Toru Takemitsu (1930–1996) was an influential Japanese composer and writer on aesthetics and music theory. His music melds traditional Eastern and modern Western elements, displaying a uniquely personal style that earned him recognition both in Japan and around the world.
Early life
Toru Takemitsu was born in Tokyo, Japan, on October 8, 1930. His early childhood was marred by the turmoil and devastation of World War II. His father was a businessman with a love for music, especially traditional Japanese music, and he often played the samisen (a three-stringed Japanese lute) at home. Takemitsu was largely self-taught in music, having received no formal training in his early years. His first encounters with Western classical music were during the American occupation of Japan post-WWII, through radio broadcasts from the armed forces network.
Career
Despite his lack of formal training, Takemitsu managed to write a piece titled “Lento in Due Movimenti” in 1950, which caught the attention of the Japanese composer Yasuji Kiyose. This introduction to the local music community helped launch Takemitsu’s career.
In the early 1950s, Takemitsu co-founded the Experimental Workshop (Jikken Kōbō) group, a collective that sought to explore multimedia and cross-genre art forms. They focused on collaborative, experimental work that brought together visual art, music, and performance, greatly influenced by the contemporary European avant-garde movement.
Takemitsu’s breakthrough on the international scene came in 1958 when his Requiem for string orchestra was discovered by Igor Stravinsky during his tour of Japan. Stravinsky was deeply impressed, calling the work “beautifully orchestrated… of a profound, felt, musical necessity.” This endorsement significantly boosted Takemitsu’s profile worldwide.
Throughout the 1960s and 1970s, Takemitsu continued to explore various avant-garde techniques, such as musique concrète, electronic music, and aleatoric music, while also integrating elements of traditional Japanese music. Works like “November Steps” (1967) and “Eclipse” (1966) showcase his unique blend of East and West.
Simultaneously, Takemitsu became a prolific composer for film. He wrote over a hundred scores, most notably for the films of directors Akira Kurosawa and Masaki Kobayashi. His film music career began with “Jose Torres” (1959), and it allowed him to exhibit his remarkable versatility as a composer. The wide exposure of his film music earned him a substantial audience in Japan.
Later life and death
In the later stages of his career, Takemitsu began to express a renewed interest in traditional tonality and Romanticism, evident in pieces like “A Flock Descends into the Pentagonal Garden” (1977) and “I Hear the Water Dreaming” (1987).
Apart from composing, Takemitsu was a prominent writer on aesthetics and music theory. He served as a visiting professor at various institutions, including Yale University and the University of California, San Diego, sharing his understanding and love for both Western and Eastern music.
Takemitsu passed away on February 20, 1996, from pneumonia. His last work, “Nami no Bon” (1997), was completed posthumously by his close student Ichiro Nodaira.
Legacy
Takemitsu’s contribution to music was enormous, and he left an indelible mark on the world of composition. His work has been performed by major orchestras and ensembles worldwide and is widely recognized for bridging the gap between Eastern and Western music. He’s admired for his originality, depth, and exquisite command of color and orchestration.
Moreover, Takemitsu was instrumental in bringing about a renewed interest in Japanese music, both traditional and contemporary, in the West. His emphasis on the symbiosis between nature and music, a recurring theme in his work, has had a profound impact on how music is understood and appreciated.
In conclusion, Toru Takemitsu was not only one of Japan’s foremost composers but also a significant figure in the global musical landscape. His legacy continues to inspire and influence musicians and composers worldwide. His blend of Eastern and Western influences helped shape the sound of the 20th century and beyond.
Tōru Takemitsu (1930 – 1996)
Toru Takemitsu (1930–1996) was an influential Japanese composer and writer on aesthetics and music theory. His music melds traditional Eastern and modern Western elements, displaying a uniquely personal style that earned him recognition both in Japan and around the world.
Early life
Toru Takemitsu was born in Tokyo, Japan, on October 8, 1930. His early childhood was marred by the turmoil and devastation of World War II. His father was a businessman with a love for music, especially traditional Japanese music, and he often played the samisen (a three-stringed Japanese lute) at home. Takemitsu was largely self-taught in music, having received no formal training in his early years. His first encounters with Western classical music were during the American occupation of Japan post-WWII, through radio broadcasts from the armed forces network.
Career
Despite his lack of formal training, Takemitsu managed to write a piece titled “Lento in Due Movimenti” in 1950, which caught the attention of the Japanese composer Yasuji Kiyose. This introduction to the local music community helped launch Takemitsu’s career.
In the early 1950s, Takemitsu co-founded the Experimental Workshop (Jikken Kōbō) group, a collective that sought to explore multimedia and cross-genre art forms. They focused on collaborative, experimental work that brought together visual art, music, and performance, greatly influenced by the contemporary European avant-garde movement.
Takemitsu’s breakthrough on the international scene came in 1958 when his Requiem for string orchestra was discovered by Igor Stravinsky during his tour of Japan. Stravinsky was deeply impressed, calling the work “beautifully orchestrated… of a profound, felt, musical necessity.” This endorsement significantly boosted Takemitsu’s profile worldwide.
Throughout the 1960s and 1970s, Takemitsu continued to explore various avant-garde techniques, such as musique concrète, electronic music, and aleatoric music, while also integrating elements of traditional Japanese music. Works like “November Steps” (1967) and “Eclipse” (1966) showcase his unique blend of East and West.
Simultaneously, Takemitsu became a prolific composer for film. He wrote over a hundred scores, most notably for the films of directors Akira Kurosawa and Masaki Kobayashi. His film music career began with “Jose Torres” (1959), and it allowed him to exhibit his remarkable versatility as a composer. The wide exposure of his film music earned him a substantial audience in Japan.
Later life and death
In the later stages of his career, Takemitsu began to express a renewed interest in traditional tonality and Romanticism, evident in pieces like “A Flock Descends into the Pentagonal Garden” (1977) and “I Hear the Water Dreaming” (1987).
Apart from composing, Takemitsu was a prominent writer on aesthetics and music theory. He served as a visiting professor at various institutions, including Yale University and the University of California, San Diego, sharing his understanding and love for both Western and Eastern music.
Takemitsu passed away on February 20, 1996, from pneumonia. His last work, “Nami no Bon” (1997), was completed posthumously by his close student Ichiro Nodaira.
Legacy
Takemitsu’s contribution to music was enormous, and he left an indelible mark on the world of composition. His work has been performed by major orchestras and ensembles worldwide and is widely recognized for bridging the gap between Eastern and Western music. He’s admired for his originality, depth, and exquisite command of color and orchestration.
Moreover, Takemitsu was instrumental in bringing about a renewed interest in Japanese music, both traditional and contemporary, in the West. His emphasis on the symbiosis between nature and music, a recurring theme in his work, has had a profound impact on how music is understood and appreciated.
In conclusion, Toru Takemitsu was not only one of Japan’s foremost composers but also a significant figure in the global musical landscape. His legacy continues to inspire and influence musicians and composers worldwide. His blend of Eastern and Western influences helped shape the sound of the 20th century and beyond.
Discography
The Silence Between
Pieter van Loenen
Tobias Borsboom