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

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Tru Takemitsu as Cultural Mediator and Organiser in Japan Mitsuko Ono Hello, my name is Mitsuko Ono. I am researching material on Takemitsu-san in Japan. I would like to express my gratitude to Ms. Luciana Pestalozza of “Milano Musica” who invited me to this music festival, and my sincere thanks to Professor Gianmario Borio, Professor Luciana Galliano, and all the people who have worked so hard to organise this conference. I also sincerely appreciate the efforts of Ms. Ei Amaya and Prof. Galliano, who translated my Japanese text into Italian. I was involved in the publication of the Complete Takemitsu Edition in Japan, where I was particularly responsible for collecting and arranging newspaper and magazine articles, musical scores, audio material, and photographs relating to the composer Tru Takemitsu. Moreover, I was involved in the publication of some books dedicated to him. All of this work was done after Takemitsu died. I did meet the composer, though I never had a chance to talk about music with him personally. However, through my work, I was able to meet people connected with him in various ways, such as his family and friends, musicians, poets, painters, film directors, and the recording engineers who had worked with him. I think this is a very great honour. Through my association with them, I have been able to ‘meet’ the composer who is alive in their hearts even now.
128 Mitsuko Ono They refer to the composer as ‘Takemitsu-san’ or ‘Tru-san’. ‘San’ is the honorific title in Japanese, equivalent to Mr., Ms., etc., in English. The poet Shuntar Tanikawa, who is very intimate with Takemitsu and his family, calls him by his family name, ‘Takemitsu’. Even younger musicians or his assistants, who in Japan ought to call him ‘sensei’ (teacher) as a sign of respect, refer to him casually as ‘Takemitsu-san’. This is because he did not behave like an authority figure. Talking with such people, I began calling him ‘Takemitsusan’ without becoming aware of it, even though I was not a close acquaintance of the composer during his lifetime. However, in my talk today I shall call him ‘Takemitsu’ without the honorific title, in recognition of his status as a historical figure. The title of my talk today is: ‘Tru Takemitsu as a cultural mediator and organiser in Japan’. When I was asked by the organisers of “Milano Musica” to talk about this theme, I thought it was a wonderful proposal, and was pleased to accept it. Takemitsu had many contacts in different cultural fields, such as poets, novelists, film directors and so on, and moreover he was also an organiser of music festivals. When I looked at the home page of this music festival on my computer in Japan, I saw some wonderful programmes: not only the tape music, chamber music and orchestral works, but also the film music which Takemitsu composed. All this represents, as it were, a condensed essence of the composer’s personality. Moreover, there are photographs both of the front and the side of the composer’s face on the website, which gives you an idea what the composer looked like. What image do you have of this composer? For instance, you might find the titles of his works highly poetic, such as Twill by Twilight, Dorian Horizon, Static Relief, Rain Tree, etc. Listening to Takemitsu’s music, some people might think that it is poetic. His music never forcibly imposes the composer’s world on the listener by means of powerful rhythms or loud fortissimo. It is sometimes described as ‘meditative’ music because it does not have a strong, clear rhythmic pulse, though fortissimo passages do sometimes appear in Takemitsu’s works. It is true that Takemitsu often composed music inspired by poetry and paintings. Some works, for example, were composed as a result of the impression made on him by Emily Dickinson. Their titles also quote from her poetry: for example, And then I knew ’twas Wind and A Bird came down the Walk. As you know, Dickinson was an American poet of the 19 th century. Though there were some active and progressive friends within her circle of acquaintances, including the adventurous Mabel Todd, she herself preferred solitude throughout her life, avoided contact with society as much as possible, and devoted herself to writing poetry.
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Sommario Prefazione Luciana Pestalo
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