Musica che affronta il silenzio - Scritti su Toru Takemitsu - Pavia ...

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Foreword There have always been composers who have nurtured their creativity by exploiting elements drawn from the other arts, the sciences or indeed domains of experience which apparently have little to do with music. In our times Varèse, Xenakis and Takemitsu, autonomously and each coming from a very different background, all combined their musical research with aspects extraneous to music, creating synergies which were as unexpected as they were stimulating. In its policy of devoting a festival to each of these composers, “Milano Musica” has made a point of organizing a study day to complement the musical events. While the concerts undoubtedly remain the focal point for these initiatives, the different insights provided by participants in the study day present the composers’ personalities in a broader perspective. The key to Tru Takemitsu’s creative research lays in the common elements linking the antithetical cultures of East and West, which are not easily assimilated. As he himself said, ‘Sometimes I am comforted by the two worlds of East and West surrounding me, but more often than not I feel torn between them’. He embarked on a unique quest, characterised by great profundity and sensibility, in search of possible common ground between European music and his own Oriental background, involving not only sounds but also atmospheres and philosophies which are quite alien to the Western tradition. I can recall in particular his fertile relationship with nature, which inspired his major rain cycle, and his attitude towards phenomena in the atmosphere and the movement of water. Takemitsu was also a fine composer for the cinema, providing the sound tracks for getting on for a hundred films. He combined his original approach with a profound knowledge of the whole range of musical styles, using them as the dramatic situation required: from jazz to rock, Viennese waltzes to easy listening, or again from improvisation to pop music.
106 Luciana Pestalozza The study day was organized by Gianmario Borio and Luciana Galliano, who I wish to thank along with the participants Peter Burt, Roberto Calabretto, Angela Ida De Benedictis, Mitsuko Ono and Giangiorgio Pasqualotto. The contributions of each of these scholars provide a clear picture of the distinctive traits of Takemitsu’s quest, filling out his unique personality. A special word of thanks goes to the Triennale di Milano for hosting the study day, and to the Faculty of Musicology in the Università di Pavia for the publication of the proceedings, making them available online to the academic community. We are grateful to Fondazione Cariplo for its financial support, and I wish to end by thanking all those who collaborated in the organization of the study day. Luciana Pestalozza Director, “Milano Musica”
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Musica che affronta il silenzio Scr
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Università degli Studi di Pavia Mu
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Sommario Prefazione Luciana Pestalo
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Prefazione Alcuni compositori, in t
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Convergenze tra Occidente e Oriente
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20 Luciana Galliano assolutamente g
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Tru Takemitsu come mediatore cultur
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Quanto giapponese è stato Takemits
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Natura e arte del silenzio in Tru T
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Page 145 and 146: 144 Peter Burt But how did his Fren
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160 Angela Ida De Benedictis If mus
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176 Angela Ida De Benedictis -----
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178 As Takehito Shimazu recalls: Ro
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180 Roberto Calabretto Writings and
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182 Roberto Calabretto Mastering th
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184 Roberto Calabretto In Conversat
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186 Roberto Calabretto contribution
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188 Roberto Calabretto herence of a
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190 Roberto Calabretto SCENE REAL S
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196 Roberto Calabretto standard one
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198 Roberto Calabretto Bresson, Rob
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200 Roberto Calabretto Takemitsu, T
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