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

LIST OF EXAMPLES

1.

Messiaens second mode.....................................................................................19

2a. Takemitsus sketch, Japanese garden ............................................................29

2b. Takemitsus 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 Indonesiagamelan.........................................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 i n 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
Takemitsus musical genius. Although never a conscious goal or deliberate
objective, the collective body of Takemitsus musical works has come to be
appreciated by many as a highly significant cultural bridge between the East
and the West. Takemitsus 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 i nfluenced
by the Western model.
Takemitsus 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
Takemitsus compositional methods, and to examine how Takemitsus
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
Takemitsus rich musical legacy.
Various examples of Takemitsus 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 for an i nsurance company in
Dalien, China. When Takemitsu was only a month old, his mother moved to
China with him to join her husband. 2 (An interesting coincidence that
occurred duri ng the same period of Japanese expansion and colonization in
China was that another notable Japanese musician, namely Seiji Ozawa, the
famed former conductor of Boston Symphony, was born in the colony.
Perhaps it was more than destiny that Takemitsu and Ozawa established a

1Takemitsu,
2Jun-ichi

1999), 19.

Chosaku-sh, 2:167.

Konuma, Takemitsu Tru: Oto, Kotoba, Imeji (Tokyo: Seido Sha,

1

close, long-term friendship and formed a composer-conductor worki ng

relationship decades later in life.)
Takemitsu used to recall fondly the early childhood memories of his
father listening to Western musicjazz, blues, and Dixielandand dancing
and playing the shakuhachi, a traditional Japanese bamboo flute, for whole
days at a time. Perhaps Takemitsu was drawn to music through his fathers
love for music. Having been exposed to a rich musical environment at such
a young age must have played a vital role in developing Takemitsus latent
musical potential, even influencing his compositional style of later years.3
In 1937, at six years of age, Takemitsu returned alone to Japan to
enter elementary school.

During this period he lived with his aunt who was

a koto (Japanese zither) teacher. Forty years later, at the height of his fame,
Takemitsu recalled his childhood days. While reminiscing during an
interview by Louis Dandrel for Le Monde de la Musique, he noted that he had
often become tired of hearing the koto all day long. Later in 1937,
Takemitsu was rejoined by his parents who returned to Japan because his
father was gravely ill. It was unfortunate that his father died in the spring
of 1938, when Takemitsu was only seven years old. Another catastrophic
period in the life of Takemitsu began with the onset of World War II. As a
direct consequence, it would be an understatement to say that the
subsequent four war years were the most difficult period of his life.

3Ibid.,

20.
2

Takemitsu recalled with respect to those darkest years:

During World War II, I worked long hours in the food storagedistribution warehouse of a Japanese military base located deep in the
mountains of Saitama Prefecture with many other boys. In earl y
August, 1945, we, young boys of fourteen or fifteen years of age, worked
and lived just like older combat soldiers. We were abused and punished
for no reason and were living miserably. . . . During that time, the
Japanese military prohibited everythi ng Western: English language,
music of any form and the like. 4
It was towards the end of the wa r, the summer of 1945, when
Takemitsu had a sudden reawakening of Western music. As background,
during the war Takemitsu and fellow young conscripts were often forced to
sing Japanese military songs. One day, Takemitsu and other young
conscripts were invited by an older soldier to listen to a French chanson,

Parlez-moi damour, sung b y Lucienne Boyer. (Takemitsu had mistakenly

thought for many years that the singer was the famous, black American
chanteuse, Josephine Baker.) 5 Takemitsu later referred to this incident as
the fatal encounter, and described the experience as follows: My heart was
like a hollow cave, and I let the song seep into it. It flowed into my body and
soul like a huge body of water.6 He instantly realized that the enemies had
such beautiful music!7 Takemitsu even later recalled, This very experience

4Takemitsu,

Chosaku-sh, 2:227.

Ryichi Higuchi, Takemitsu Tru: Oto no Kawa no Yukue, eds. Seiji Choki and
Ryichi Higuchi (Tokyo: Heibon Sha, 2000), 299.
5

6Takemitsu,
7Konuma,

Chosaku-sh, 1:269.

18.
3

transformed me into a musician. As the war was ending, my heart and

mind were consumed with the thoughts of music.

I quite literally could not

think of anything but music. 8

Since his school life had begun and ended with the war, World War II
indeed had a tremendous impact on Takemitsus most formative years. In
this very vein, Takemitsu observed:
Everything I came to be ori ginated from my many traumatic experiences
incurred from this war of defeat as well as my post-war life. For me,
music, poetry, lovethey all developed from these horrific experiences. 9
Of course once the war ended, and the occupation commenced, doors to
Western culture were fl ung open, and Western music including jazz was
heard everywhere in Japan. Now with a great hunger for Western music,
Takemitsu listened to it intensively.
One day, he happened to hear Csar Francks Prelude, Chorale and

Fugue on the radio. Takemitsu later called this incident his second
discovery in that in this piece by Franck, he had found the absolute music,
i.e., music without words.

In traditional Japanese music, the music and

words are inseparable, but the Prelude, Chorale, and Fugue was performed
by a single instrument, the piano, and in this format spoke to his inner
senses. For Takemitsu, this Franck piece proved to be a compelling

Tachibana, Takemitsu Tru: Ongaku Sz eno Tabi, Bungakukai (June

1992): 263, quoted in Higuchi, 300.
8Noboru

9Takemitsu,

Chosaku-sh, 1:270.
4

revelation set against the backdrop of his horrific war experiences. The
impact of the second discovery was comparable to that of the first fatal
encounter with the French chanson, both of which were indelible experiences.
Thereafter, the war seemed so senseless, cruel and foolish to him.
Since the strong musical experience as a teenager, he had one desire:
to touch the piano, but he realized that his family was too poor to afford an
instrument. His highly imaginative solution was to fashion a paper piano. 10
Takemitsu was so caught up in his dream and his love to learn more about
music that he would literally open up and play his paper keyboard every time
he had a few free minutes. His creative imagination was so powerful that he
could finger over the keys and actually hear the tones that would have been
produced correspondingly on a real piano. His enthusiasm for music was so
strong that when walking down the street and hearing the sound of a piano,
he would knock on the door and ask the resident to allow him to come inside
to play. Interestingly enough, he was never denied access to these strangers
homes or pianos. Finally, through an acquaintance, Takemitsu was able to
actually rent one of the venerable Pleyels that had been brought back from
France some years before by the renowned pianist/teacher, Kazuko
Yasukawa. This acquisition of the Pleyel was an exciting event in his life.
Takemitsu later wrote in his essay, Oto Chinmoku to Hakarieruhodoni,
[Sound Measuring with Silence] as follows:

10Ibid.,

2: 167.
5

That piano brought an elegant atmosphere that was almost out of place
in my little room. To me, it produced the nasal sounds heard in the
[spoken] French langua ge. I never wanted to play etudes on it. I
played many Debussy and Faur pieces, but I dont know if they sounded
like the actual musical pieces. My performance was very poor. My
friend, Toshi Ichi yanagi came and played a Ravel piece fluently. While
listening to him, I felt envious of him. . . . Soon, I fell behind on the
payment of the rental fee, and the unpaid back payment became
substantial. I composed Lento in due movimenti on that piano. It
received a review from Ginji Yamane, saying it was pre-music, which I
could not appreciate, after the premiere performance at the Shin
Sakkyokuha Kyoukai recital, but the piece meant much more to me than
any other piece I had ever composed.11
In this essay, Takemitsu also remarked that he had sad memories associated
with the piano. 12 Indeed, Takemitsu ended up returning the piano because
he was unable to pay the escalating rental fees.
Because of his bitter war experiences, Takemitsu disliked everything
that was associated with Japanese tradition. This feeling persisted for
many years. He observed that his career path as composer had begun with
the rejection of anythi ng Japanese.13 Perhaps, it was inevitable that
Takemitsus aversion for Japanese culture would change abruptly. One day
in the early 1960s, Takemitsu had an unexpected opportunity to attend the
Bunraku 14 puppet show and hear traditional Japanese music. He later

11Ibid.,

1:24-5.

12Ibid.
13Ibid.,

3:50.

14Bunraku:

Japanese puppet theater of three-hundred-year-old history. Life-sized

puppets are controlled by people dressed in black and act out a dramatic narrative, called
jruri. There is a narrator, and an accompanist playing the shamisen, a Japanese string
instrument.
6

recalled that it was a shock to discover such powerful music. 15 Takemitsu

suddenly realized that there was another type of music that was totally
different. Undoubtedly, this belated encounter with traditional Japanese
music at the Bunraku was a very strong, eye-opening experience, especially
because of his earlier denial of his own rich mother culture and traditions.
It was ironic that in the backdrop of his prior sole interest in the study of
modern European music, Takemitsu found a new heightened appreciation.
In a lecture delivered in 1988 in New York, Takemitsu spoke of the
meaningfulness of his encounter with traditional Japanese music at
Bunraku:
Had I never been under the sway of Western music, I know my
appreciation of Japanese music would have been very different. I think
this is an extremely important point. From that time on I devoted a
great deal of energyas much as possibleto studying Japanese
musical traditions, with particular attention to the differences between
Japanese music and Western music. With great diligence I tried to
bring forth the sensibilities of Japanese music that had always been
within me. 16
He also spoke of another revelation upon first hearing Gagaku: 17 The
sounds were rising toward the sky like a tree. 18 When directly comparing

15Takemitsu,

Chosaku-sh, 3:50.

16

Idem, Contemporary Music in Japan, Perspectives of New Music 27 no.2

(Summer 1989): 201.
17Japanese traditional court music from Heian Period (794-1185). It is orchestral
music involving hichiriki, ryuteki (wind instruments), sho (mouth Organ), sono koto, biwa
(string instruments), shoko (gong), and various types of drums.
18

Takemitsu, Chosaku-sh, 1:40.

7

traditional Japanese music to Western music, Takemitsu succinctly observed

as follows: The sounds in Western music progress horizontally, but the
sounds of the shakuhachi rise vertically like a tree. 19
Takemitsu had no history of formal training or studies in music,
except for intermittent contact with Yasuji Kiyose (1900-1981), the founder of
the Japanese branch of the International Society for Contemporary Music.
Kiyose was the standard bearer for the group of composers known as the
nationalists who faithfully maintained distinctively Japanese qualities in
their compositional idioms.20 It was as if by fate that Takemitsu came to
Kiyose to study. Coincidentally, Takemitsu had previously been deeply
inspired by Kiyoses violin sonata, and already had great respect for him.
Takemitsu reported having been elated when he learned that this
distinguished composer would be willing to mentor him. Kiyose did not
provide Takemitsu with conventional music lessons. He simply allowed
Takemitsu unlimited access to his musical scores and recordings in support of
his self-teaching.21 Fortuitously, Takemitsu found in Kiyoses music what he
had been searching for, and that was the real music without any
ostentation.22

19Idem,

Confronting Silence (Be rkeley: Fallen Leaf Press, 1984), 87.

20Timothy

Koozin, The Solo Piano Works of Tru Takemitsu: A

Linear/Set-theoretic Analysis (Ph.D. diss., University of Cincinnati, 1989), 19.
21Higuchi,

301.

Ohtake, The Creative Sources for the Music of Tru Takemitsu

(Aldershot: Scolar Press, 1993), 15.
8
22Noriko

Perhaps in this context, it is helpful to relate to the reader one

incident which occurred just a few months before Takemitsu came under the
tutelage of Kiyose, as an indication of Takemitsus awareness for his musical
direction from an early age.

In spring of the late 1940s, Takemitsu took the

two-day entrance examination to the Tokyo University of Fine Arts. After

the first day, he sensed that it was not quite right.

Further, he felt that

composers will not be born from this.23 Takemitsu did not take the next
examination, and thereby forfeited his chances for academic musical studies.
Therefore, until he came under the direct i nfluence of Ki yose in June, 1948,
Takemitsu was limited to the support of his friends and colleagues, who
shared their passion for music by studying musical scores with him. 24
Although having no prior formal experience or credentials, Takemitsu must
have been regarded by Kiyose as possessing considerable talent.
During the two years of study with Kiyose (1948-1950), Takemitsu
came to know Fumio Hayasaka (1914-1955), a composer who was considered
the forerunner of the Japanese nationalistic movement. Hayasaka was also
a major figure in the composition of film music. Because of his admiration
and respect for Hayasakas music, Takemitsu became interested in film music
early in his career. 25 He wrote some of the most recognized film music in the

23Higuchi,

300.

24Ibid.
25Ohtake,

15-6.
9

history of Japanese cinema.

Takemitsus encounter with Ki yose and subsequent meeting with
Hayasaka indirectly propelled Takemitsu to the musical scene as a composer.
In 1956, Takemitsu composed a work commissioned by the Tokyo
Metropolitan Symphony Orchestra. He entitled it Requiem for Strings, in
memory of Hayasaka, who had died the previous year. The work was
premiered by the Tokyo Metropolitan Symphony in June 1957. It drew the
attention of Stravinsky during his visit to Japan, and he praised the work
highly saying, This is a wonderful work.

It is very intense. [It is

remarkable] such intense music came out of such a small man!26 This
special recognition brought international attention and fame to Takemitsu,
and quickly paved the way to future success.
In 1950, Takemitsus piano composition Lento in due movimenti was
introduced at a Shin Sakkyokuha Kyoukai [The Association of New School of
Composition] concert. Takemitsu had a special fondness for this work.

It

was his very fi rst piece to be performed in public, but the critical review by
Ginji Yamane in the Tto Newspaper was a devastating one to the composer.
One can only imagine the level of disappointment he endured.

It was far

beyond what words could ever describe, and Takemitsu put the score of his
fondest piece away. Eventually it was lost; however, he later gathered the

oka, Takemitsu Tru wo Meguru Nisan no Kansatsu, in Takemitsu

Tru no Sekai, eds. Shinji Saito and Maki Takemitsu (Tokyo: Shei Sha, 1997), 73.
26Makoto

10

fragments of the piece from memory and wrote Litany, a second version. 27
After this taxing experience, Takemitsu and his colleagues launched
a new cultural club, Jikken-kb [experimental studio] in November 1951.
Jikken-kb provided the opportunity to introduce new compositions by its
members, as well as Western avant-garde music to the cultural community.
The association included prominent artists, poets, musicians, and
technicians. The diverse membership reflects both the cultural
sophistication and the multi-media nature of the cl ub. This organization
was different from the Shin Sakkyokuha Kyoukai in that it had a
non-academic bias, a fact that helped Takemitsu, who was not an
academically-trained musician, to consolidate his position.28 Moreover,
Jikken-kb served as a ready-made forum, a vehicle, for the performance of
his works. Takemitsu was very fortunate to have had his works premiered
by some of the most renowned professional musicians in Japan.
Around this same period, Takemitsu also began experiments with

musique concrte, which was to become an important compositional method

for him. Regarding this, Takemitsu later wrote in his essay, Boku no Hh
[My Method], that as early as 1948 he had already become aware of
incorporating random natural sounds. He realized that to compose was to

27Higuchi,
28Peter

2001), 39.

301-2.

Burt, Music of Tru Takemitsu (Cambridge: Cambridge University Press,

11

find ways to bring meaning to the stream of sounds around him. 29 The idea
of stream of sounds was to become the core element of his music throughout
his compositional effort.
In this highly stimulating environment of Jikken-kb, Takemitsu
had invaluable opportunities and experiences.

In retrospect, he was keenly

receptive and absorbed everything he could, nurturing and developing his

musical creativity. In 1953, however, his health and financial situation
became a serious concern. His tuberculosis worsened, and he was
hospitalized for a long period. As a result Takemitsu was no longer able to
participate in Jikken-kb activities. Greatly discouraged, he even
expressed a wish to withdraw from membership. 30
The new year, 1954, began. As a young man of twenty-three his life
was at its lowest point, but by May his situation had improved. He became
well enough to be released from the hospital, and in the following month he
married Asaka Wakayama. Although he was still frail after the long illness,
and very much in the grip of financial difficulties, with Asakas deep devotion
and support Takemitsu was able to come out of the difficult times and
proceed toward his yet-to-be-seen dynamic musical career.
Upon reflection, it is indeed remarkable that in several short years,
despite the hardships and setbacks he endured, Takemitsu went from being

29Higuchi,
30Ibid.,

306.

305.
12

unknown to becoming one of the brightest stars of the modern Japanese

musical scene. This chapter has presented only the early part of his
background, whi ch was the most formative period.
From the late 1950s to the end of his life in 1996, Takemitsu was
highly productive, not onl y as a composer but also as a lecturer and writer.
He was blessed with a natural talent and personal goodness, to which was
added a great wealth of unique life experiences. Combined with strength of
will, dedication, self-discipline, and determination, they effectively served to
mold an extraordinary human being and true musical genius, Tru
Takemitsu.

13

CHAPTER TWO

INFLUENCES

Japan and I have arrived at the present with great contradictions. . . .

Speaking from my own intuition, rather than from a simple-minded
resolution to blend Western and Japanese elements, I choose to confront
those contradictions, even intensify them. And those contradictions are
for me a valid visa for the world. That is my act of expression. . . .
Nothing that truly moves us will come from the superficial blending of
East and West. Such music will just sit there.31

Various factors contributed to the uniqueness of Takemitsus music.

They deri ved from both the West and Japan, and there was one factor that
was particularly salient, i.e., he never had formal musical training. Because
of this background, both Western and Japanese influences had an especially
profound effect upon him, making Takemitsus music uniquely his own.
In the course of traditional musical training, students typically
establish their own style through the musical environment to which they are
exposed. With respect to a compositional style, even the most innovative
ideas originate in large part from the students formal musical education.

31Takemitsu,

Confronting, 92-3.
14

The years corresponding to Takemitsus life (1930-1996) constituted a time of

dramatic, rapid, and even revolutionary innovations and changes, leading to
great diversity and riches in the musical world, as well as in other spheres of
modern life. This was a period that was open to new ideas, and was
generally much more accepting of unconventional methods. Likewise,
composers tried to find their individual ways to create a new and unique
musical language. Nonetheless, it may be more reasonable to appreciate
that the new modern music that appeared during Takemitsus time was not
totally independent of what had been composed previously, but included
developments and expansions of inheritances from the past.
As for Takemitsu, his style was a product of his being what he was.
It represented his Japanese sensibilities that evolved from tradition and then
came in contact with Western music. This could not have been developed by
the mere blending of Japanese cultural idioms with superficial Western
musical elements. Takemitsu never adopted such an approach, much less
showed any interest in it. He believed that music had the power to speak to
the deepest part of the soul and was a very personal experience. He thought
superficial blending was meaningless and would not have the power to move
the soul.32 It was his desire to confront and even intensify the differences
and contradictions of Western and Japanese elements. One example is his
composition November Steps in which traditional Japanese instruments, the

32Idem,

Chosaku-sh, 2:20.
15

biwa and the shakuhachi, are used with a Western orchestra. Takemitsu
acknowledged the differences between two remarkable cultures and created
music of his own. Composing November Steps was an invaluable experience.
From it was realized the vast realm of sounds that existed. November Steps
became his landmark piece because he followed his intuition and let the
music speak for itself. It also gave him hope that it was possible for people
from different cultures to develop a deep understanding of each other. 33
Takemitsus musical influences came from various sources. Some
affected him directly, others indirectly. He himself did not even become
aware of their subtle effects until years later; however, they were the
powerful, underlyi ng force of his musical concepts. For Takemitsu, it was
not possible to think of Eastern and Western elements in the same dimension.
Music was capable of speaking out for itself once the universality was
achieved, and it did not matter who was behind it. 34

To Takemitsu, music

was a universal expression that spoke out from within.

This chapter will examine the influences that played significant roles
in Takemitsus musical development and creativity, namely Western and
Japanese composers, and traditional Japanese music and culture.
Furthermore, it will introduce Takemitsus own thoughts and philosophies
which are connected to Zen Buddhism and derive thei r origi ns from his

33Ibid.,

3:30-1.

34Ohtake,

5.
16

heritage.

From the West

Claude Debussy (1862-1918) had a significant effect on Takemitsu

from the beginning.

It has been said that the root of Takemitsus music is in

Debussy, and Takemitsu agreed with this assessment.35 He observed that

Debussy had been influenced by oriental music, and his music was
re-imported to the Orient and influenced the composers there reciprocally. 36
Debussy came in contact with the music of the East at the Paris Exhibition in
1889. This experience, especially the encounter with Javanese gamelan
music, made a tremendous impact. It opened up new avenues to richer
sonorities, particularly in his choice of instruments. Similar to Debussy,
Takemitsu was interested in creating shades of color in many layers in his
placement of sounds. It is understandable that Takemitsus music, such as

Riverrun, resembles Debussy with its luminous and transparent sound.37

Moreover, some of Debussys characteristics seen in his piano works, such as

35Rytaro

Sha, 1992), 161.

Iwata, Kafe Takemitsu: Watashi no Takemitsu Ongaku (Tokyo: Kaimei

36Takemitsu,
37Justin

2:162.

Williams, Tru Takemitsu, a Gatherer of Sounds: An Analysis of

Riverrun (D.M.A. diss., Manhattan School of Music, 1997), 18.

17

fragmentary melodies, use of indeterminate pedal signs, and ethereal tone

quality, are also found in Takemitsus piano music.
Olivier Messiaen (1908-1992) was another who had a strong
connection to Takemitsu and his music. Takemitsu observed, regarding his
relation to Messiaen: Among many things I learned from his music, the
concept and experience of color and the form of time will be unforgettable.38
Takemitsu and Messiaen developed a strong bond between them. Messiaen
spoke of his affinity to Japan:
Japanese music is static, and I myself am a static composer because I
believe in the invisible and in the beyond; I believe in eternity. Now,
Orientals are on much closer terms with the beyond than we are, and
thats why their music is static. The music written by me, a believer, is
equally static. This no doubt explains my attraction to Japan.39
Messiaens spiritual beliefs and respect for nature are reflected in his
music, which has much in common with Takemitsu. Their music shares
static, timeless, and meditative qualities, and minimizes a sense of
development or direction. Messiaens modes of limited transposition
(Example 1) allowed him to achieve those qualities in his music.40
Takemitsu also incorporated Messiaens mode in works such as Lento in due

movimenti and Uninterrupted Rests .

38Takemitsu,

Confronting, 141.

39Oliver

Messiaen, Music and Color: Conversations with Claude Samuel, trans.

Thomas Glasow (Oregon: Amadeus Press, 1994), 102, quoted in Justin Williams, 19.
40Williams,

19.
18

Example 1: Messiaens second mode

Among Takemitsus works, Quatrain (1975) is the one with the most
direct influence. Takemitsu visited Messiaen in New York and received
advice, guidance, and encouragement for this piece. In Quatrain, Takemitsu
used the same instrumentation as Messiaens Quartet for the End of Time.41
Takemitsu later reflected on Messiaens music:
I learned so many things from Messiaens music; among them is the
invaluable experience of learning the concept of color and form of time
and its application, which will stay with me forever. 42
Above all, that sensuous soundabundance in tone color and sonority.
I thought, Oh, this is what I have been looking for. It matched my
senses perfectly.43
Another connection between Takemitsu and Messiaen lies in their

41Takemitsu,
42Idem,

Confronting, 141.

Chosaku-sh, 3:164.

Tachibana, Takemitsu Tru: Ongaku Souzou eno Tabi, Bungakukai

(October, 1992): 225, quoted in Higuchi, 303.
43Takashi

19

love for the universe that embraces both men and nature. 44 Nature was
very important to them, and they incorporated the sounds of nature in their
music, although their methods were different. Messiaen translated actual
bird songs into music, whereas Takemitsus music mainly reflected his
thoughts of nature. 45
Although Takemitsu and Messiaen had common characteristics and
interests, they were at opposite ends in their philosophy. Takemitsu viewed
nature as a coexistence of man and nature itself,46 which relates to his
musical concept that music flows around everything, including himself.47 It
was from the standpoint of man and nature being one entity, making man a
part of nature itself. On the other hand, Messiaens view was that of a
unified entity of man and god, thus separating man and nature. 48 Although
it is not possible to categorize them in a simple manner, it is apparent that
Takemitsus association with Messiaen influenced him strongly enough to
reflect in his music.

It was the way Takemitsu viewed his surroundings and

not the logic of rules that controlled his attitude and philosophy toward
composing and music. His creation was a reflection of his inner thoughts,

44Iwata,

166.

45Ohtake,
46Iwata,

7.

166.

47Takemitsu,
48Iwata,

Chosaku-sh, 3:53.

166.
20

which had a strong tie to his Japanese heritage.

Takemitsu was particularly inspired by Messiaens passion and effort
to compose while imprisoned in a German camp duri ng World War II. 49
From his own miserable war experience, Takemitsu was able to measure the
difficulty that Messiaen must have faced, and the depth of his desire to let his
music speak out even under horrific conditions.
Takemitsu also had a close tie to John Cage (1912-1992), as a friend
and colleague. When Cage visited Japan in 1962, Takemitsu traveled with
him to Sapporo during Cages concert tour. Cage had a strong interest and
appreciation for Zen philosophy, and it was through him that Takemitsu
came to recognize the depth and value of Japanese tradition.50

Takemitsu

expressed his appreciation in these words:

I must express my deep and sincere gratitude to John Cage. . . . It was
largely through my contact with John Cage that I came to recognize the
value of my own tradition. 51
His association with Cage had a strong and profound effect on
Takemitsus musical concept; however, Cages influence went beyond the
spiritual realm. For example, the structural organization of Takemitsus

Dorian Horizon was modeled after Cages Quartet for twenty-four strings.
The physical placement of instruments was unique in Quartet, resulting in

49Ohtake.,

8.

50Ibid.
51Takemitsu,

Perspectives, 199.
21

many layers of sounds in the musical space. Likewise, Takemitsus Dorian

Horizon followed a similar plan, with the well-calculated placement of the

seventeen string instruments creating the subtleties in diverse tone colors in
different gradations.52 He was keenly aware of the sound effects of physical
positions of instruments, and was specific in placing them.

Takemitsu wrote

on the death of Cage:

I lost another important person. I learned from Cage life, that is how
to live, and that music does not exist away from life. This simple, clear
fact has long been forgotten. Art and life have become separate
existences, and professionals have put excess concerns on the framework
of methodology. Aesthetics became the priority, and music was
becoming mere paper work. At such a moment, John Cage shook the
foundation of Western musical art, and evoked the forgotten essence of
sound and the existence of silence as the mother of sound with nave
clarity. Through John Cage, sound regained its freedom. 53
There were other Western composers who influenced Takemitsu.
For example, the sparse texture, emphasis on shifts of timbre, fragmentary
melodies, and melodic cells weaving a musical tapestrythese vividly reflect
the music of Anton Webern. Takemitsu acknowledged that at one point in
his career, he was enthralled by the music of Webern. Other influences
include Iannis Xenakis, Aaron Copland, Luigi Nono, Pierre Boulez, Isang
Yun, Arvo Prt, and Pierre Schaffer. 54

52Ohtake,

9.

53Takemitsu,
54Iwata,

Chosaku-sh, 3:166-7.

175-6.
22

From Japan

It was Western music that first drew Takemitsus attention toward

music, but there are also Japanese musicians to be considered. As
mentioned in Chapter One, Yasuji Kiyose was the most significant one among
them. Takemitsus own words confirm Kiyoses influence:
I cannot describe how much I learned from Mr. Ki yose. Through his
works, I learned the fertility of musical soil where many different
thoughts and feelings co-exist.55
Kiyose represented a group of composers known as nationalists who tried to
create a new compositional idiom, while maintaining distinctly Japanese
qualities. Sadao Bekku, the well-known Japanese musicologist and theorist,
described Kiyoses music:
He does not approach music theoretically but rather in such a way
as to express his intimate emotion with quiet navet. His harmonic
treatment seems Japanese in nature but not theoretical; he seems to
follow the dictate of his natural and simple sensitivity.56
Kiyose believed that even though an act of creation is a personal matter, a
composer must be aware that it has to relate to ones own people. Otherwise,
in a broader sense, the arts would be meaningless to them.57

55Takemitsu,

Chosaku-sh, 1:273.

Bekku, The Composer in Japan Today, MusicEast and West (Tokyo:

Executive Committee for 1961 Tokyo East-West Encounter, 1966), 94-5, quoted in Koozin,
The Solo Piano Works , 20.
56Sadao

57Takemitsu,

Chosaku-sh, 1:273.
23

Shortly after his studies with Kiyose, Takemitsu came to know Shz
Takiguchi (1903-1979), a surrealist poet. The importance of this encounter
with such a remarkable poet was clearly stated:
I dont know how to express my gratitude. No words are sufficient to
show my appreciation even for the opportunity to come to know Mr.
Takiguchi. I often waver when making decisions about various things
or how to behave. At these times, I think of select, few persons whom I
wish to be proud of me. Mr. Takiguchi was always among them. Many
times, I was an intruder in his quiet garden of thoughts. I learned to
direct my attention toward internal things after ha ving the chance to
spend time with him. He awakened me in all areas of arts.58
At about the same time, other notable figures came in contact with
Takemitsu and became his life-long friends and colleagues, namely, Kuniharu
Akiyama, Jji Yuasa, Kazuo Fukushima, and Toshi Ichi yanagi.
The long history of Japanese traditional arts and values was a part of
Takemitsu and was ingrained in his body and soul. Serenity, silence,
simplicity, austerity, tranquility of soul, and sensitivity to nature, originating
in Zen Buddhism, had been deep in Japanese culture. Poetry, art,
calligraphy, archery, swordsmanship, traditional music, flower arranging,
landscaping of gardens, tea ceremony, etc. all hold Zen spirit. As a more
popular example, one can compare sumo, Japanese traditional wrestling
originating from the seventh century, to non-Japanese sports. Sumo
wrestlers do not show their emotions. No matter what their feelings are at
the time of victory or loss, they maintain calmness in their facial and physical

58Ibid.

24

expressions. This manifests tranquility of the soul, indicating the inner

strength that cannot be affected by the outside world.
Takemitsu found in Zen Buddhism what he was searching for in his
musical expression. Zen values the margin of life, the blank space. 59 As
emptiness of the mind, Mu [void], is essential for meditation and
enlightenment in Zen, silence and stillness were important factors in the
uniqueness of Takemitsus music. His words, To make the void of silence
live is to make live the infinity of sounds, 60 originated from the Zen
philosophy that underlies Japanese culture.
Just as it was to Takemitsu, nature has a unique place in the minds
of most Japanese people. Consider that from ancient times, the changes of
the four seasons have a significant meaning. These seasonal changes relate
to lifebeginning, ending, growth, progress, etc., with each season bringi ng
strong, specific sentiments. One indication is haiku poetry.

It must contain

kigo, a word that refers to a season. Japanese have incorporated nature in

their life style in various ways. For example, in ordinary letter writing, it is
polite and customary to begin ones correspondence with remarks relating to
the weather. One may write, The coolness of the morning air indicates the
approaching fall, or The spring equinox has passed, but our days are still

James Hammond, Ten Zen Basics, A Newsletter on Philosophy and

Literature, <http://home.att.net/~jim_hammond/phlit/2001-06.htm> June 2001.
59L.

60Tru

Takemitsu, Tru Takemitsu: Miniature II, (Japanese Deutsche

Grammophon, MG2411), quoted in Timothy Koozin, Tru Takemitsu and the Unity of
Opposites, College Music Symposium 30, no.1 (Spring 1990): 35.
25

cold, and so on.

It may be interesting to the reader to learn that the spring

equinox and the autumnal equinox are national holidays in Japan.

Although there is no special or specific celebration, the Japanese enjoy the
beginnings of new seasons. Still another example is that in selecting a home,
the directionnorth, south, east, and westto which the rooms will face,
becomes an essential part of decision-making. The southern exposure brings
the sunlight into the house duri ng the winter months and eliminates the
evening sun in the summer, creating warmth in the winter and coolness in
the summer. Even with todays modern technology, people still want such
naturalness in their lifestyle. The softening or intensifying sunlight that
changes from time to time or season to season also brings a certain feel to
them.
Moreover, a traditional Japanese house should never be painted with
artificial colors. Doors, walls, and floors use all natural material with
neutral shades. In the modern day, houses may not look quite the same, but
there is usually a traditional Japanese room, which provides the atmosphere
of calmness, warmth, simplicity, and serenity. The depth of its beauty may
not be fully understood or appreciated by someone who has a decorative,
colorful taste, but the Japanese find profound beauty and depth of character
in it. There are numerous other indicationstoo many to list; however,
knowing the Japanese mentality and sentiment for nature would certainty
shed light on Takemitsu and his music.

26

This philosophy, living in harmony with nature, is at the core of

Takemitsus compositional activity. His own words confirm his musical
concept and the source of his creative energy:
I do not compose by using sounds. I collaborate with them; however, I
feel so inadequate because I still cannot speak my collaborators
language well. 61
I am a very religious man. Music is a form of prayer to me. . . . I used to
think each tone was like a building block, and that musical work was
similar to architecture that needs to be constructed little by little, but my
thinking started to change when I studied traditional Japanese music.
I was influenced by its philosophy. The act of composing is like reaching
a stream, feeling the river bed, and becoming one with it. . . . I now only
think about the stream of sounds that surrounds me and try to listen to
its sounds. I no longer pay attention to its structure or giving it a
beginning and an ending. There is no beginning or ending. When I
compose, I touch the stream and express it as it is.62
Takemitsus concept derives its origin from Zen philosophy, which sees the
ego, I, not as independent but as merged with the surrounding world, and
puts one in touch with nature. 63
Takemitsu had a special fondness for old Japanese gardens. He
expressed his thoughts in his essay, Ongaku no Yohaku Kara [From the
Margins of Music]:
I love gardens because they never refuse people. There, we can stroll or
stop freely as we wish. We can look at the whole garden or gaze at one

61Idem,
62Ibid.,

Chosaku-sh , 3:241.
52-3.

63Hammond.

27

tree. Plants, rocks, and sand, they display their various changes.
They are constantly changing. Their existence is in one space in
different time cycles, the changes of seasons, weather, day, and
nightthey are all music.64
Takemitsus creative activity involved being in touch with nature as the
source of inspiration. His use of the word, Niwa [garden], in the titles of
some of his works indicates his strong affinity to it. Takemitsu also used it
as a metaphor where he saw and heard music.

One example is Arc for

Piano and Orchestra. In this work the piano has the role of a stroller
walking through the orchestral garden (Examples 2a & 2b). It is clear that
there is a strong link between some of his music and Japanese gardens, in
that their element of spacing is an integral part in understanding the
spatiality in Takemitsus music.65
Takemitsu observed that the Japanese listen to sounds in the
manner of kikidasu [extracting the sound you are searching from the sounds
that surround you]. He said that they draw sounds rather than expressing

through sounds. 66 Traditional Japanese music has the concept that one tone
is music in itself, and it focuses on deepening the meaning of a sound itself.67

64Takemitsu,

Chosaku-sh, 2:23-4.

65Funayama,

Takashi, Takemitsu Tru: Hibiki no Umi e (Tokyo: Ongakunotomo

66Takemitsu,

Chosaku-sh, 2:74.

Sha, 1998), 172.

67Ibid.,

170.
28

Example 2a: Takemitsus sketch, Japanese garden

Example 2b: Takemitsus sketch, Arc

Each tone is complete, and timbre became a very important element for
subtlety in tonal expression, much more so than in Western music. Thus it
29

became necessary to have a means to express varied tone colors for subtle
nuances. As a result, varieties of instruments of the same family were
created for more precise tonal production. 68
Takemitsu was quick to become aware of this practice. He thought
that such Japanese artistic sense and concept of naturally existing sounds
and noises reflecting the whole worldview, and not being mere material for
expression, led to the creation of a highly refi ned art such as Noh. 69 There,
the deepest level of the concept of connection to nature exists.70
Japanese people love to listen to the sounds of nature: of leaves blown
by the wind, of ocean waves, bird calls, a cricket making noise, etc.

In a

Japanese sense, they are all music. There are folk songs and childrens
songs about insects making their music on a summer day. They call the
insects noise(s) mushi no ne, literally meaning insects tones. In such a
culture, it is natural that traditional Japanese instruments such as the
shamisen and the biwa (string instruments) produce the resonance, sawari,
which is close to the sound of noise. Its sound quality and make-up are
complex, and in a Western musical sense, it is simply a noise. Yet, it is a
very important part in traditional Japanese music.

68Fumio

Koizumi, Nihon no Oto (Tokyo: Heibon Sha, 1994), 27.

69Ancient

Japanese literature of highly aesthetic stage form, which combines dance,

drama, music, and poetry.
70Takemitsu,

Chosaku-sh, 2:74.
30

Takemitsu thought that the word sawari, which holds

multi-meanings, is the desire itself to draw the true meaning of a sound
[kikidasu], and to listen to the whole world in one tone, and that its true
meaning possessed an attitude of motion that was closely tied to life. This
one tone had to be pure and independent; at the same time it had to resonate
strongly as a part of sound as a whole.

It was essential for the performer to

produce a subtle sound that is almost indistinguishable from noise. The

sounds of these instruments are produced spontaneously and resonate
through the performer. 71
Takemitsus expression of his understanding of Japanese concept and
his philosophy deriving from it would take extensive studies of ancient
Japanese culture and history to fully comprehend; however, for music that
came from centuries of tradition, theoretical thinking is of no use because a
single strum or pluck is too complex and too complete in itself to allow any
theory. 72 Takemitsus own claim for the uselessness of analyses of his works
finds its parallel here.
In speaking of nature and a pure, independent tone, which relates
closely to Takemitsus music, the shakuhachi is another instrument that
needs to be mentioned. Although the idea of a bamboo flute may not bring a
refined image of the instrument or its music, a shakuhachi is a carefully

71Takemitsu,
72Idem,

Chosaku-sh, 1:322-3.

Confronting, 51.
31

crafted instrument, made with the utmost precision for delicate tone
production.

Its sound is said to replicate the full range of natural life on

earth. Takemitsu spoke of the shakuhachi sound:

Western people separate natural sounds and musical sounds, but in our
case, a shakuhachi player will become satisfied if the sounds he produces
from the instrument resemble that of the wind traveling across the
bamboo forest.73
Shakuhachi, because of its usage by Buddhist monks since around the
seventeenth century, was often associated with religion, and perhaps for this
reason it seems to lead the mind directly into spiritual thought. Thus, a
single tone of the shakuhachi can bring one to the world of Nirvana, 74 a state
of fulfillment that is expressed by a phrase, ichion jbutsu.

The Western

shakuhachi master Barry Nyosui Weisss words bring a clearer

understanding of shakuhachi music:
The measure of artistry with the Shakuhachi is ichion jbutsu, the
quality of enlightenment in one note. To the Shakuhachi player, every
note and note and every space between the notes has equal importance
to each other. There is no sound without silence and silence without
sound. Nothing, not a singe breath through the flute can go to waste.
In the mind of Shakuhachi master, each moment in this world has its
distinct existence and then is gone forever; each sound and silences is an
opportunity for enlightenment. 75

73Idem,

Chosaku-sh, 2:163.

74Montly

H. Levenson, Shakuhachi: The Sound of Nature,

<http://www.shakuhachi.com/Q-SoundofNature.html> (10 August 2002).
75Barry

August 2002).

Nyosui Weiss, Blowing Zen, <http://www.blowingzen.com/home.html> (10

32

Weiss has an insightful story as follows:

Hundreds of years ago, the Japanese emperor asked a monk named
Kakua to teach what he had learned on a Zen retreat to China. The
monk bowed, stood silently, played one note on his Shakuhachi and
departed. In that one note, he showed his enlightenment. 76
The concept that originated from Zen philosophy and has been
imbedded in Japanese culture for centuries may not be easily understood by a
non-Japanese; however, it is a source contributing much to traditional
Japanese music. Furthermore, it influenced Takemitsus creative mind. As
a young man, Takemitsu was awakened to his heritage and affected by it,
which led him to develop his own compositional philosophy and style. The
meaning of one single tone became of utmost importance to him. Having
been in tune with nature, he did not try to create a sound. He thought
sound was always a part of nature, and with complexity and integrity, it
stood alone.
I want to give up the idea of constructing music. In the world where we
live, there are both silence and infinite sounds. I want to chisel the
sound with my own hands and gain one struggling sound. It must be
strong to face and measure with silence. 77
Takemitsu opined that the goal of a Japanese tone is to reach Mu, the
state of nothingness. Once again, it relates to Zen philosophy in which
everything exists in relation to all things around. By itself, it is in the state

76Ibid.
77Takemitsu,

Chosaku-sh, 1:40.
33

of Mu. As each tone was polished and became distinct, the scale to which it
once belonged lost its meaning.

It is as if the sound is refusing to belong

there. 78 The state of Mu of a tone has a parallel in the state of nothingness

in Zen, whi ch is essential to attain enlightenment. In traditional Japanese
music a single tone is already music itself.79 Takemitsu keenly observed this
aspect of Japanese culture and traditional music through the master
performers of shakuhachi .
One day the shakuhachi player [for November Steps ] came. I asked
him to play one note and hold it as long as possible. He did so, and it
was ninety seconds long. I said to him I wanted him to make it longer.
Then he began some physical exercises. He took my words very
seriously. Three months later he came back. This time, the tone
lasted for two minutes. It was an incredibly beautiful sound with a
variety of colors. Everything existed in that one tone. 80
Another element that relates to nature is the Japanese sense of time;
the sound contains nature within itself and exists in relation to time.81 In
the frame of time, beats exist. In traditional Japanese music, there is no
concept of beat in the Western sense. Beats can be extended or contracted.
When the degree of extension or contraction becomes so great, the music
comes to the point that there is no percei vable unit of time. Takemitsu
described his impression upon hearing traditional Japanese music: Gagaku

78Ibid.,

234.

79Ibid.,

2:170.

80Ibid.,

3:53.

81Ibid.

34

seemed as if it tried to prevent time from being measured. It was static like
an artistic design and appeared occasionally like an arrow shot toward
heaven. 82
The music of Noh also exemplifies the concept of Japanese beats.
The typical Noh text is comprised of combinations of sets of seven and five
syllables; however, these have to be fitted into Yatsubyshi, a unit of eight
beats. In Noh, the dramatic script is emphasized more than the
accompanying music. Thus, it becomes important that the Noh performers
accommodate these syllables by making slight differences in the duration of
each beat, while making the script flow smoothly.83 The beats arranged in
such a way create unique rhythms. Through the use of such novel patterns,
the highest level of refinement in free rhythms was achieved. 84
Another concept essential and unique to traditional Japanese music
is Ma. Ma is present in all Japanese art forms as a meaningful space. It is
heard in Takemitsus music almost as his signature. This derives from Zen,
which teaches that the blank space in consciousness, a state of no thoughts,
can lead one to enlightenment. The essence of Takemitsus composition is
the somewhat esoteric balance and interplay of time and space, Ma. In a

82Idem,

Funayama, 160.

Oto, Chinmoku to Hakarieru Hodoni (Tokyo: Shinch Sha,1971), quoted in

83Koizumi,
84Shigeo

1969), 12.

180.

Kashiba, Traditional Music of Japan (Tokyo: Kokusai Bunka Shinkokai,

35

broader sense, it accounts for the previously-mentioned treatment of beats.

Takemitsu said it was not possible to explain Ma in terms of the Western
concept of time per se, but it was his view that Ma was rather more readily
defined as a physical phenomenon. 85 He stated:
The most important thing in Japanese music is space, not sound. I
think Ma is time-space with tension. Always, I have used few notes,
and many silences, from my fi rst piece.86
From the foregoi ng and the following, it can be understood that
Takemitsus thoughts on Ma are as powerful as Ma itself.
A single strum of a string or one blow [of shakuhachi] is too complex to
fulfill the role of carrying out the theoretical thinking. It is complete in
itself. The complexity of its resonance, that makes the tone whole i n
itself, created Ma, a continuity of the physically intense form of the state
of no-sound. . . . The Japanese sensitivity, that was formed through
hearing the complexity of sound that achieves completeness and its
refined single tone, created the concept of Ma. 87

Ma holds different meanings in different contexts. In music, it refers to the

time and space intervals between the sounds and silence. Ma is not
something to count or calculate, but to feel and hear.
Takemitsu observed that traditional Japanese music holds within
itself many different layers of time. For example, if three musicians play

Takemitsu, Hitotsu no Oto ni Sekai wo Kiku: Takemitsu Tru Taidan Sh

(Tokyo: Shbun Sha, 1996), 234.
85Tru

86Frederic

Lieberman, Contemporary Japanese Composition: Its Relationship to

Concepts of Traditional Oriental Musics (M.A. thesis, University of Hawaii, 1965), 140-1,
quoted in Dana Richard Wilson, The Role of Texture in Selected Works of Tru Takemitsu
(Ph.D. diss., University of Rochester, Eastman School of Music, 1982), 20.
87Takemitsu,

Chosaku-sh, 1:200.
36

together, there can be three different layers, with each musician keeping his
own time. There is Ma in between the layers. The Japanese find beauty in
the meaning of Ma. 88 This is unlike most Western music, in which
performers play together adhering to the same time frame in strict beats.
People listen to Ma in traditional Japanese music as much as they listen to
the sounds. The concept of Ma can be likened to that of the unspoken
thought, with the intervals of silence playing as active a role as that of the
sounds throughout a musical development. Takemitsu said, Music is either
sound or silence. As long as I live, I shall choose a sound as something that
confronts silence.

It has to be one, strong sound. 89

While Ma relates to time and space, another uniqueness in

traditional Japanese music is tempo, expressed by the word, johaky. What
was previously discussed about yatsubshi has a parallel in referring to
tempo. Johaky can be applied to, for example, one days activity or the
beginning, middle, and end of a piece, or even to one beat. In traditional
Japanese music, even one stroke of a drum can contain johaky, reflecting
the complexity and highly developed state of beats.90
Lastly, another dimension to be studied is the use of dynamics. As
stated earlier, traditional Japanese music focuses on drawing a sound and

88Ibid.,

2:172.

89Ibid.,

1:39.

90Koizumi,

26.
37

deepening it, which indicates the importance of expressing the subtle

nuances inherent in a single tone. Consequently, getting the exact dynamic
level almost on a note-to-note basis becomes essential. These subtleties and
complexities also require a variety of instruments in the same family. This
has a connection to the spoken Japanese language, which does not have
accents in the Western sense. Japanese words have high and low
intonations. In addition, they are comprised only of syllables. All of these
features of spoken Japanese extend into the realm of Japanese vocal music,
creating distinct differences compared to lyri cs of Western vocal music. For
example, a two-syllable word, hashi, cannot be correctly defined using the
Western alphabet. If the first syllable, ha, is emphasized higher
(approximately in between a major and minor third), it means chopsticks.
Alternatively, if the second syllable, shi, is emphasized higher, it can mean
bridge(s) or edge(s).

In the written form, the meanings are clear based on

the use of different Kanji (Chinese characters).

In the spoken form, the

different intonations and contexts in whi ch specific words are used would
differentiate the meanings.
The uniqueness of the language, in addition to the Japanese concept
of one tone being music itself, has had much to do with the need for many
different levels of dynamics in traditional Japanese music. Expressed in the
typical Western way, many more signs would have to be used: fff

ff f fmf

f mfm mpm mp pmp p pp ppp. Further, it would require a sign

38

for each note. 91 Naturally, traditional Japanese music would use its own
mode for dynamic indication.
It is not possible to describe the characteristics of traditional
Japanese music in a simple way since it involves hi ghly complex elements
and aspects; however, knowing the integral part of it will bring a better
understanding of the link between Takemitsus music and his Japanese
heritage. His mother country nurtured and supported his development as a
person and musician. A much more substantial understanding and
appreciation for the relationships between the man and his origins would
require a comprehensive, in-depth review and study of Japanese history and
Buddhism, and its profound role in the development of Japanese culture.
The differences between Western and traditional Japanese music go
well beyond the superficial and obvious features. The attitudes and
approaches toward mastering traditional Japanese instruments with regard
to tone production, development of technique, practice regimen, and
performance are worlds apart with respect to their Western counterpart, in
which a talented young child can play the works by great composers. A
Japanese biwa master brought enlightenment on this issue in a conversation
with Takemitsu on his experience of biwa studies during the early part of the
twentieth century:

91Ibid.,

25.
39

We sat [on the floor in a meditative manner] in a Zen temple from three
oclock in the morni ng until nine at ni ght for one week. During that
time, we did not play the biwa. We only sat there, but our thoughts
were focused on the biwa sound. Other times, we went to the temple at
seven in the morning in the snowy weather with the biwa in our arms.
We sat [za-Zen- meditated] on the cold floor, and when the time came,
we played one person at a time. . . . Without za-Zen, the true sound
cannot be produced. I learned this later when someone who had never
sat [za-Zen] came. . . . You must go through sufferings to gain the true
sound.92

92Yasutsugu

1975), 45-6.

Tsuji, conversation in Takemitsu Tru Taidan-sh (Tokyo, Shbun Sha,

40

CHAPTER THREE

SOLO PIANO MUSIC

I have not tried to explain my own works in detail. It is not necessary
because the music fully speaks for itself. If I included program notes,
reading them would i nterfere with the actual listening process that
should be done by ears. Too much explanation may change and even
limit the direction the music can go. It can even inhibit the evocative
power of music, which has a potential to go far beyond what the
composer could expect. It is onl y natural that critics are interested in
the written language of the composer since that is their business, but I
still wish music to be experienced with ears. 93

Takemitsu wrote piano music from the early stage of his musical
career to the very last. He had a very close connection to the piano and used
it in numerous instrumental works.

Even so, he wrote only seventeen solo

piano pieces, including two unpublished works, Kakehi (1948) and At Circus
(1952). Coincidentally Stravinsky, who brought Takemitsu to the attention
of the world, also had a strong affinity to the piano.

Takemitsus piano

pieces display the effects of various influences; however, it is difficult to

specifically describe the essence of his style. Takemitsu said:
The role of a musician is not to deal with the physical function of

93Takemitsu,

Chosaku-sh, 5:15.
41

sounds. It should begin with an understanding of the essence of sound

itself and how to experiment with it. . . . It is true that music was born
from the acts of men creating natural sounds and from mens simple
movements; however, during the long history, we came to merely utilize
the sounds within a frame of their convenience and function. The
abundance of sounds around me, they have to be alive in my music. I
feel I must be courageous enough to let them be alive. . . . A sound has a
duration; it is temporal. In that sense, it is vain to construct music
within a measured formality.94
Japanese aesthetic values and philosophy are manifested in
Takemitsus piano works. The signature elements of Takemitsus
soundsparse texture, spatial placement of notes, meaningful silences, and
the unfolding of musical experience, like a walk in a garden that is neither
forced nor imposedall relate strongly to traditional Japanese culture and
music.
In light of his compositional philosophy and Japanese heritage, five
of Takemitsus piano pieces Uninterrupted Rests (1952-9), Piano Distance
(1961), For Away (1973), Les yeux clos (1979), and Rain Tree Sketch (1982)
will be examined to find how the link between Takemitsu and Japanese
tradition has been manifested in his music. Mitsuo Aki, an event producer
and writer on music, described Takemitsus music:
Natureflowers and grasses, bushes and trees, rocks and sand; they all
breathe according to thei r own timing. Cycles of four seasons, changing
of the weather in a day, changing of the thoughts of a person strolling
through the gardenthey all have their own cycles of existence.
Takemitsu sculpted an image of sound from observing these natural

94Ibid.,

2:30-1.
42

phenomena and finding the multi-layers of time and space in nature. 95

Uninterrupted Rests

Uninterrupted Rests is comprised of three movements. The first

movement was written in 1952, while the other two were completed in 1959.
The title, Uninterrupted Rests , was taken from a poem by Shz Takiguchi,
which was the fifth poem in an anthology published as Fairys Distance in
1937.96 Takemitsu did not intend to depict the poem musically, but rather to
capture the atmosphere of the poem that was very delicate and yet very
powerful. Uninterrupted Rests was dedicated to the renowned Japanese
pianist, Takahiro Sonoda (b. 1928). The text of the original poem is as
follows:
Of never folding wings
Callow moth is enduring the weight of the nights colossal
Bottle
Transient white statue is frozen from the memory of snow
The winds perching on gaunt twig are adapting to scant light
All
Ever silent spherical mirror on the hill
Shz Takiguchi translated by Noriko Ohtake

The first movement,

=48, is marked, Slowly, sadly and as if to

95Mitsuo Aki, Takemitsu Tru to Nihonteki na Mono ni Tsuite, in Takemitsu Tru

no Sekai, eds. Shinji Saito and Maki Takemitsu (Tokyo: Shei Sha, 1997), 128.
96Funayama,

84 .
43

converse with.

It is unmeasured and in A-B-A form with a coda.

In its

atonal structure, Takemitsu created the atmosphere of the ominously heavy

and dark night with carefully placed sounds and silence.

It opens with a

descending half step with an accent and a fermata over the second note. A
dotted vertical line is placed after the two notes. Judging from Takemitsus
concept of the completeness of a single tone and the character of the tones
produced, it is logical to think that he wanted the two notes to speak as a
phrase. The prolonged second tone, sounding pure and strong as if to draw a
sound, resembles the sound of the shakuhachi in its placement and character.
Takemitsus treatment of this second tone reflects its importance; however, it
is noteworthy that it does not connect to the melodic line.

Instead, it is tied

to the inner voice (Example 3). The composers concept of one tone being
complete within itself and one tone being music seems to be a reasonable and
appropriate explanation for such a treatment. In this movement, Takemitsu
used Messiaens second mode97 (Example 4; See also Example 1 on page 19).
Considering the year it was composed, this connection to Messiaen is
understandable, but the Japanese quality manifested here at such an early
stage of his career is subtle, yet surprising.
Throughout the movement, a certain pattern is apparent; the music
progresses with carefully attacked strong tones fading away as the next
musical event unfolds. Its timing scheme lends a feeling that it is

97Ohtake,

79.
44

happening effortlessly, like a natural phenomenon of the physical world.

This is very much a characteristic of Takemitsus music. The recurrence of
such an event seems to bring coherence and unity to the listening process.
In his careful placements of notes, the music flows, with the perfect timing of
sound and silence coexisting, very much in the spirit of Zen.

Example 3: Uninterrupted Rests I, opening measures

Example 4: Uninterrupted Rests I, line 2

The second movement, quietly and with a cruel reverberation, is

quite different from the first movement. There is no sense of melody, and it
is pointillistic with a twelve-tone quality. Takemitsu indicated in detail the
dynamic markings rangi ng from pppp to sfff, whi ch reflects the sensitivity of
45

traditional Japanese music that requires many levels of dynamic nuance.

He even placed ppp under a rest sign, which appears to indicate the high
level of intensity of the silence (Example 5). The note ranges are also
extreme, guiding the sound production so as to create a cruel reverberation
effect.

Example 5: Uninterrupted Rest II, line 6, precise markings

This movement contains many silences not specifically indicated by

rest signs. Again, Takemitsus concept that sound and silence are equal,
with its origins in traditional Japanese music, is seen here.

Even though it

is measured, a free-rhythm quality exists, with the held notes fading away
into silence. Wide intervals and the placement of notes lend the impression
that Takemitsu indeed created the environment where sounds meet
dramatically.98 This movement does not seem to try to please the ear, but
its sonorities are most appropriate. Indeed, the composer carefully
chiseled the excess sound to reach that particular pure sound that always

Feliciano, Four Asian Contemporary Composers: The Influences of

Tradition in Their Works (Quezon City: New Day Publishers, 1983), 74.
98Francisco

46

existed.
The spatialization of time and musical flow in Takemitsus music is
reminiscent of a Japanese garden and traditional Japanese art forms, such as

sumie painting, flower arranging, the tea ceremony, or poetry, as mentioned

in Chapter Two. They all value and incorporate the aspect of time and
space, Ma (Example 6). The depth of thoughts and meanings expressed in
the brevity of sounds also resembles the effects of haiku poetry.

Example 6: Uninterrupted Rests II, lines 3-4, Ma

Takemitsu indicated the precise tempo in this movementone

measure to be played in three seconds. A tone lasting for eight seconds in

ppp is not audible for its entire duration. These silences are active in the
musical event, defining the exact duration of each quiet action. Here again,
47

each action-silence serves as a unifying factor i n the recurrence of the sound

coming in after the silence.
Although Takemitsu did not intend it, the movement appears to
impose upon the listener a feeling that sounds floating freely i n space were
carefully selected one by one by the composer, and placed into an
environment where they could meet dramatically.
Takemitsus application of dynamics, duration of sounds, entering of
new tones, and the slow progression of sounds and silences produce the
come-pause-go pattern of the musical event that is neither constructed nor
planned; yet it is like a precisely timed movement of quietly rotating planets
comprising our solar system. This effect seems to derive from Takemitsus
delicate use of silences created by soft prolonged notes, which seem to end the
musical flow, as well as from the way the sound continues with stronger tones
entering.

It also resembles a leisurely walk through a garden. The

possibilities of spacing of sound and silence are, of course, infinite; however,

created by Takemitsu, they are most intriguing, much less aesthetically
remarkable. In any case, an attempt to describe this sound experience
would be as futile as explaining a beautiful sunset to someone who has never
seen colors.
The third movement, a song of love, is measured and employs time
signatures; however, the free-rhythm quality prevails with long-held notes in
slow motion (Example 7). It is quiet and soft with mostly pp and ppp

48

markings. Here again, the carefully attacked notes fade away followed by
other such tones. Just as a delicate timbre is essential in traditional
Japanese music within a limited variety of instruments, Takemitsu indicated
dynamic signs for subtle differences in tone production.

It is the most lyrical

and sorrowful of the three movements

Example 7: Uninterrupted Rests III, mm. 7-9

The last movement was dedicated to Shz Takiguchi. Takemitsus

note on the original manuscript sounds confusing: Since I wrote my first
music based on Mr. Takiguchis poem, for the last piece I will also write my
first piece based on his poem.99 Takemitsu later wrote a violin and piano
duo, Hika, based on this piece.

Concl usion: Throughout Uninterrupted Rests there are no exaggerated

statements, except for the cruel reverberation[s] of the second movement.
Quiet, intense, pure, simple, and unassuming are some of the words that

99Funayama,

92.

49

might be used to characterize the first and third movements, as completely

consistent with the aesthetic and spiritual principles of Takemitsu and
Japanese culture. The title, Uninterrupted Rests, although not created by
Takemitsu, seems appropriate, given that there are very few long rest signs
written in the score. Further, there are many prolonged silent moments
after the tones have died away. The silences, Ma, are intense and active,
allowing no interruptions.

Piano Distance

Piano Distance was composed in 1961, the beginning of the second

period of Takemitsus career. It was composed for pianist Yuji Takahashi.
Takemitsus encounter with this musician was especially meaningful in that
it affected the development of Takemitsus creativity for piano writing. The
first performance by Takahashi was said to have been magnificent and
almost miraculous to the extent that no one else could have ever achieved
it.100
Regarding this work the composer said, The title does not have any
special meaning, but it could be interpreted as a small essay on a gradation of

Nodaira, Takemitsu Tru: Oto no Kawa no Yukue, eds. Choki Seiji and
Higuchi Ryuichi (Tokyo: Heibon Sha, 2000), 75.
100Ichiro

50

coloristic changes in the soft dynamic ranges. 101 Indeed, the title is suitable
because the music extends to different dimensions of varied tone colors, wide
registers, and dynamic ranges.

It is an expanded sound activity that goes

out in every direction (Example 8).

Example 8: Piano Distance, mm. 7-11

Piano Distance is Takemitsus first piece in which he consciously

explored the issue of space in music. 102 Takemitsu stated that in Piano

Distance he was to free the sounds from the frame of bar lines, and to work
out the connection among truly alive sounds; moreover, each note that
appears the same in the physical manifestation in the score must be
understood and played as if possessing a different character. He observed
that Piano Distance was similar to the structure of Noh, with regard to space

101Takemitsu,

Chosaku-sh, 5:452.

102Funayama,

151.
51

and time.103

Piano Distance continues from the pointillistic musical language of

Uninterrupted Rest II and is the driest sounding piece among his piano
music. The texture is sparse and the music seems to unfold
extemporaneously. It does not ha ve a time signature; however, it is
measured, bearing the tempo marking of three seconds per measure. The
precise length of each measure seems to indicate that Takemitsu timed the
duration of fading-away tones to create the exact sonority he had in mind
(Example 9). It is seventy-nine measures long and opens with a single note
marked with feeling.

This is another indication of Takemitsus philosophy

of one tone being complete within itself.

Takemitsu indicated the pedal and dynamic markings precisely with
specific words such as very short, tenderly hard, quickly, cut, etc. For the
exact manner in which to use the pedals, he employed unique signs.
Takemitsus sensitivity to every note and sound is manifested in such places.
The frequent changes and the complexity involved require coordinated
footwork that affects the reverberation of the keys struck.
The fading sounds, sonority created by harmonics, the sudden
outbursts of fff notes, and the duration of the tones all contribute to the
formation of multi-layers of timbre, texture, and tone color within the
boundaries of the limitations of the piano. One example is seen in the

103Takemitsu,

Chosaku-sh, 5:431.
52

opening measures: D-flat harmonics are placed to last four measures, during
which time the notes C, D-flat, B-flat, and A that are within the interval of a
minor 10th, and a cluster chord, E-F-B-C#-D, are played. They are placed
ever so meticulously to create many different layers of sonority (Example 10).
Takemitsus intense focus on drawing the sounds is manifested here.

Example 9: Piano Distance, mm. 22-37

53

Example 10: Piano Distance, opening measures

Although measured, the free-rhythm quality exists with the

long-sustained tones. Active and meaningful silences, Ma, and cyclic
musical occurrences permeate the piece, as in Uninterrupted Rests . Here
again, Takemitsus signature elements, the cycles of sound and silence, are
apparent, and reconfirm thei r origi n in Japanese culture deriving from Zen.
Without knowing its meaning and significance, the listener may overlook the
coherence and unity of the piece. The isolated strong tones suddenly break
the peace of the quiet moment, which is followed by another silencesuch
recurrence seems to intensify the strength of sounds.

Concl usion:

In Piano Distance Takemitsu created a musical world full of

spaces and distances: from pppp to fff, from the lowest D to the highest A-flat,
and long sustaining sounds and silences. The spaces permeate the musical
activities in which the sounds freely travel to every direction and distance.
Even though Takemitsu did not have a specific meaning for the title, it seems

54

most appropriate. For Takemitsu, Piano Distance was a pioneer piece in the
use of a title with multiple meanings. Piano indicates both the dynamic
indication, p, and the instrument, pianoforte. Likewise, Distance indicates
the distance of the upper and lower ends of physical parameter. The
sonority demands careful attention of both performer and listener to be
appreciated for its multi-dimensional quality.104 It is also likened to a
garden in which plants and rocks coexist in the cyclical and changing
temporal world.

For Away
For Away was composed in 1973, eleven years after Piano Distance.
Takemitsus fame grew during those years with his many instrumental works
and screen music. His landmark piece, November Steps , had been composed
in 1967, and by 1973 the composer Tru Takemitsu was a major international
figure in the musical world. For Away has often been mistaken for Far
Away.

Takemitsu said, The title is a strange one. The piece is my

personal gift to Roger Woodward, and at the same time my expression of

praise and offering to the vast atmosphere of life, which is not merel y or
solely for the realm of mankind. 105 For Away was premiered by the

104Iwata,

122-3.

105Takemitsu,

Chosaku-sh, 5:451.
55

dedicatee. It was the first of several titles drawn from Finnegans Wake by
Irish novelist, James Joyce.

For Away employs regular bar lines as well as dotted lines that
further divide the measures. Even so, it is not easy to feel the beats in this
piece that contains many grace notes, arpeggio-like figurations, and
sustained tones. The texture is thicker and the silences are shorter
compared to Uninterrupted Rests or Piano Distance. Takemitsus notation
of dynamic, pedal, tempo, and nuance markings indicates how he focused on
the details of each sound. It was never his goal to make his music resemble
traditional Japanese music; however, such details display the characteristics
of Japanese music in which timbre is of utmost importance (Example 11).

Example 11: For Away, line 10

56

The opening grace notes possess the character of sounds created by

plucking the strings of the koto (Example 12). This effect is used a number
of times. With the grace notes in each hand moving in the opposite
direction, based on an octatonic scale, the music creates unique sounds that
would remind a Japanese person of koto music.

Example 12: For Away, opening measures

Upon hearing the piece the clear, pure sounds haunt the ear.
Takemitsu used repeated tones over the reverberation of pedaled tones.
Although they are played very softly, they speak out convincingl y with their
pure, strong character. This effect supports the composers philosophy of a
tone being a part of the stream of sounds and the aim of Japanese
traditional music to make a sound complete within itself by strengthening it.

For Away also poses a flavor of Indonesia. Takemitsu visited the island of
Bali and wrote For Away to commemorate his visit and experience with
gamelan music106 (Example 13).

106Iwata,

175.
57

Example 13: For Away, line 26, flavor of Indonesiagamelan

The musical progression is quicker, and again there is a cyclic

element: there are many notes that appear as if they are traveling freely at
will without restraint. When the musical activity rests on one tone, the
cycle is concluded (Example 14).

Concl usion: The concept of the deepening of sound, one tone being music
itself, is manifested strongly with the recurrence of the musical activities
coming to rest on one tone.

In the use of numerous notes with a variety of

characters that are so far apart from each other in dynamic and register
distances, his words, I dont compose with sounds.

I collaborate with

them,107 become real. He united them by collaborating with each one;

together they created the Takemitsu sound.

107Takemitsu,

Chosaku-sh, 3:54.
58

Example 14: For Away, lines 5-7, cyclic pro gression

Les yeux clos

Les yeux clos , meaning closed eyes, was completed in August 1979 in
memory of Shz Takiguchi, who died a month earlier. The piece refers to
the lithograph of Odilon Redon with the same title. According to Takemitsu,

59

closed eyes evoked open ears in him. He said that facing the death of
this remarkable poet changed his musical feeling for the work, and that the
calm expression on Takiguchis face and the eyes that would never open again
made the relation of the title and the work go beyond his intent or plan, and
the composer himself could not even analyze it108 (Example 15).

Example 15: Les yeux clos, opening measures

The sounds here are very complex with many layers of sonority, and
seem to create a third dimension. Takemitsu noted in the score: [The] most
important thing in performing Les yeux clos is to produce subtle changes of
the color and the time as floating.

The unceasing sound activity is complex

with every level of sonority reverberating. The delicate, carefully placed

notes resonate as if to deepen themselves (Example 16).

108Ibid.,

5:424.
60

Example 16: Les yeux clos, line 13

Takemitsu expressed a number of times that he was not interested in

constructing music.

One i ndication of this is in a quasi-isorhythmic passage

in which each hand plays different rhythmic patterns against one another
(Example 17). Takemitsu did not preserve this in the orchestral version of
the piece, Visions . Many Western composers would have taken advantage of
such a musical construction and tried to use it again. 109 Takemitsus
intention for composing was only to provide a meeting place for sounds to
gather together, and structural organization never had a major place in his
creative mind.

109Burt,

244.
61

Example 17: Les yeux clos, line 13, rhythmic pattern

Concl usion:

In Les yeux clos , Takemitsu explored the pianos capacity for

sonority to its limit and utilized it at the highest level, a level he himself
could not fully analyze. Harmonics, held tones, chordssounds are
superimposed in every possible way and create multi-layers of sonority. His
careful attention to the details of sound production emphasizes the
importance of each tone and timbre as in traditional Japanese music.

Rain Tree Sketch

Rain Tree Sketch was composed in 1983 as a fiftieth birthday gift for a
friend, Maurice Fleuret, the French writer.

In the 1980s Takemitsus career

was unshakable and the popularity of his music grew. Rain Tree Sketch was
inspired by Japanese writer Kenzaburo e, whose works bear the words Rain
Tree, such as Women Listening to the Rain Tree, or Clever Rain Tree.110

110Iwata,

49.

62

Takemitsu and e responded to each others works by writing music and

novels. Rain Tree Sketch is the last of such activities between the two. 111
Takemitsu wrote Rain Tree Sketch after reading a passage from es Clever

Rain Tree:
When it rains at night, Rain Tree lets the droplets of water fall until the
following day because it stores the water within its thumb-sized, dense
layer of leaves. All the other trees dry up quickly, but rain tree keeps
the water. Its a clever tree. 112
Takemitsu had a special affinity for rain and tree, and used these
words in the titles of his works. He even named his daughter Maki, literally
meaning true tree, after Ki no Kyoku [Music of Tree]. The traditional
Japanese concept of everything being a part of a temporal, cyclic, transient
moment is similar to the state of rain.113 Takemitsu depicted the state of an
opulently wet tree dripping droplets of water (Example 18). The Japanese
influence does not appear so much in the compositional aspect as in his
thoughts behind the music.

Rain Tree Sketch is in A-B-A form. It is measured; however, there is

no time signature. The number of beats in a measure changes constantly,
and the first five measures display an interesting feature: Takemitsu used
the melody notes of A-G#-E-F in every measure, switching from ri ght hand to

111Ibid.,

50.

112Kenzaburo

Chosaku-sh, 5:385.

113Ohtake,

e, Ame no Ki wo Kiku Onnatachi, quoted in Takemitsu,

87.
63

left hand in different rhythms (Example 19). He indicated two different

tempo markings:

=3

= 63~56 (Tempo I) and

=2

= 84~80

(Tempo II). There is a parallel to the music of Noh in the treatment of tempo
and the unequal measures.

Example 18: Rain Tree Sketch, lines 10-11, depiction of rain

Example 19: Rain Tree Sketch, opening measures

64

The texture here is thicker and the musical activity is clearer and
more concise. The static quality seen in his earlier works is not present and
there is also an improvisational quality. Takemitsus musical philosophy is
still seen once again in specific, detailed markings:

for strong,

moderate, and

medium long,

soft accents;

for very long,

and

short pauses. To Takemitsu, each tone was complete in itself and needed
much attention.

Concl usion:

In the 1980s, Takemitsus music was entering a new stage,

densification of space.114 Rain Tree Sketch displays his new approach in

its texture, flow, and Ma. Rain and tree had a special affinity for Takemitsu
and he loved them. He was always a part of nature, and his tone a part of
the stream of sounds that surrounded him.

114Iwata,

152.
65

CONCLUSION

In this study the author has touched only the surface of the most
profound intention and expression behind Takemitsus music. Shortly
before his death, Takemitsu expressed the desire to be a whale, to possess a
strong body to swim across the ocean where there are no boundaries of East
or West.
Takemitsu received influences from both hemispheres. He was
exceptionally receptive and assimilated new and forei gn concepts and ideas,
which was particularly remarkable for the time. He was open to question,
accept, discard, absorb, then ultimately found the true music for whi ch he
had been searching. Along the way, rejection became acceptance, inspiration
became creation, and intellectual philosophy built musical foundation; but
above all, there was one strong influence that molded Tru Takemitsu into a
truly unique composerJapan, with its long heritage of Zen philosophy and
refined culture. Many, if not most, of the concepts and values embodied in
Takemitsus music find their underpinnings in the mainstream Japanese
tradition.
Takemitsus concept of sound and silence being equal originated in
the Japanese culture, and reflects the temporal sense of the Zen view of
66

nature. This concept is manifested in his music, not obviously, but in

somewhat abstract terms. Knowing the essence of Japanese culture is
essential for a clear understanding and deeper appreciation of his music. He
was truly a Japanese composer to the core.

In a conversation with Seiji

Ozawa, Takemitsu expressed his affinity to Japan:

In my case, it is when I see the nature and scenery and become inspired
by them. Only then, I feel my musical senses coming out from inside.
It has to be the Japanese trees and mountains. I dont know the reason
why, and it may seem strange, but I can compose only when I am in
Japan. I travel abroad with staff paper on hand, but I cannot compose
anything.
Tru Takemitsus music does not call for an explanation, but for a
performers acute sense of sound and silence to be understood properly.

One

needs to merge with the musical flow; only then does it unfold its profound
meaning. Takemitsu always claimed his music did not need justification for
what it was or require any deep analysis. His music was neither a result of
mere blending of Eastern and Western musical elements nor a planned
construction.

Its expression is pure and strong, and it was never calculated

to satisfy the rules of standard musical frames.

His piano works introduced in this treatise suggest the various
influences. Their manifestation is subtle but powerful, and
reconfirms his Japanese heritage. The sounds that flowed in the stream of
sounds were given the time and space, and gained meaning and direction.
They were discovered from where they always existed and given life by the
masters hands.
67

For me, the act of composing consists of creating an envi ronment where
sounds can meet dramatically.
Tru Takemitsu

68

APPEN DIC ES

69

APPEN DIX A
LIST OF WORKS

Works for Piano

1948

Kakehi*

1949

Romance
Two Pieces for Piano

1950

Lento in due movimenti

1952

At the Circus*
Uninterrupted Rests (I)

1959

Uninterrupted Rests (II & III)

1960

Love Me

1961

Piano Distance

1962

Corona for Pianist(s), graphic score

Crossing, graphic work for piano(s)

1973

For Away

1979

Les yeux clos

Little Piano Pieces for Children
1. Breeze
2. Cloud

1982

Rain Tree Sketch

1988

Les yeux clos II

1989

Litany, in memory of Michael Vyner

70

1992

Rain Tree Sketch II, i n memory of Olivier Messiaen

Golden Slumbers (transcription of work by John Lennon
and Paul McCartney)

* Unpublished works

Orchestral Works
1957

Requiem for String Orchestra

1958

Tableau noir: for narrator and orchestra

Solitude sonore

1959

Scene: for cello and string orchestra

1961

Music of Trees

1962

Coral Island: for soprano and orchestra

1963-6

Arc Part I: for piano and orchestra (revised 1976)

I. Pile (1963)
II. Solitude (1966)
III. Your Love and the Crossing (1963)

1964-66 Arc Part II: for piano and orchestra (revised 1976)
I. Textures (1964)
II. Reflection (1966)
III. Coda . . . shall begin from the end (1966)
1966

Dorian Horizon: for seventeen strings

1967

Green

1967

November Steps: for biwa, shakuhachi and orchestra

1968

Asterism: for piano and orchestra

1970

Crossing: for four soloistspiano/celesta, guitar, harp,

vibraphone, female voices and two orchestras
Eucalypts I: for flute, oboe, harp and string orchestra

71

1971

Cassiopeia: for percussion solo and string orchestra

(includes electric guitar)
Winter: for three orchestras
Gemeaux Part 1: for oboe, trombone and two orchestras

1973

Autumn: for biwa, shakuhachi and orchestra

1974

Gitimalya: for marimba solo and orchestra

1975

Quatrain: for clarinet, violin, cello, piano and orchestra

1976

Marginalia

1977

A Flock Descends into the Pentagonal Garden

1980

Far Calls. Coming, Far!: for violin and orchestra

1981

Dreamtime
A Way a Lone II: for string orchestra
Toward the Sea II: for alto flute, harp and string orchestra

1982

Star-Isle
Rain Coming: for chamber orchestra

1983

To the Edge of Dream: for guitar and orchestra

Lacrima for String Orchestra (transcription of film music,
Yogen[Prophecy])

1984

Orion and Pleaides: for cello and orchestra

Vers, arc-en-ciel, Palma: for guitar, oboe damore and
orchestra
Riverrun: for piano and orchestra

1985

Dream/Window

1986

Gemeaux: for oboe, trombone, two orchestras and two

conductors

1987

I Hear the Water Dreaming: for flute and orchestra

Nostalgia in Memory of Andrei Tarkovskij: for violin and
string orchestra

1988

Twill by TwilightIn Memory of Morton Feldman

Tree Line
72

1989

A String Around Autumn: for violin and orchestra

1990

Visions
From Me Flows What You Call Time: for five percussionists
and orchestra

1991

Fantasma/Cantos: for clarinet and orchestra

How Slow the Wind
Quotation of DreamSay Sea, Take Me!: for two pianos
and orchestra

1992

Family TreeMusical Verses for Young People: for

narrator and orchestra
CeremonialAn Autumn Ode: for sh and orchestra

1993

Archipelago S.: for twenty-one players

1994

Fantasma/Cantos II: for trombone and orchestra

Spirit Garden
Three Film Scores
1. Music of Training and Rest
2. Funeral Music
3. Waltz

1995

Spectral Canticle: for violin, guitar and orchestra

1996

Nami no Bon: for orchestra, harp, celesta and synthesizer

Alone on the Pacific: for orchestra
Two Cine Pastorali: for koto and orchestra
1. Orin
2. Kaoru
Dodeska-Den: for orchestra, harp and celesta
Death and Resurrection: for string orchestra

Works for Chamber Ensemble

1955

Concerto de chambre: for thirteen wind instruments

1958

Pananpe no Omoigakenai Shouri no Hanashi: for

clarinet, vibraphone, piano, guitar, drums, double bass,
73

baritone and bass

1958-60 Le son calligraphi: for four violins, two violas and two
cellos
Landscape: for string quartet
1960

Be Sleep Baby!: for flute, saxophone, drums and bass.

1961

Ring: for flute, terz guitar and lute

1962

Sacrifice: for alto flute, lute and vibraphone

Corona II: for strings

1963

Arc for Strings

1965

Sonant: for two flutes, violin, cello, guitar and two

bandoneons (renamed Valeria in 1969 for two piccolos,
violin, cello, guitar and electric organ).

1969

Stanza: for soprano, piano (celesta), guitar, harp and

vibraphone

1971

Eucalypts II: for flute, oboe and harp

1973

In an Autumn Garden: for Gagaku orchestra

1974

Garden Rain: for brass ensemble

1976

Bryce: for flute, two harps and two percussionists

Waves: for clarinet, horn, two trombones, percussion

1977

Quatrain II: for clarinet, violin, cello and piano

1978

Waterways: for clarinet, violin, cello, two harps, two

vibraphones

1979

In the Autumn Garden (complete version): for Gagaku

orchestra

1981

A Way a Lone: for string quartet

1982

Rain Spell: for flute, clarinet, harp, piano and vibraphone

1986

Entre-temps: for oboe and string quartet

74

1987

Signals from HeavenTwo Antiphonal Fanfares: for two

brass groups
I. Day Signal
II. Night Signal

1992

And Then I Knew twas Wind: for flute, harp and viola

1993

Between Tides: for violin, cello and piano

Harbstlied: for clarinet and string quartet (transcription of
a solo piano piece by Tchaikovsky)

Works for Other Instruments

1951

Distance de fe

1957

Solitude sonore: for flute

1959

Masque, Continu/Incidental I: for two flutes

1960

Masque, Incidental II: for two flutes

1966

Eclipse: for shakuhachi and biwa

Hika: for violin and piano

1970

Seasons: for percussion and tape or four percussions

1971

Voice: for flute

Munari by Munari: for percussion solo
Stanza: for harp and tape

1972

Distance: for oboe (and sh)

1973

Voyage: for three biwa

1974

Folios: for guitar

Over the Rainbow: for guitar

1975

Le fils des toiles Prlude du 1er acte La vocation: for

flute and harp (transcription of a piano piece by Eric
Satie)
75

1977

Twelve Songs for Guitar (transcription of works by other

composers)

1981

Rain Tree: for three percussionists

Toward the Sea: for alto flute and guitar

1982

Cross Hatch: for marimba and vibraphone or two keyboard

instruments

1983

The Last Waltz: for guitar (transcription of Les Reed and

Barry Mason)
Rocking Mirror Daybreak: for two violins
From Far Beyond Chrysanthemums and November Fog:
for violin and piano

1984

Orion: for cello and piano

1986

Rain Dreaming: for cembalo

1987

All in Twilight: for guitar

1988

Toward the Sea III: for alto flute and harp

1989

ItinerantIn Memory of Isamu Noguchi: for flute

1993

Equinox: for guitar

Fallen Leaves: for guitar (arrangement of work by
J. Kosma)

1994

Paths in Memoriam Witold Lutoslawski: for trumpet

A Bird Came Down the Walk: for viola and piano

1995

In the Woods: for guitar

Air: for flute

Vocal Works
1961

Wind Horse: for female chorus

1. Vocalise I
2. Spell of Fingers
76

1966

Wind Horse: for mixed chorus

3. Vocalise II
4. Vocalise III
5. Legend of the Dining Table

1981

Chiisana Heya de [In a Little Room]: for mixed chorus

1982

Grass: for male chorus

Koi no Kakurenbo: for mixed chorus
Mienai Kodomo: for mixed chorus
Wings: for mixed chorus
Shima e: for mixed chorus

1984

Shinda Otoko no Nokoshita Mono wa: for mixed chorus

to no Uta: for mixed chorus
Sayounara: for mixed chorus

1987

Handmade Proverbs Four Pop Songs: for male chorus

1990

My Way of LifeIn Memory of Michael Vyner: for baritone,

mixed chorus and orchestra

1992

Asu wa Hare Kana Kumori Kana: for mixed chorus

Other Works
1951

Joi de vivre: for ballet

1953

Ginga Tetusdou no Tabi: for ballet

1955

Static Relief: tape music

1956

Ai no Jouken: tape music

Vocalism A. I.: tape music
Clap Vocalism: tape music
Ki, Sora, Tori: tape music

1958

Sky, Horse, and Death: tape music

1960

Quiet Design: tape music

Water Music: tape music
77

1961

Nihon no Monyou: tape music with traditional Japanese

instruments

1964

Blue Aurora for Toshi Ichiyana gi: theater music

1966

Seven Hills Events: theater music

1968

Cross Talk: bandoneon and tape

1970

Toward: tape music

1972

In Motion: tape music

1986

A Minneapolis Garden: tape music

The Sea is Still: tape music

The works that are not listed in this appendix include more than one hundred pieces
for films, numerous television and radio programs, and TV commercials .

78

APPEN DIX B
DISCOGRAPHY OF PIANO WORKS

Recording Labels: AAngel; BISBIS; CamCamerata; CrCrown;

DGDeutsche Gramophone; EMIEMI Classics; EtcEtcetra;
FinFin landia; FonFontic; KKing; KOKOCH International;
LLondon; MSMusic Scape; PhPhilips; PRPProPiano; RRCA;
THThorofon; ToToshiba; VVictor

Romance (1949)
Kazuoki Fujii
20-20CD 005*
Aki Takahashi
EMI-TOC E55237
Little Piano Pieces for Children: Breeze and Cloud, Lento in due
movimenti, Uninterrupted Rests, Piano Distance, For Away, Les
yeux clos, Les yeux clos II, Litany, Rain Tree Sketch, Rain Tree
Sketch II

____________________
*Published by Nippon no Sakkyoku: 21 Seiki en Ayumi Iinkai [Japanese
Compositions: The Committee for Steps Forward to the Twenty-first Century]
79

Lento in due movimenti (1950)

Kazuoki Fujii
Fon-FONC5043 (FOCD3202)
Rain Tree Sketch, Les yeux clos, Piano Distance, Uninterrupted
Rests, For Away
Aki Takahashi
EMI-TOC E55237
Little Piano Pieces for Children: Breeze and Cloud, Romance,
Uninterrupted Rests, Piano Distance, For Away, Les yeux clos,
Les yeux clos II, Litany, Rain Tree Sketch, Rain Tree Sketch II

Uninterrupted Rests (1952-9)

Kazuoki Fujii
Fon-FONC5043 (FOCD3202)
Rain Tree Sketch, Les yeux clos, For Away, Piano Distance,
Lento in due movimenti
Fon-FOCD3109
Litany, Piano Distance, For Away, Les yeux clos, Les yeux clos II,
Rain Tree Sketch
Fon-FOCD2522
Litany, Piano Distance, For Away, Les yeux clos, Les yeux clos II,
Rain Tree Sketch, Rain Tree Sketch II
Kumi Kogano
Ph-PHCP145
Rain Tree Sketch, Piano Distance, For Away, Les yeux clos, Les
yeux clos II, Litany
Ph-PHCP1823
Litany
80

Noriko Ogawa
BIS-KKCC2229 (BIS805)
Litany, Piano Distance, For Away, Les yeux clos, Les yeux clos II,
Rain Tree Sketch, Rain Tree Sketch II
Hiromi Okada
Cam-28CM568
Rain Tree Sketch, Rain Tree Sketch II, Piano Distance, For Away,
Les yeux clos, Les yeux clos II, Litany
Ichir Nodaira
MS-MSCD0001
Rain Tree Sketch, Rain Tree Sketch II, Litany, Piano Distance,
For Away, Les yeux clos, Les yeux clos II
Peter Serki n
R-RCL8377
Piano Distance, For Away, Les yeux clos
R-BV CC1508
R-09026-68595-2
Rain Tree Sketch, Rain Tree Sketch II, Litany, Piano Distance,
For Away, Les yeux clos, Les yeux clos II
R-BV CC8899-8900
Piano Distance, For Away, Les yeux clos
Takahiro Sonoda
Fon-FOCD3417
Uninterrupted Rests I
Aki Takahashi
EMI-TOC E55237
Romance, Little Piano Pieces for Children: Breeze and Cloud,
Lento in due movimenti, Piano Distance, For Away, Les yeux clos,
Les yeux clos II, Litany, Rain Tree Sketch, Rain Tree
Sketch II
81

A-EAA85013-5; (EAC60153, EMI-18MN1015)

Piano Distance
Yji Takahashi
V-SJV1504 (V X23, SJX7506)
Piano Distance, For Away
V-JV CD1008
Piano Distance, Corona
V-KV X5514
Piano Distance
DG-MG2408 (POCG3358, 3653)
For Away, Piano Distance, Corona
DG-C25G00032
For Away, Piano Distance, Corona
Izumi Tateno
Fin-WPCS5752 (Fin-15245)
Piano Distance, For Away, Les yeux clos, Les yeux clos II, Rain
Tree Sketch, Rain Tree Sketch II, Litany
M. Yugachi
TH-2324
Litany
Roger Woodward
Etc-NSC214 (KTC1103)
Les yeux clos, Les yeux clos II, For Away, Litany, Piano Distance,
Corona, Crossing, Rain Tree Sketch
L-SLC2365 (POCL2347, 3998)
Corona, For Away, Piano Distance

82

Piano Distance (1961)

Kazuoki Fujii
Fon-FONC5043 (FOCD3202)
Uninterrupted Rests, Rain Tree Sketch, Les yeux clos, For Away,
Lento in due movimenti
Fon-FOCD3109
Litany, Uninterrupted Rests, For Away, Les yeux clos, Les yeux
clos II, Rain Tree Sketch
Fon-FOCD2522
Litany, Uninterrupted Rests, For Away, Les yeux clos, Les yeux
clos II, Rain Tree Sketch, Rain Tree Sketch II
Kumi Kogano
Ph-PHCP145
Rain Tree Sketch, U ninterrupted Rests, For Away, Les yeux clos,
Les yeux clos II, Litany
Noriko Ogawa
BIS-KKCC2229 (BIS805)
Litany, Uninterrupted Rests, For Away, Les yeux clos, Les yeux
clos II, Rain Tree Sketch, Rain Tree Sketch II
Hiromi Okada
Cam-28CM568
Rain Tree Sketch, Rain Tree Sketch II, Uninterrupted Rests, For
Away, Les yeux clos, Les yeux clos II, Litany
Midori Matsutani
Cam-32CM318
Ichir Nodaira
MS-MSCD0001
Rain Tree Sketch, Rain Tree Sketch II, Litany, Uninterrupted
83

Rests, For Away, Les yeux clos, Les yeux clos II

Peter Serki n
R-RCL8377
Uninterrupted Rests, For Away, Les yeux clos
R-BV CC1508
R-09026-68595-2
Rain Tree Sketch, Rain Tree Sketch II, Litany, Uninterrupted
Rests, For Away, Les yeux clos, Les yeux clos II
R-BV CC8899-8900
Uninterrupted Rests, For Away, Les yeux clos, Les yeux
clos II, Rain Tree Sketch, Rain Tree Sketch II
Tomiko Tahara
V-V DC1415
For Away
Aki Takahashi
EMI-TOC E55237
Romance, Little Piano Pieces for Children: Breeze and Cloud,
Lento in due movimenti, Uni nterrupted Rests, For Away, Les
yeux clos, Les yeux clos II, Litany, Rain Tree Sketch, Rain Tree
Sketch II
A-EAA85013-5; (EAC60153, EMI-18MN1015)
Uninterrupted Rests
Yji Takahashi
V-SJV1504 (V X23, SJX7506)
Uninterrupted Rests, For Away
V-JV CD1008
Uninterrupted Rests, Corona
V-KV X5514
Uninterrupted Rests

84

DG-MG2408 (POCG3358, 3653)

For Away, Uninterrupted Rests, Corona
DG-C25G00032
For Away, Uninterrupted Rests, Corona
Izumi Tateno
Fin-WPCS5752 (Fin-15245)
Uninterrupted Rests, For Away, Les yeux clos, Les yeux clos II,
Rain Tree Sketch, Rain Tree Sketch II, Litany
Roger Woodward
Etc-NSC214 (KTC1103)
Les yeux clos, Les yeux clos II, For Away, Litany, Piano Distance,
Uninterrupted Rests, Corona, Crossing
L-SLC2365 (POCL2347, 3998)
Corona, For Away, Uninterrupted Rests

Corona for Pianist(s) (1962)

Toshi Ichiyanagi
V-SJX7539
Aki Takahashi
Cr-SWS1-2
Yji Takahashi
DG-C25G00032
Piano Distance, For Away, Uninterrupted Rests
DG-MG2408 (POCG3358, 3653)
For Away, Uninterrupted Rests, Piano Distance
V-JV CD1008 (Yuji Takahashi and Toshi Ichiyanagi)
85

Piano Distance, Uninterrupted Rests

Roger Woodward
Etc-NSC214 (KTC1103)
Rain Tree Sketch, Les yeux clos, Les yeux clos II, For Away,
Litany, Piano Distance, Uninterrupted Rests, Crossing
L-SLC2365 (POCL2347, 3998)
For Away, Piano Distance, Uninterrupted Rests

Crossing (1962)
Roger Woodward
Etc-NSC214 (KTC1103)
Rain Tree Sketch, Les yeux clos, Les yeux clos II, For Away,
Litany, Piano Distance, Uninterrupted Rests, Corona

For Away (1973)

Kazuoki Fujii
Fon-FONC5043 (FOCD3202)
Uninterrupted Rests, Piano Distance, Rain Tree Sketch, Les
yeux clos, Lento in due movimenti
Fon-FOCD3109
Litany, Uninterrupted Rests, Piano Distance, Les yeux clos, Les
yeux clos II, Rain Tree Sketch
Fon-FOCD2522
Litany, Uninterrupted Rests, Piano Distance, Les yeux clos, Les
yeux clos II, Rain Tree Sketch, Rain Tree Sketch II
Kumi Kogano
Ph-PHCP145
86

Rain Tree Sketch, Uni nterrupted Rests, Piano Distance, Les

yeux clos, Les yeux clos II, Litany
Yukie Nagai
BIS-KKCC2210 (BIS766)
Rain Tree Sketch
Ichiro Nodaira
MS-MSCD0001
Litany, Uninterrupted Rests, Rain Tree Sketch, Rain Tree
Sketch II, Piano Distance, Les yeux clos, Les yeux clos II
Minoru Nojima
To-TCM002
Les yeux clos
Noriko Ogawa
BIS-KKCC2229 (BIS805)
Litany, Uninterrupted Rests, Piano Distance, Les yeux clos, Les
yeux clos II, Rain Tree Sketch, Rain Tree Sketch II
Hiromi Okada
Cam-28CM568
Rain Tree Sketch, Rain Tree Sketch II, Uninterrupted Rests,
Piano Distance, Les yeux clos, Les yeux clos II, Litany
Peter Serki n
R-RCL8377
Uninterrupted Rests, Piano Distance, Les yeux clos
R-BV CC1508
Litany, Uninterrupted Rests, Rain Tree Sketch, Rain Tree
Sketch II, Les yeux clos, Les yeux clos II
R-BV CC8899-8900
Uninterrupted Rests, Piano Distance, Les yeux clos
87

Tomiko Tahara
V-V DC1415
Aki Takahashi
EMI-TOC E55237
Romance, Little Piano Pieces for Children: Breeze and Cloud,
Lento in due movimenti, Uni nterrupted Rests, Piano Distance,
Les yeux clos, Les yeux clos II, Litany, Rain Tree Sketch, Rain
Tree Sketch II
Yuji Takahashi
DG-C25G00032
Uninterrupted Rests, Piano Distance, Corona
DG-MG2408 (POCG3358, 3653)
Uninterrupted Rests, Piano Distance, Corona
Izumi Tateno
Fin-WPCS5752
Uninterrupted Rests, Piano Distance, Les yeux clos, Les yeux
clos II, Rain Tree Sketch, Rain Tree Sketch II, Litany
Roger Woodward
Etc-NSC214 (KTC1103)
Rain Tree Sketch, Les yeux clos, Les yeux clos II, Piano
Distance, Litany, Uninterrupted Rests, Corona, Crossing
L-SLC2365 (POCL2347, 3998)
Corona, Piano Distance, Uninterrupted Rests

Les yeux clos (1979)

Kazuoki Fujii

88

Fon-FONC5043 (FOCD3202)
Uninterrupted Rests, Piano Distance, Rain Tree Sketch, For
Away, Lento in due movimenti
Fon-FOCD3109
Litany, Uninterrupted Rests, Piano Distance, For Away, Les yeux
clos II, Rain Tree Sketch
Fon-FOCD2522
Litany, Uninterrupted Rests, Piano Distance, For Away, Les yeux
clos II, Rain Tree Sketch, Rain Tree Sketch II
Kumi Kogano
Ph-PHCP145
Rain Tree Sketch, Uni nterrupted Rests, Piano Distance, For
Away, Les yeux clos II, Litany
Ichiro Nodaira
MS-MSCD0001
Litany, Uninterrupted Rests, Rain Tree Sketch, Rain Tree
Sketch II, Piano Distance, For Away, Les yeux clos II
Noriko Ogawa
BIS-KKCC2229 (BIS805)
Uninterrupted Rests, Piano Distance, For Away, Les yeux clos II,
Rain Tree Sketch, Rain Tree Sketch II
Hiromi Okada
Cam-28CM568
Rain Tree Sketch, Rain Tree Sketch II, Uninterrupted Rests,
Piano Distance, For Away, Les yeux clos II, Litany
Peter Serki n
R-RCL8377
Uninterrupted Rests, Piano Distance, For Away
R-BV CC1508
Litany, Uninterrupted Rests, Rain Tree Sketch, Rain Tree
89

Sketch II, For Away, Piano Distance, Les yeux clos II

R-BV CC729
R-BV CC8899-8900
Uninterrupted Rests, Piano Distance, For Away
Aki Takahashi
EMI-TOC E55237
Romance, Little Piano Pieces for Children: Breeze and Cloud,
Lento in due movimenti, Uni nterrupted Rests, Piano Distance,
For Away, Les yeux clos II, Litany, Rain Tree Sketch, Rain Tree
Sketch II
Izumi Tateno
Fin-WPCS5752
Uninterrupted Rests, Piano Distance, For Away, Les yeux clos II,
Rain Tree Sketch, Rain Tree Sketch II, Litany
Roger Woodward
Etc-NSC214 (KTC1103)
Rain Tree Sketch, For Away, Les yeux clos II, Piano Distance,
Litany, Uninterrupted Rests, Corona, Crossing

Rain Tree Sketch (1982)

Kazuoki Fujii
Fon-FONC5043 (FOCD3202)
Uninterrupted Rests, Piano Distance, For Away, Les yeux clos,
Les yeux clos II, Lento in due movimenti
Fon-FOCD3109
Litany, Uninterrupted Rests, Piano Distance, For Away, Les yeux
clos, Les yeux clos II,
Fon-FOCD2522
90

Litany, Uninterrupted Rests, Piano Distance, For Away, Les yeux

clos, Les yeux clos II, Rain Tree Sketch II
Kumi Kogano
Ph-PHCP145
Uninterrupted Rests, Piano Distance, For Away, Les yeux clos,
Les yeux clos II, Litany
Yukie Nagai
BIS-KKCC2210 (BIS766)
For Away
Ichiro Nodaira
MS-MSCD0001
Litany, Uninterrupted Rests, Rain Tree Sketch II, Piano
Distance, For Away, Les yeux clos, Les yeux clos II
Noriko Ogawa
BIS-KKCC2229 (BIS805)
Litany, Uninterrupted Rests, Piano Distance, For Away, Les yeux
clos, Les yeux clos II, Rain Tree Sketch II
Hiromi Okada
Cam-28CM568
Rain Tree Sketch II, U ninterrupted Rests, Piano Distance, For
Away, Les yeux clos, Les yeux clos II, Litany
Chitose Okashiro
PRP-KKCC2210
Peter Serki n
KO-7450
Rain Tree Sketch II
R-BV CC1508
Litany, Uninterrupted Rests, Rain Tree Sketch II, For Away, Les
91

yeux clos, Les yeux clos II

Aki Takahashi
EMI-TOC E55237
Romance, Little Piano Pieces for Children: Breeze and Cloud,
Lento in due movimenti, Uni nterrupted Rests, Piano Distance,
For Away, Les yeux clos, Les yeux clos II, Litany, Rain Tree
Sketch II
Izumi Tateno
Fin-WPCS5752
Uninterrupted Rests, Piano Distance, For Away, Les yeux clos,
Les yeux clos II, Rain Tree Sketch II, Litany
Roger Woodward
Etc-NSC214 (KTC1103)
For Away, Les yeux clos, Les yeux clos II, Piano Distance, Litany,
Uninterrupted Rests, Corona, Crossing

Les yeux clos II

Kazuoki Fujii
Fon-FONC5043 (FOCD3202)
Rain Tree Sketch, For Away, Piano Distance, U ninterrupted
Rests, Lento in due movimenti
Fon-FOCD3109
Litany, Uninterrupted Rests, Piano Distance, For Away, Les
yeux clos, Rain Tree Sketch
Fon-FOCD2522
Les yeux clos, Litany, Uninterrupted Rests, Piano Distance, For
Away, Rain Tree Sketch, Rain Tree Sketch II
Kumi Kogano
Ph-PHCP145
92

Litany, Uninterrupted Rests, Piano Distance, For Away, Les

yeux clos, Rain Tree Sketch
Noriko Ogawa
BIS-KKCC2229
Litany, Uninterrupted Rests, Piano Distance, For Away, Les
yeux clos, Rain Tree Sketch, Rain Tree Sketch II
Hiromi Okada
Cam-28CM568
Uninterrupted Rests, Piano Distance, For Away, Les yeux clos,
Rain Tree Sketch, Rain Tree Sketch II, Litany
Ichiro Nodaira
MS-MSCD0001
Litany, Uninterrupted Rests, Rain Tree Sketch, Rain Tree
Sketch II, Piano Distance, For Away, Les yeux clos
Peter Serki n
R-BV CC1508
Litany, Uninterrupted Rests, Piano Distance, Rain Tree Sketch,
Rain Tree Sketch II, For Away, Les yeux clos
R-BV CC725
R-09026-68189-2
Aki Takahashi
EMI-TOC E55237
Romance, Little Piano Pieces for Children: Breeze and Cloud,
Lento in due movimenti, Uni nterrupted Rests, Piano Distance,
For Away, Les yeux clos, Litany, Rain Tree Sketch, Rain Tree
Sketch II
Yuji Takahashi
Fon-FOCD3451

93

Izumi Tateno
Fin-WPCS5752
Uninterrupted Rests, Piano Distance, For Away, Les yeux clos,
Rain Tree Sketch, Rain Tree Sketch II, Litany
Roger Woodward
Etc-NSC214 (KTC1103)
Rain Tree Sketch, For Away, Les yeux clos, Piano Distance,
Litany, Uninterrupted Rests, Corona, Crossing

Litany (1989)
Kazuoki Fujii
Fon-FOCD3109
Uninterrupted Rests, Piano Distance, For Away, Les yeux clos,
Les yeux clos II, Rain Tree Sketch
Fon-FOCD2522
Uninterrupted Rests, Piano Distance, For Away, Les yeux clos,
Les yeux clos II, Rain Tree Sketch, Rain Tree Sketch II
Kumi Kogano
Ph-PHCP1823
Uninterrupted Rests
Ph-PHCP145
Uninterrupted Rests, Rain Tree Sketch, Piano Distance, For
Away, Les yeux clos, Les yeux clos II
Noriko Ogawa
BIS-KKCC2229
Uninterrupted Rests, Piano Distance, For Away, Les yeux clos,
Les yeux clos II, Rain Tree Sketch, Rain Tree Sketch II
Hiromi Okada
94

Cam-28CM568
Uninterrupted Rests, Rain Tree Sketch, Rain Tree Sketch II,
Piano Distance, For Away, Les yeux clos, Les yeux clos II
Ichiro Nodaira
MS-MSCD0001
Uninterrupted Rests, Rain Tree Sketch, Rain Tree Sketch II,
Piano Distance, For Away, Les yeux clos, Les yeux clos II
Peter Serki n
R-BV CC1508
Uninterrupted Rests, Rain Tree Sketch, Rain Tree Sketch II,
Piano Distance, For Away, Les yeux clos, Les yeux clos II
Izumi Tateno
Fin-WPCS5752
Uninterrupted Rests, Piano Distance, For Away, Les yeux clos,
Les yeux clos II, Rain Tree Sketch, Rain Tree Sketch II
Roger Woodward
Etc-NSC214 (KTC1103)
Uninterrupted Rests, Les yeux clos, Les yeux clos II, For Away,
Piano Distance, Rain Tree Sketch, Corona, Crossing
Aki Takahashi
EMI-TOC E55237
Romance, Little Piano Pieces for Children: Breeze and Cloud,
Lento in due movimenti, Uni nterrupted Rests, Piano Distance,
For Away, Les yeux clos, Les yeux clos II, Rain Tree Sketch,
Rain Tree Sketch II

Rain Tree Sketch II (1992)

Kazuoki Fujii
Fon-FOCD2522
95

Rain Tree Sketch, Litany, Uninterrupted Rests, Piano Distance,

For Away, Les yeux clos, Les yeux clos II
Noriko Ogawa
BIS-KKCC2229
Rain Tree Sketch, Litany, Uninterrupted Rests, Piano Distance,
For Away, Les yeux clos, Les yeux clos II
Hiromi Okada
Cam-28CM568
Rain Tree Sketch, Uni nterrupted Rests, Piano Distance, For
Away, Les yeux clos, Les yeux clos II, Litany,
Ichiro Nodaira
MS-MSCD0001
Rain Tree Sketch II, Litany, Uninterrupted Rests, Piano
Distance, For Away, Les yeux clos, Les yeux clos II
Peter Serki n
R-BV CC1508
Rain Tree Sketch, Litany, Uninterrupted Rests, Piano Distance,
For Away, Les yeux clos, Les yeux clos II
KO-7450
Rain Tree Sketch
Aki Takahashi
EMI-TOC E55237
Romance, Little Piano Pieces for Children: Breeze and Cloud,
Lento in due movimenti, Uni nterrupted Rests, Piano Distance,
For Away, Les yeux clos, Les yeux clos II, Litany, Rain Tree
Sketch
Izumi Tateno
Fin-WPCS5752
Rain Tree Sketch, Uni nterrupted Rests , Piano Distance, For
Away, Les yeux clos, Les yeux clos II, Litany
96

APPEN DIX C
CHRONOLOGY OF EV ENTS
1930

Born on October 8th in Tokyo

Moved to China

1937

Returned to Japan
Entered Fujimae Elementary School (April)

1938

Father, Takeo, died

1943

Entered Keika High School

1945

Worked at military base (April)

Returned to Tokyo (October)

1946

Began music self-study

1947

Request to study with Kishio Hirai turned down

1948

Became Kiyoses disciple

1950

Joined Shin Sakkyokuka Koukai

Premiere of Lento Due Movimenti (dbut piece) by Haruko
Fujita at Yomiuri Hall (December)

1951

Organized Jikken-kb with several other artists and

musicians
Wrote Ballet music, Joi de Vivre; premiered in November

97

1952

Wrote At the Circus and Uninterrupted Rests I

Premiere performance of Uninterrupted Rests I by Takahiro
Sonoda at Ichigatani Girls High School auditorium (August)

1953

Wrote Ginga Tetsudou no Tabi (ballet music)

1953

Tuberculosis worsened and was hospitalized

1954

Released from the hospital

Married Asaka Wakayama (June)

1955

Wrote Concerto de chamber

Concerto de chambre premiered at Yamaha Hall (July)

1956
1957
1958

Static Relief premiered at Yamaha Hall (February)

Requiem for Strings premiered at Hibiya Hall by Tokyo

Symphony

Le son calligraphi I won First Prize at Karuizawa

Contemporary Music Festival by the Twentieth Century Music
Institute
Won French Ambassador prize with the same piece (August)

Solitude sonore, composed as an entry piece for the Art

Festival by NHK, won the Incentive Prize. Performance was

broadcast

Tableau Noir won Pri x Italia at Broadcasting Competition

1959

Joined the Twentieth Century Music Institute. (January)

1960

Organized Sakkyokuka Shdan [Composers Group]

Requiem for Strings won German Ambassadors Prize in the

First Tokyo Contemporary Music Festival
1961

Ring won German Ambassadors Prize at the Fourth

Contemporary Music Festival in Osaka
98

Premiere of Piano Distance (April)

Daughter, Miki, born (December)
1962

Won Music Award in the 16th Mainichi Film Music Competition

with Mozu [The Shrikes] and Furyou Shnen [Bad Boys]
Held Graphic Score Exhibition in Tokyo with Yji Takahashi,
Toshir Mayuzumi, and Toshi Ichiyanagi

1963

Received Blue Ribbon Prize for film music

Film music Seppuku and Otoshiana won Music Award in the
17th Mainichi Cinema Competition.

Coral Island won 5th place in the International Rostrum of

Composers held in Paris (June)
1964

Invited, along with John Cage, to the Festival of Art at Hawaii

East West Center

1965

Textures received the Prize for Excellence at the International

1966

Rostrum of Composers held in Paris

Organized the contemporary art festival with Toshi Ichi yanagi

Orchestral Space held at Nissei Theater in Tokyo
Seiji Ozawa and Yji Takahashi among the participants
Music of Tru Takemitsu, in four LP records by Japan Victor
Co., recei ved Record Award and Record Academy Award
(November)

1967

Dorian Horizon premiered in San Francisco by San Francisco

Musica Viva conducted by Aaron Copland

Received Music Awards for Tanin no Kao, Akogare and Ki no

Kawa in the 21st Mainichi Cinema Competition
Completed November Steps (August)

November Steps premiered by New York Philharmonic

Orchestra, conducted by Seiji Ozawa (November)
99

1968

Green won 4th prize of the International Rostrum of Composers

November Steps premiered in Japan during the Orchestral
Space 68 music festival (June)
Invited to Canberra, Australia by Musica Viva for the concert
tour with the NHK String Quartet

1969

Dorian Horizon, Coral Island, Asterism and others performed

by Toronto Symphony Orchestra for two weeks, with
Takemitsu present

Asterism premiered in Toronto conducted by Seiji Ozawa

Became the music director of Steel Pavilion for Expo 70 held in
Osaka
Took on many projects related to the Expo i ncluding the Space
Theater
1970

Produced Music Today, Contemporary Music Festival at the

Steel Pavilion, Expo, 70

1971

Organized Persona Series to bring attention to new

performers, and held Yji Takahashi piano recital as its first
event, which drew much attention

Asterisms San Francisco performance conducted by Ozawa

Cassiopeias premiere in Chicago, conducted by Ozawa
Music of Tru Takemitsu concerts held in Paris

Oto Chinmoku to Hakarieru Hodoni [Sound, Measuring with

Silence] published by Shinch Sha

1972

Invited to the United States for Encounters Contemporary

Music Series Music of Tru Takemitsu exhibition
Won Music Awards in the 26th Mainichi Cinema Competition
Organized tranSonic group with six other composers

100

Visited Bali and heard gamelan music

1973

Music of Tru Takemitsu exhibition held in London

For Away and Piano Distance premiered in London (May)

Organized and produced Music Today, a contemporary music
festival
Invited performers and composers from overseas for Music
Today
1974

Won Music Award in the 28th Mainichi Cinema Competition

(February)
Tru Takemitsu Festival held at Nissei Theater in Tokyo
(November)

1975

Became visiting professor at Yale University (January)

Was the featured composer at Meet the Modern Composer
series by Brooklyn Philharmonic, directed by Lukas Foss
(March)

1976

Won Music Award in the 29th Mainichi Cinema Competition

(February). Became the first person to win 8 times in this
competition
Awarded the Otaka Prize (the top excellence of orchestra
works) with Quatrain
Invited by the International Friendship of the Peoples
Republic to tour in China for two weeks as a member of Music
Delegation

1977

Premiere of revised version of Arc conducted by Pierre Boulez

in New York (January)
Premiere of A Flock Descends into the Pentagonal Garden in
San Francisco (November)
Music of Tru Takemitsu concerts in Buffalo, New York, b y
Center of the Creative and Performing Arts
101

1978

Premiere of Waterways at the 5th Music Today concert (May)

Traveled to France to serve as a member of the jury at the 6th
Rencontres Internationales dArt Contemporain (June)
Selected to become a member of jury at the Competition for
Excellence in the Performance of American Music held in
Washington, D.C. (September)
Became the music director for Japanese Contemporary Music
and Traditional Music at the Ma exhibition of Festival
dAutomne in France (October)
Takemitsu Festival held at the New York Beacon Theater
(December)

1979

Won the Music Award i n the 33rd Mainichi Cinema

Competition (February)
Film Music Ai no Bourei and Moeru Aki received Music Award
of the 2nd Japanese Academy Award.
Selected an honorary member of Academie der Kunste DDR
Death of Shzo Takiguchui, Takemitsus spiritual father

Les yeux clos dedicated in memory of Takiguchi (Jul y), and

premiered by Aki Takahashi (September)

1980

Evening of Music of Tru Takemitsu was held by CBC

(Canadian Broadcasting Corporation) in Vancouver (March)
Awarded the Nihon Geijutsuin Sh

1981

Awarded the Otaka Prize for Far Calls Coming, Far.

Premiere performance of A Way A Lone at Carnegie Hall in
New York
Became a regent lecturer for the University of California at
San Diego (February)
Received Mobil Music Award
102

1982

Premiere of Rain Coming in London

Premiere of Star-Isle at the 100th Anniversary Ceremony of
Waseda University in Tokyo
Premiere of Rain Tree Sketch by Kazuoki Fujii at Tokyo
Cultural Center

1983

Premiere of Rain Spell at the First Japanese Contemporary

Composer series, Music of Tru Takemitsu (January)
Premiere of To the Edge of Dream (March)
Guest composer at the New Music Concerts in Toronto.
Lectured at Harvard Uni versity, Yale University, Boston
University and others
Mother, Reiko, died (August)
Premiere of Rocking Mirror Daybreak at Carnegie Hall

1984

Selected as a member of American Academy and Institute of

Arts and Letters (March)
Premiere of Orion and Pleiades
Composers ExhibitionTru Takemitsu was held by
Suntory Foundation
Attended France-Japan Music Festival
Premiere of Vers, 1arc-en-ciel, Palma

1985

Premiere of Riverrun in Los Angeles (January)

Awarded the Asahi Prize (January)
Music of Tru Takemitsu concerts were held in Banff,
Canada (February)
Awarded Ordre des Arts et des Lettres by French Government
103

Premiere of Dream/Window conducted by Seiji Ozawa in Kyoto

(September)
Became an honorary member of the American Institute of Arts
and Letters
1986

Selected honorary member of the Academie des Beaux Arts in

France (February)
Received the Music Award of Japan Academy Award
Works of Tru Takemitsu, Special Concerts held in Denmark
Premiere of Rain Dreaming i n Washington, D.C. (June)
Featured composer at Tanglewood Festival of Contemporary
Music (August)
The Takemitsu Event held in London
Thirteen Steps Around Tru Takemitsu broadcast by BBC

1987

Awarded Los Angeles Film Critics Award for the music for Ran
Premiere of I Hear the Water Dreaming i n Indianapolis
Invited to Glasgow, England, as the featured composer at
Musica Nova Festival
Invited by the International Society of Contemporary Music to
serve as a jury member for the Composition Competition held
in Hong Kong

1988

Invited to Dallas, Texas, by Southern Methodist University,

Voices of Change (April)
Became the artistic director of Japan Society Auditorium
Concerts at the first New York International Art Festival
Received the Kyoto Music Award, Grand Prize
Premiere of Les yeux clos II by Peter Serkin in New York
(November)
104

1989

Itinerant, composed in memory of the sculptor, Isamu Noguchi,

premiered by Paula Robinson in New York (February)

Received the Japan Culture Design Conference-International

Culture Design Award (October)
Received the Grand Music Award of the First Hida Furukawa
International Music Festival (October)
Invited by the Donald Keen Center and the Fritz Reiner
Center for Contemporary Music, Columbia University to give
lectures and attend concerts held in his honor. Premiere of
Les yeux clos II by Peter Serkin at this occasion (November)
1990

Visions , commissioned for the 100th Anniversary of the Chicago

Symphony, premiered by the Chicago Symphony Orchestra,

conducted by Daniel Barenboim (March)
Received Music Award of the Japan Film Music Academy
Award
Invited to Stockholm as the featured composer at the
Stockholm New Music Festival (May)
Awarded the International Maurice Ravel Prize (May)
Awarded an honorary Doctor of Music degree from Durham
University (July)

Invited to Festival dAvignon in France as the featured guest

composer (July)
Premiere of From Me Flows What You Call Time,
commissioned for the 100th anniversary of Carnegie Hall (July)
Takemitsus 60th birthday celebration concerts held at San
Francisco Conservatory, Queen Elizabeth Hall in London, and
Suntory Hall in Tokyo (October-December)
1991

Awarded the Tokyo Cultural Honor Award (January)

Received the Mainichi Art Prize
Received the Suntory Music Prize (March)
105

The Suntory Prize celebration concert, Music of Toru

Takemitsu held in Tokyo (August)
Received UNESCO/IMC Music Award (October)
1992

Traveled to Seattle, Washington, to attend the music festival as

a featured composer (April)
Invited to Vancouver Music Festival
Premiere of Rain Tree Sketch IIin Memory of Olivier
Messiaenby Alan Neveu in France

1993

Invited to Dallas, Texas, by the Voices of Change (April)

Featured at music festivals in England (June), Germany
(September), and Austria (November)
Received the Japan Foundation Award (October)

1994

The CD of A Way A Lone performed by Tokyo Quartet was

nominated for the Grammy Award
Received the Grawemeyer Award for Fantasma/Cantos
Became an honorary member of Royal Academy of Music
Awarded NHK (Nippon Hs Kyoukai) Culture Award
Became an honorary member of ACL (Asian Composers
League)

1995

Lincoln Center Chamber Society held Tru Takemitsu 65th

Birthday concert

1996

Air I, composed for flutist Aurele Nicolets 70th birthday,

premiered in Switzerland by Yasukazu Uemura (January 29 th)

Received Glenn Gould Prize (February)
Died from cancer (February 20th)

106

SELECTED B IBLIOGRAPHY
Bekku, Sadao. The Composer in Japan Today, MusicEast and West.
Tokyo: Executive Committee for 1961 Tokyo East-West Encounter,
1966.
Boswell, Lilise. Tru Takemitsu: Rain Tree Sketch II In Memoriam Olivier
Messiaen. Notes 52/1 (September 1995): 310-11.
Burnett, Henry. An Introduction to the History and Aesthetics of Japanese
Jiuta Tegotomono. Asian Music 11/2 (1980): 11-40.
Burt, Peter. The Music of Tru Takemitsu. Cambridge: Cambridge University
Press, 2001.
Feliciano, Francisco. Four Asian Contemporary Composers: The Influences of
Tradition in Their Works. Quezon City, New Day Publishers, 1983.
Fukui, Masa Kitagawa. Japanese Piano Music, 1940-1973: A Meeting of
Eastern and Western Traditions. D.M.A. diss., University of
Maryland, 1981.
Funayama, Takashi. Takemitsu Tru: Hibiki no Umi e. [Tru Takemitsu: To
the Sea of Sound]. Tokyo: Ongakunotomo Sha, 1998.
Gibson, J. Robert. Tru Takemitsu: A Survey of His Music with an Analysis
of Three Works. Ph.D. diss., Cornell University, 1979.
Gowen, Bradford. From Rain to Spain. Piano and Keyboard 167
(March/April 1994): 70.
Grilli, Peter. Takemitsu TruAn Appreciation. Japan Quarterly 44/2
(January-March 1997): 51-57.
Higuchi, Ryichi, Takemitsu Tru: Oto no Kawa no Yukue. [Tru Takemitsu:
Destination of Stream of Sounds]. eds. Choki Seiji and Higuchi
Ryichi, Tokyo: Heibonsha, 2000.

107

Ikuma, Dan. Watshino Nihon Ongakushi: Ibunkatono Deai. [My Japanese

Music History: Meeting Foreign Cultures]. Tokyo: NHK Publishing,
1999
Iwata, Rytarou. Kafe Takemitsu: Watashi no Takemitsu Ongaku. [Kafe
Takemitsu: My Takemitsu Music]. Tokyo: Kaimeisha, 1992.
Kashiba, Shigeo. Traditional Music of Japan, Tokyo: Kokusai Bunka
Shinkokai, 1969.
Kikkawa, Eishi. The Musical Sense of the Japanese. Contemporary Music
Review 1 (1987): 85-94.
Kogano, Kumi. Takemitsu: Solo Piano Works. Musical Times 133 (August
1992): 40.
Koh, Hwee Been. East and West: The Aesthetics and Musical Time of Tru
Takemitsu. Ph.D. diss., Boston University, 1998.
Koizumi, Fumio. Nihon no Oto: Sekai no Naka no Nihon no Ongaku.
[Japanese Tone: Japanese Music in the World]. Tokyo: Heibon Sha,
1977.
Konuma, Jun-ichi. Takemitsu Tru: Oto, Kotoba, Imeji. [Takemitsu Tru:
Sound, Word, Image]. Tokyo: Seido Sha, 1990.
Koozin, Timothy. Octatonicism in Recent Solo Piano Works of Tru
Takemitsu. Perspectives of New Music 29/1 (Winter 1991): 124-140.
________. The Solo Piano Works of Tru Takemitsu: A Linear/Set-theoretic
Analysis. Ph.D. diss., University of Cinci nnati, 1989.
________. Tru Takemitsu and the Unity of Opposites. College Music
Symposium 30/1 (Spring 1990): 34-44.
Lee, Chung-Haing. Japanese Elements in the Piano Works of Tru
Takemitsu. D.M.A. diss., University of North Texas, 1991.
Lieberman, Frederic. Contemporary Japanese Composition: Its Relationship
to Concepts of Traditional Oriental Musics, M.A. thesis, (University
of Hawaii, 1965.
Nuss, Steven. Tradition and Innovation in the Art Music of Post-War Japan.
Ph.D. diss., City University of New York, 1996.
108

Ohtake, Noriko. Creative Sources for the Music of Tru Takemitsu.

Aldershot, England: Scolar Press, 1993.
Rands, Bernard. Two Views of Takemitsu: I sing only for myself. Musical
Times 128 (September 1987): 477-480.
Reynolds, R. and T. Takemitsu. Roger Reynolds and Tru Takemitsu: A
Conversation. Music Quarterly 80/1 (Spring 1996): 61-76.
Saito, Shinji and Maki Takemitsu, eds. Takemitsu Tru no Sekai [The World
of Tru Takemitsu], Tokyo: Shei Sha, 1997.
Tachibana, Takashi. Takemitsu Tru: Ongaku Souzou eno Tabi, [Tru
Takemitsu: Journey to Creation of Music]. Bungakukai (1992-8).
Takemitsu, Tru. Confronting Silence. Translated by Glenn Glasow and
Yoshiko Kakudo. Berkeley: Fallen Leaf Press, 1995.
________. Contemporary Music in Japan. Perspectives of New Music 27/2
(Summer 1989): 199-205.
________. trans. Sumi Adachi, Mirrors. Asian Art and Culture 8 (Fall 1995):
32- 49.
________. My Perception of Time in Traditional Japanese Music.
Contemporary Music Review 1/2 (1987): 9-13.
Watanabe, Akio. ed. Masterpieces of Contemporary Japanese Music 1960.
Tokyo: Ongakunotomo Sha, 1960.
Wen-Chung, Chou. Asian Concepts and Twentieth-Century Western
Composers. The Musical Quarterly 57/2 (April 1971): 211-229.
Williams, Justin. Tru Takemitsu: A Gatherer of Sounds, An Analysis of
Riverrun. D.M.A. diss., Manhattan School of Music.
Writings by Tru Takemitsu (in Japanese)

Hitotsu no Oto ni Sekai wo Kiku: Takemitsu Tru Taidanshu [Hearing the

World in One Sound: Tru Takemitsu Conversations]. Tokyo: Shbun
Sha, 1996.
109

Ki no Ka gami, Sogen no Kagami. [Mirror of Tree, Mirror of Grass].

Tokyo: Shinch Sha, 1975.

Ongaku. [Music]. (Conversations with Seiji Ozawa). Tokyo: Shinch Sha,

1981.

Ongaku no Niwa. [Music Garden]. Tokyo: Shinch Sha, 1981.

Ongaku no Tech. [Music Notebook]. Tokyo: Seido Sha, 1981.
Ongaku no Yohaku Kara. [From the Margins of Music]. Tokyo:
Shinch Sha, 1981.

Ongaku wo Yobisamasu Mono. [What Awakens Music]. Tokyo: Shinch Sha,

1981.

Opera wo Tsukuru. [Creating an Opera]. (Conversations with Kenzaburo e).

Iwanami Shoten, 1990.

Oto, Chinmoku to Hakarieru Hodoni. [Sound, Measuring with Silence].

Tokyo: Shinch Sha, 1971.

Oto, Kotoba, Ningen. [Sounds, Words, Men]. (with Junz Kawada). Tokyo:
Iwanami Shoten, 1980

Oto to Kotoba no Tasousei. [Multi-layers of Sound and Word]. Tokyo:

Iwatani Shoten, 1980.

Sz no Shhen . [Circumference of Creativity]. Tokyo: Geijutsu

Gendai Sha, 1976.

Subete no Insh Kara Nogareru Tameni. [For Escaping from All the
Conventionalism]. Tokyo: Ongakunotomo Sha.

Ti Yobigoe no Kanata e. [Beyond the Far Calls]. Tokyo: Shinch Sha, 1992.
Toki no Entei. [Gardener of Time]. Tokyo: Shinch Sha, 1996.
Yume no In-you. [Quotation of Dream]. Tokyo: Shinch Sha, 1984.
Watashitachi no Mimi wa Kikoeteiruka [Are Our Ears Listening?]. Tokyo:
Nippontosho Center, 2000.

110

Compilation of Writings by Tru Takemitsu

Takemitsu Tru Chosaku-sh. [Writings of Tru Takemitsu]. 5 vols. Tokyo:

Shinch Sha, 2000.
Vol. 1: Oto, Chinmoku to Hakarieru Hodoni. [Sound, Measuring with
Silence].

Ki no Ka gami, Sogen no Kagami. [Mirror of Tree, Mirror of

Grass].

Vol. 2: Ongaku no Yohaku Kara. [From the Margins of Music].

Ongaku wo Yobisamasu Mono. [What Awakens Music].

Vol. 3: Ti Yobigoe no Kanata e. [Beyond the Far Calls].

Toki no Entei. [Gardener of Time].

Yume no In-you. [Quotation of Dream].
Vol. 4: Oto, Kotoba, Ningen. [Sounds, Words, Men].

Opera wo Tsukuru. [Creating an Opera].

Vol. 5: Yume to Kazu. [Dream and Number].

Uta no Tsubasa. [Wings of Songs].

Kotoba no Tsue. [Cane of Words].
Books on Japanese Culture, Tradition, Philosophy
Blocker, H. Gene and Christopher L. Starling. Japanese Philosophy. Albany,
New York: State University of New York Press, 2001.
Heisig, James and John Maraldo, eds. Rude Awakening. Honolulu:
University of Honolulu Press, 1994.
Itoh, Teiji. Gardens of Japan. Tokyo: Kdansha, 1984.
111

_______. Space and Illusion in the Japanese Garden. New York, Tokyo, and
Kyoto: Weatherhill/Tankosha, 1973.

Kasulis, T.P. Zen Action/Zen Person. Honolulu: University of Hawaii Press,

1985.
Komatsu, Isao. The Japanese People. Tokyo: Kokusai Bunka Shinkkai, 1962.
Lieberman, Frederic. Zen Buddhism and Its Relationship to Elements of
Eastern and Western Arts. The U.C.L.A. Graduate Journal 1 (Spring,
1967).
Moore, Charles, ed. The Japanese Mind. Honolulu: East-West Center Press,
1967.
Nisitani, Keiji, trans. Yamamoto Seisaku and James W. Heisig. Nishida
Kitar. Berkeley: U niversity of California Press, 1991.
Northrup, F. S. C. The Meeting of East and West. New York: Macmillan and
Co., 1964.
Sources from WorldWideWeb
Hammond, L. James. Ten Zen Basics. Phlit: A Newsletter on Philosophy
and Literature. June 2001,
<http://home.att.net/~jim_hammond/phlit/2001-06.htm> (10 August
2002).
Kodansha International Ltd. for Japanese Government Ministry of Foreign
Affairs. Japan Access. July 1999,
<http://jin.jcic.or.jp/access/index.html> (10 August 2002).
Levenson, Montly H. Shakuhachi: The Sound of Nature.
<http://www.shakuhachi.com/Q-SoundofNature.html> (10 August
2002).
Weiss, Barry Nyosui. Blowing Zen.
<http://www.blowingzen.com/home.html> (10 August 2002).

112

Editions of Major Solo Piano Music

Editions Salabert: Paris

Uninterrupted Rests (1962)

Piano Distance (1962)
For Away (1973)
Les yeux clos (1979)
Schott Japan Company Ltd: Tokyo

Rain Tree Sketch (1982)

Les yeux clos II (1990)
Litany (1990)
Rain Tree Sketch II (1992 )

113

B IOGRAPHICAL SKETCH
Haruyo Sakamoto was born in Aichi-ken, Japan. She began her
piano studies at age five, and received i ntensive musical training during her
teen-age years in Japan; however, she turned her life direction to Christian
ministry, and worked as a teacher/missionary. Later she returned to music
for her graduate studies in piano: Master of Music in Piano Performance
(University of Miami), Doctor of Music in Piano Performance and a
Certificate in Piano Pedagogy (Florida State University). Her piano
teachers include Leonard Mastrogiacomo, Ivan Davis, Ellen Herrmann,
Nanae Kikuta, Mieko Matsuoka, and Yoshiko Inoue.
Ms. Sakamoto has performed both solo and duo recitals in Japan,
Sweden, and the United States. She has taught at Florida State University
School of Music as a Teaching Assistant in Piano, the Georgia State
University Neighborhood Music Schools in Atlanta, Georgia, the Atlanta
Music Academy, and Coral Ridge School of the Arts in Fort Lauderdale,
Florida.

114