass drumQuatrain for clarinet, violin, cello, piano and orchestra Throughout this apogee of avant-garde work, Takemitsu's musical style seems to have undergone a series of stylistic changes.

Comparison of Green for orchestra, and A Flock Descends into the Pentagonal Garden quickly reveals the seeds of this change. The latter was composed according to a pre-compositional scheme, in which pentatonic modes were superimposed over one central pentatonic scale the so-called "black-key pentatonic" around a central sustained central pitch F-sharpand an approach that is highly indicative of the sort of "pantonal" and modal pitch material seen gradually emerging in his works throughout the s.

These modal forms are largely audible, particularly in the momentary repose toward the end of the work. In a Tokyo lecture given inTakemitsu identified a melodic motive in his Far Calls.

Coming Far! I wanted to plan a tonal "sea". Here the "sea" is E-flat [ Es in German nomenclature]-E-A, a three-note ascending motive consisting of a half step and perfect fourth. In Far Calls ] this is extended upward from A with two major thirds and one minor third Using these patterns I set the "sea of tonality" from which many pantonal chords flow.

Takemitsu's words here highlight his Toru Takemitsu - Film Music By Toru Takemitsu 9 (Vinyl stylistic trends from the late s into the s, which have been described as "an increased use of diatonic material [ Takemitsu wrote in his notes for the score of Rain Coming that " His work for orchestra named Dreamtime was inspired by a visit to Groote Eylandtoff the coast of the Northern Territory of Australiato witness a large gathering of Australian indigenous dancers, Toru Takemitsu - Film Music By Toru Takemitsu 9 (Vinyl, singers and story tellers.

Takemitsu was, for the most part, self-taught, though he did study intermittently with the composer Yasuji Kiyose. He first performed in public in and the following year helped found a new group, the Experimental Workshop.

Igor Stravinsky and Aaron Copland promoted his music, and it began to be performed abroad. Major orchestras also began to commission and perform his compositions, among them what was possibly his best-known work, November Steps He also claimed that the Japanese formal garden inspired the structure of his music, as illustrated by such works as A Flock Descends into the Pentagonal Garden and Tree Line Toru Takemitsu.

Info Print Cite. Submit Feedback. Thank you for your feedback. The Editors of Encyclopaedia Britannica Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree It's a principle that underpins Japanese gardenswith which Takemitsu often compared his music.

Listening to my music can be compared with walking through a garden and experiencing the changes in light, pattern and texture. The idea of a meaningful void is worth keeping in mind when you're listening to music Takemitsu wrote in the last two decades of his life. His pieces are rarely long From Me Flows What You Call Time is among the longest, at around half an hourthey are seldom fast and rarely overtly demonstrative — but they do weird things with time.

Listen to his piano concerto, Riverrun the title comes from Finnegan's Wakeor Quatrain scored for clarinet, cello, violin, piano and orchestra or his violin concerto Far Calls. Coming, Far! There's a lot to get to grips with in his output: as well as the catalogue of concert pieces, there are those film scores start with Kurosawa's Ranas well as music for radio, theatre and television. Takemitsu was a useful — in fact essential — composer. He was and still is an inspiration for the Japanese composers who have come after him, and he has made his musical aesthetic part of wider culture, too.

I'm listening to his Visions for orchestra right now: in its simultaneous sense of scale and intimacy, its heightened but never cloying colours, and its sensuous objectivity, it sounds like music that should be at the heart of orchestral programmes and listeners' imaginations everywhere. Topics Classical music A guide to contemporary classical music.

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View all records by Toru Takemitsu for sale on CDandLP in LP, CD, 12inch, 7inch format. Forum 1; Blog 1; Sell music; toru takemitsu contemporary music of japan JPN - KVX highlights from the original soundtrack of the film ''ran'' Fantasy - FSP - US - All CD Soundtracks composed by TAKEMITSU Toru. Music Box Records is an independent record label company dedicated to film and television sioprovcabradeperfscormarcodenmenssol.co online . View credits, reviews, tracks and shop for the Vinyl release of Film Music By Toru Takemitsu 6 on Discogs. Label: Victor - KVX • Series: 武満徹 映画音楽集 = Film Music By Toru Takemitsu - 6 • Format: Vinyl LP, Promo • Country: Japan • Genre: Electronic, Classical • Style: Modern Classical, Contemporary, Experimental.

Akira Kurosawa’s Ran was the most expensive Japanese film ever made at the time of its release in Toru Takemitsu - who had previously provided the music for Kurosawa’s feature-length Dodes’ka-den - rose to the occasion of soundtracking such a momentous event.

View credits, reviews, tracks and shop for the Vinyl release of Film Music By Toru Takemitsu 1 on Discogs. Label: Victor - KVX • Series: 武満徹 映画音楽集 = Film Music By Toru Takemitsu - 1 • Format: Vinyl LP • Country: Japan • Genre: Classical • Style: Modern Classical, Contemporary. Tōru Takemitsu (武満 徹, Takemitsu Tōru, October 8, – February 20, ; pronounced [takeꜜmitsɯ̥ toːɾɯ]) was a Japanese composer and writer on aesthetics and music sioprovcabradeperfscormarcodenmenssol.coy self-taught, Takemitsu possessed consummate skill in the subtle manipulation of instrumental and orchestral timbre. He is famed for combining elements of oriental and occidental philosophy to create.

Below is a sortable list of compositions by Toru sioprovcabradeperfscormarcodenmenssol.co works are categorized by genre, date of composition, titles and scoring. Scores by Takemitsu are published by Ongaku No Tomo Sha, C.F. Peters, Éditions Salabert, Schott Japan, and Universal Edition.

View credits, reviews, tracks and shop for the Vinyl release of Film Music By Toru Takemitsu 6 on Discogs. Label: Victor - KVX • Series: 武満徹 映画音楽集 = Film Music By Toru Takemitsu - 6 • Format: Vinyl LP • Country: Japan • Genre: Electronic, Classical • Style: Modern Classical, Contemporary, Experimental. In terms of music, the disc starts off with four suites that, while they were released on Volume 10 of the original LP release of Film Music By Toru Takemitsu, are new to CD. The first of these is Beast Alley (). The soundtrack to this film is notably dated, but intentionally so as it's going for a 's-like vibe from the decade before.

View credits, reviews, tracks and shop for the Vinyl release of Film Music By Toru Takemitsu 9 on Discogs. Label: Victor - KVX • Series: 武満徹 映画音楽集 = Film Music By Toru Takemitsu - 9 • Format: Vinyl LP • Country: Japan • Genre: Electronic, Classical • Style: Modern Classical, Contemporary, Experimental5/5(3).


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8 Replies to “ Toru Takemitsu - Film Music By Toru Takemitsu 9 (Vinyl, LP) ”

  • Feb 11,  · I can remember the first time I listened to Japanese composer Toru sioprovcabradeperfscormarcodenmenssol.co was his piece Archipelago S, written for a large ensemble, and it was back in in sioprovcabradeperfscormarcodenmenssol.co was one of the.
  • Ran is the last epic of legendary director Akira Kurosawa, and it was soundtracked by Toru Takemitsu, one of Japan’s finest 20th century sioprovcabradeperfscormarcodenmenssol.cotsu engaged with the influence of Mahler on this score, but also brought in plenty of his own bold approaches to composition. This double LP release on Silva Screen is the first time this full version of the score has appeared on vinyl.
  • View credits, reviews, tracks and shop for the Vinyl release of Film Music By Toru Takemitsu 6 on Discogs. Label: Victor - KVX • Series: 武満徹 映画音楽集 = Film Music By Toru Takemitsu - 6 • Format: Vinyl LP • Country: Japan • Genre: Electronic, Classical • Style: Modern Classical, Contemporary, Experimental.
  • Directed by Charlotte Zwerin. With Tôru Takemitsu, Hiroshi Teshigahara, Masaki Kobayashi, Masahiro Shinoda. A documentary of the Japanese film composer Toru Takemitsu, featuring interviews and clips from films he scored.
  • The latter, the most expensive film made in Japan up to its release in is loosely based on Japanese legend and Shakespeare's King Lear. Composer Toru Takemitsu ranks as highly in the echelons of Japanese music as Kurosawa in film with a prolific output of soundtracks alongside major music 5/5(1).
  • Takemitsu: Chamber Music Toru Takemitsu. out of 5 stars Audio CD. $ una gran obra maestra de toru takemitsu, Grandiose Musik zu einem grandiosen Film, gewürdigt mit einer schönen Vinyl Gatfold-Ausgabe in Topqualität! Eine wahre Freude für Aug und Ohr!/5(15).
  • In terms of music, the disc starts off with four suites that, while they were released on Volume 10 of the original LP release of Film Music By Toru Takemitsu, are new to CD. The first of these is Beast Alley (). The soundtrack to this film is notably dated, but intentionally so as it's going for a 's-like vibe from the decade before.

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