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Gianmario Borio, Luciana Galliano, Musica Che Affronta Il Silenzio. Scritti Su Tōru Takemitsu, Pavia, Pavia University Press, 2

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Gianmario Borio, Luciana Galliano, Musica Che Affronta Il Silenzio. Scritti Su Tōru Takemitsu, Pavia, Pavia University Press, 2 Università degli Studi di Pavia Musica che affronta il silenzio. Scritti su Tōru Takemitsu Music Facing Up to Silence. Writings on Tōru Takemitsu a cura di / edited by Gianmario Borio – Luciana Galliano Questo volume presenta i risultati della giornata di studi su Tǀru Takemitsu, che si è tenuta a Milano il giorno 17 ottobre 2009 nell’ambito del 18° Festival “Milano Musica” 2009 a lui dedicato. Musica che affronta il silenzio : scritti su Tǀru Takemitsu = Music facing up to silence : writings on Tǀru Takemitsu / a cura di Gianmario Borio, Luciana Galliano. – Pavia : Pavia University Press, 2010. – 201 p. ; 24 cm. Volume che presenta i risultati della giornata di studi su Tǀru Takemitsu, tenutasi a Milano il 17 ottobre 2009, nell’ambito del 18° festival “Milano Musica” 2009, a lui dedicato. http://purl.oclc.org/paviauniversitypress/9788896764619 ISBN 9788896764077 (brossura) ISBN 9788896764619 (e-book PDF) 1. Takemitsu, Tǀru - Critica e interpretazione 2. Musica giapponese I. Borio, Gianmario II. Galliano, Luciana 780.92 CDD-21 Musica. Persone © Milano Musica. Associazione per la musica contemporanea 2010 ISBN: 978-88-96764-07-7 Nella sezione “Editoria scientifica” Pavia University Press pubblica esclusivamente testi scientifici valutati e approvati dal Comitato scientifico-editoriale. Texts published by Pavia University Press in the series “Editoria scientifica” have been peer-reviewed prior to acceptance by the Editorial Board. www.paviauniversitypress.it/scientifica. I diritti di traduzione, di memorizzazione elettronica, di riproduzione e di adattamento anche parziale, con qualsiasi mezzo, sono riservati per tutti i paesi. La fotoriproduzione per uso personale è consentita nei limiti e con le modalità previste dalla legislazione vigente. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without the written permission from “Milano Musica. Associazione per la musica contemporanea”. Redazione / Copyediting: Alessandro Bratus In copertina / The cover shows: Akira Kinoshita, Fotografia di Tǀru Takemitsu. Immagine di fondo: Tǀru Takemitsu, Without Title (1961), guache su carta (grafica di Emilio Fioravanti, G & R Associati). Editore / Publisher: Pavia University Press – Edizioni dell’Università degli Studi di Pavia Via Luino, 12 – 27100 Pavia (Italia) – <www.paviauniversitypress.it> Stampato da / Printed by: DigitalAndCopy S.a.s., Segrate (MI) Printed in Italy Sommario Prefazione Luciana Pestalozza..............................................................................................................7 Convergenze tra Occidente e Oriente nella musica del XX secolo. Riflessioni su alcuni nodi cruciali Gianmario Borio .................................................................................................................9 Il progetto estetico e compositivo di Tǀru Takemitsu. La musica e i giardini Luciana Galliano............................................................................................................... 19 Tǀru Takemitsu come mediatore culturale e organizzatore in Giappone Mitsuko Ono ..................................................................................................................... 29 Quanto giapponese è stato Takemitsu? È importante chiederselo? Peter Burt .......................................................................................................................... 43 Natura e arte del silenzio in Tǀru Takemitsu Giangiorgio Pasqualotto.................................................................................................... 51 «Qualcosa di intuitivo»: i rapporti di Tǀru Takemitsu con le avanguardie occidentali Angela Ida De Benedictis ................................................................................................. 59 La musica per film di Takemitsu Roberto Calabretto ............................................................................................................ 77 Contents Foreword Luciana Pestalozza.......................................................................................................... 105 Convergence between West and East in 20th Century Music: Reflections on Some Crucial Aspects Gianmario Borio ............................................................................................................. 107 Tǀru Takemitsu’s Aesthetic and Compositional Approach: Music and Gardens Luciana Galliano............................................................................................................. 117 Tǀru Takemitsu as Cultural Mediator and Organiser in Japan Mitsuko Ono ................................................................................................................... 127 How Japanese Was Takemitsu? And Is It Important to Ask This Question? Peter Burt ........................................................................................................................ 143 Nature and the Art of Silence in Tǀru Takemitsu Giangiorgio Pasqualotto.................................................................................................. 151 ‘Something Intuitive’: Tǀru Takemitsu’s Relationship with the Western Avant-gardes Angela Ida De Benedictis ............................................................................................... 159 Takemitsu’s Film Music Roberto Calabretto .......................................................................................................... 177 Prefazione Alcuni compositori, in tutte le epoche, hanno accolto nella propria creatività elementi ap- partenenti ad altre arti, o scienze o comunque a saperi apparentemente lontani dall’invenzione musicale. Pensando alla nostra epoca, Varèse, Xenakis, Takemitsu, in ambiti molto differenti, senza alcuna parentela, hanno coniugato la ricerca musicale con aspetti distinti dalla musica, creando collegamenti inaspettati e interessantissimi. “Milano Musica”, dedicando negli anni a ciascuno di questi autori uno dei Festival mo- nografici, ha voluto affiancare alle esecuzioni musicali, che rimangono comunque sempre il momento culminante della conoscenza, un convegno che attraverso le sfaccettature delle diverse relazioni, approfondisse le componenti delle personalità di questi compositori. L’elemento base della ricerca di Tru Takemitsu è stato trovare i legami che collegano Oriente e Occidente, due culture, opposte e difficilmente assimilabili. «Questi due mondi, l’Oriente e l’Occidente, talvolta mi circondano con dolcezza, ma più spesso mi lacerano» diceva Takemitsu che ha percorso un cammino unico, profondo e sensibilissimo, per trovare punti d’incontro tra la musica europea e la sua tradizione orientale, fatta non solo di suoni, ma di ambienti e atteggiamenti lontanissimi. In particolare vorrei ricordare il suo fecondo rapporto con la natura che ha ispirato il suo grande ciclo della pioggia e il suo punto d’osservazione dei fenomeni atmosferici e del movimento dell’acqua. Takemitsu è stato anche un grande compositore di colonne sonore per un centinaio di film. Oltre all’originalità che lo contraddistingue, egli possedeva la profonda cono- scenza di tutti gli stili musicali che utilizzava di volta in volta secondo le necessità dram- maturgiche: dal jazz alla musica rock, dal valzer viennese alla musica d’intrattenimento o dall’improvvisazione alla musica leggera. Attraverso le relazioni di studiosi come Gianmario Borio e Luciana Galliano, che hanno curato l’impostazione della Giornata di Studi, Peter Burt, Roberto Calabretto, An- gela Ida De Benedictis, Mitsuko Ono e Giangiorgio Pasqualotto, a tutti i quali va il mio ringraziamento, i caratteri precipui della ricerca di Takemitsu sono emersi limpidamente contribuendo a definire e approfondire la sua personalità. 8 Luciana Pestalozza Un grazie particolare alla Triennale di Milano che ha ospitato la Giornata e all’Università di Pavia, Facoltà di Musicologia, che ne pubblica gli atti, consentendo così una diffusione online tra tutti gli studiosi. Grazie anche alla Fondazione Cariplo per il sostegno alla nostra iniziativa. Un ringraziamento particolare a tutti quelli che hanno col- laborato con impegno alla realizzazione della Giornata di Studi. Luciana Pestalozza Direttore di “Milano Musica” Convergenze tra Occidente e Oriente nella musica del XX secolo. Riflessioni su alcuni nodi cruciali Gianmario Borio Negli ultimi decenni i rapporti tra le culture dell’Oriente e dell’Occidente si sono imposti nuovamente all’attenzione di antropologi, filosofi e storici. L’interesse per tale problematica è connesso ad alcuni fenomeni di ordine sociale e politico: l’estensione capillare dei sistemi di comunicazione, la diffusione dell’economia capitalista su tutto il globo, la crescente mobilità degli individui e la condivisione di idee e stili di vita presso gruppi etnici disparati. L’insieme di questi fattori provoca una serie di questioni: le unificazioni o sintesi parziali di forme cultu- rali e pratiche sociali conducono a un offuscamento delle identità e in certi casi a una crisi dei fondamenti? O stanno invece all’origine di un rafforzamento delle identità, che avrebbe luogo se non altro in funzione difensiva o per istinto di autoconservazione? Oppure pongono le basi di una cultura mondiale che trarrebbe linfa proprio da un pensiero fluido e trasferibile? Lo studio di ciò che è avvenuto in campo musicale nel corso del XX secolo può offrire alcuni spunti per approfondire tali questioni anche se, anziché fornire
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