Musica che affronta il silenzio - Scritti su Toru Takemitsu - Pavia ...
Musica che affronta il silenzio - Scritti su Toru Takemitsu - Pavia ...
Musica che affronta il silenzio - Scritti su Toru Takemitsu - Pavia ...
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
184<br />
Roberto Calabretto<br />
In Conversation on Seeing Takemit<strong>su</strong> stated that f<strong>il</strong>m music does not and cannot have a<br />
genuine aesthetic or a well grounded theory (1995: 36), recalling Adorno’s famous dictums.<br />
19 This means that there is no possib<strong>il</strong>ity of a clear authorship for f<strong>il</strong>m music, with<br />
several people being involved in creating a constantly evolving final product.<br />
Stylistic eclecticism leads to the coexistence, in one and the same score, of various<br />
styles, as is the case in Teshigahara’s The Ruined Map (Moet<strong>su</strong>kita Chizu, 1968) where<br />
we find Elvis Presley rubbing shoulders with Vivaldi concertos, or again in Kurosawa’s<br />
Ran, where Mahlerian music alternates with episodes featuring the n flute, creating a<br />
synthesis between Western and Eastern elements. In the famous battle scene, in particular,<br />
Takemit<strong>su</strong> imitates the third movement of Mahler’s First Symphony, 20 wh<strong>il</strong>e in Kuroi<br />
Ame there are clear references to the Fifth Symphony.<br />
A distinctive trait of Takemit<strong>su</strong>’s f<strong>il</strong>m music is the frequent employment of<br />
Japanese instruments, achieving an effective synthesis with Western styles. ‘When I<br />
first used Japanese music in a f<strong>il</strong>m, it caused a sensation. “Wow! He used the Japanese<br />
biwa in movie music!” Isn’t that a strange response? Even the Japanese were confused<br />
by this sound’. 21 The biwa was used for the first time in Harakiri, wh<strong>il</strong>e the sound track<br />
of Kwaidan constitutes the first work to emerge from a confrontation with a traditional<br />
Japanese musician, T<strong>su</strong>ruta Kinshi of the Chikuzen biwa school. 22<br />
To complete the picture, one should highlight Takemit<strong>su</strong>’s use of citations, as Burt<br />
is careful to do in his monography (Burt 2001: 80), and the osmosis between f<strong>il</strong>m music<br />
and music not written for the cinema. 23 This latter aspect should not be underestimated,<br />
19 ‘The foregoing analyses have certain implications regarding the style of motion-picture music. The concept of<br />
style applies primar<strong>il</strong>y to the unbroken unity of the organic work of art. Since the motion picture is not <strong>su</strong>ch a<br />
work of art and since music neither can nor should be part of <strong>su</strong>ch an organic unity, the attempt to impose a<br />
stylistic ideal on cinema music is ab<strong>su</strong>rd’ (Adorno – Eisler 1994: 53).<br />
20 In the sound track a very important role is played by noises - cicadas, wind, weapons, neighing, etc. – which are<br />
sk<strong>il</strong>fully or<strong>che</strong>strated ‘with a richness worthy of Bresson’ (Tassone 1991: 126). In an interview Takemit<strong>su</strong> spoke of<br />
the difficulties he had had in agreeing on the character of the sound track with the director. ‘If that’s your idea, and<br />
you love Mahler, why don’t you use his music directly, instead of asking me to write music in the style of Mahler?’.<br />
In this case his question is undoubtedly ingenuous, and Kurosawa replied quite rightly that he adored Mahler’s<br />
music but could not use it in his f<strong>il</strong>m just as it was, retorting: ‘You have to go beyond Mahler!’ (Tessier 1985: 73).<br />
21 Tru Takemit<strong>su</strong> in Zwerin (1994).<br />
22 ‘Chikuzen biwa, like sat<strong>su</strong>ma-biwa, is a secular type of narrative biwa music (even though both have strong<br />
historical connections with ms-biwa, the ancient Buddhist ritual instrument). Typical of the Chikuzen biwa school<br />
is the high degree of ornamentation in the vocal line and a gentler instrumental style. Chikuzen biwa as a distinct<br />
style dates from the beginning of the 20 th century, when it was brought from the Chikuzen (Fukuoka) region and<br />
became very popular in central Japan’ (Galliano 2002: 257 n. 61). Takemit<strong>su</strong> used this instrument repeatedly in his<br />
sound tracks. Commenting on its use in Seppuku, a critic pointed out: ‘The music is also sparse, marking transitions,<br />
quiet moments, <strong>su</strong>staining pitch, bu<strong>il</strong>ding drive, not melodic but accentual. There is the biwa (Japanese lute),<br />
sometimes <strong>su</strong>bdued and whispering throat<strong>il</strong>y and sometimes harshly jangling, and there is the hari-ogi (slapping fan<br />
used in Noh study) with its rhythmic snapping whack. The performances of Rentar Mikuni as the underlord and<br />
Tat<strong>su</strong>ya Nakadai as the bearded ronin are excellent’ (Corman 1964: 49). Cf. Burt (2001: 110-111).<br />
23 Cf. Burt (2001: 48; 203). In this respect one only has to think of LOVE by Jogi Kuri (1963) – a sort of prelude to<br />
the experimentation of Bruno Bozzetto – which derives from Vocalism A. I. This is a highly original f<strong>il</strong>m in terms of<br />
its graphics and stories; although it may now appear anachronistic, it certainly was not when it was made.