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

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Music Facing Up to Silence. Writings on Tru Takemitsu the two: when we hear a sound, other sounds which are normally imperceptible are operating, but we usually dismiss them as ‘silence’. This accounts for Cage’s interest in perceiving the sounds that originate in ‘silence’. This sort of experience enables us to state that far from being nothing, silence is the vital matrix, and also the final destination, of every possible sound. 8 In this sense silence is comparable – to use once again a favourite image of Zen Buddhism – 9 to the ocean and waves: certainly, each wave has its own identity with respect to the mass of the ocean as a whole, but nonetheless it emerges from and inevitably returns to this entity, just as notes and sounds are born from silence and dissolve back into it. In Japanese thought what connects the aural dimension of silence with its visual counterpart of space is the character of vacuousness understood not as an inert reality, or even the result of annihilation, but as an enormous reservoir of active potential, whether taking shape as things or events, forms or sounds, words or facts. In a large part of his musical output Takemitsu makes skilful use of ma. It is introduced into his compositions not so much as a simple pause or fragment of silence between notes but as a musical space rich in tension, 10 as a moment in which the listener becomes conscious of the emergence of sounds from silence and their return to it. The sense of this use of ma by Takemitsu has been well identified and expressed by Koozin. In commenting on some piano pieces, he speaks of ‘those shadings into “silence”’ which produce a condition in which ‘one is more likely to hear the silence arising toward the end of such a figure as a direct outgrowth of the previous sound-event. In this sense, the sound-event draws silence into the piece as an active rather than a passive element’. 11 Far from having an exclusively technical sense or valence, this dialectic between silence and sounds, which constitutes the art of music, can acquire a cognitive or indeed spiritual meaning and value. This may lead us to reflect on music as art which produces syntheses of sounds and silence, and it is surely not excessive to affirm that such an art can not only be born from an experience of Reawakening but also produce it. I don’t know whether Takemitsu would have gone so far as to consider his music as a valid auxiliary on the way to Enlightenment, but there can be no doubt that many of his pieces and some of his writings are seen to be worthy of such a vocation. 8 Cf. also Lecture on Nothing, in Cage (1961: 109-128). 9 It must be said, however, that in his elaborations Cage was merely following in the footsteps of Buddhist thought (cf. Porzio 1995). 10 We should bear in mind that in the language of Japanese musicians ‘emptiness is indicated with active expressions’. Cf. Satoaki 2004: 118. Cf. also Koozin (1990: 34), cit. in Burt (2001: 237) and Miyamoto (1996). 11 Koozin (1990: 34), cit. in Burt (2001: 237). 157
158 Giangiorgio Pasqualotto Bibliography Bash, Matsuo (2004), Bash’s Hayku: Selected Poems, State University of New York Press, Albany. Burt, Peter (2001), The Music of Tru Takemitsu, Cambridge University Press, Cambridge. Cage, John (1961), Silence, Wesleyan University Press, Middletown. Dogen, Zenji (1975), A Complete English Translation of Dogen Zenji’s Shobogenzo (The Eye and the Treasury of the True Law), Nakayama, Tokyo. ––––– (1994), Master Dogen’s Shobogenzo, Windbell, London. Kiyoshi, Seike (2004), ‘Il ruolo di ma nelle abitazioni giapponesi’, in Ma: La sensibilità estetica giapponese, a c. di Galliano, Luciana, Angolo Manzoni, Torino: 137-148. Koozin, Timothy (1990), ‘Tru Takemitsu and the Unity of Opposites’, College Music Symposium, 30/1: 34-44. Linji, Yìxuán (2009), The Record of Linji, University of Hawai’i Press, Honolulu. Miyamoto, Kenjiro (1996), Klang im Osten, Klang im Westen: Der Komponist Tru Takemitsu und die Rezeption europäischer Musik in Japan, Pfau, Saarbrücken. Nishida, Kitar (1923), Nishida Kitar Zenshu (Nishida Kitar Complete Works), Iwanami Shoten, Tokyo. ––––– (1973), Art and Morality, University of Hawai’i Press, Honolulu. ––––– (1990), An Inquiry into the Good, Yale University Press, New Haven – London. Porzio, Michele (1995), Metafisica del silenzio: John Cage, l’Oriente e la nuova musica, Auditorium, Milano. Satoaki, Gamo (2004), ‘Il ma della musica giapponese’, in Ma: La sensibilità estetica giapponese, a c. di Galliano, Luciana, Angolo Manzoni, Torino: 107-123. Takemitsu, Tru (1995), Confronting Silence. Selected Writings, Fallen Leaf Press, Berkeley.
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