Toru Takemitsu” Held in Tokyo (August)
Total Page：16
File Type：pdf, Size：1020Kb
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 T#ru Takemitsu: The Roots of His Creation Haruyo Sakamoto Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLOR IDA STATE UN IV ERSITY SCHOOL OF MUSIC TRU TAKEMITSU: THE ROOTS OF HIS CREATION By HARUYO SAKAMOTO A Treatise 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 on December 10, 2002. __________________________________ Leonard Mastrogiacomo Professor Directing Treatise __________________________________ Victoria McArthur Outside Committee Member __________________________________ Carolyn Bridger Committee Member __________________________________ James Streem Committee Member Approved: _______________________________________________________________________ Seth Beckman, Assistant Dean, School of Music The Office of Graduate Studies has verified and approved the above-named committee members. In memory of my mother whose love and support made it possible for me to complete my studies With all my love and appreciation iii ACKNOWLEDGEMENTS 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 Bridger, 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 TABLE OF CONTENTS Page LIST OF EXAMPLES ................................................................................................... vi ABSTRACT...................................................................................................................viii Chapter I. BACKGROUND: CHILDHOOD 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 W ORKS...................................................................................70 B. DISCOGRAPHY OF PIANO WORKS ..............................................79 C. CHRONOLOGY OF EV ENTS ............................................................97 SELECTED BIBLIOGRAPHY.................................................................................107 BIOGRAPHICAL SKETCH......................................................................................114 v LIST OF EXAMPLES 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 ABSTRACT Tru 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 Distance, For Away, Les yeux clos, and Rain Tree Sketch. 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 CHAPTER ONE BACKGROUND: CHILDHOOD AND YOUTH 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 Tru Takemitsu was born on October 8, 1930, in Tokyo, Japan. At the time of his birth, his father was working