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Tōru Takemitsu was a composer, but he was also a writer on aesthetics and musical theory. His music is delicate and refined, as beautiful as a Hokusai print or a carved jade netsuke. Largely self-taught, his music combines elements of Japanese and Western philosophy with the subtle manipulation of instrumental and orchestral timbre, using both western and traditional Japanese instruments, and the use of defined silences to create a unique and extraordinary soundworld.

Takemitsu admired Debussy and Messiaen, as is evident in his piano music, and was drawn to composers who were themselves deeply influenced by the musical and philosophical culture of Asia, including John Cage.

Takemitsu composed his Rain Tree Sketch II in 1992 in memory of Olivier Messiaen (1908-1992), the French composer who had a strong influence on Takemitsu. The work was composed for a concert “Hommage à Olivier Messiaen” at Les Semaines Musicales Internationales d’Orléans, France, and was premiered by Alain Neveux on 24 October 1992. The name of the work was probably inspired by a quotation from a novel by Kenzaburō Ōe about the miraculous rain tree, whose tiny leaves store up moisture and continue to let fall raindrops long after the rain has ceased. The work is also a dreamy meditation on the flow of life, and was the last piano piece by Takemitsu (his first Rain Tree Sketch was written in 1982). It is in a clear ternary (ABA) form, with a rhythmic opening which is reprised, in shortened form, after the melodic middle section. Its tonal language is reminiscent of Debussy and Messiaen, with chords used for colour and timbre rather than strict harmonic progressions, and, like its dedicatee, Takemitsu employs recurring motifs (such as an ascending three-note broken chord figure) and well-placed silences to create a carefully nuanced atmosphere and colouristic shadings. Directions such as “celestially light” and “joyful” contribute to the metaphysical nature of this work.

The first page of Rain Tree Sketch II © Schott Music

The first page of Rain Tree Sketch II
© Schott Music

Much of the power and profundity of this work comes not from the notes themselves, but the silences between them, which create extraordinary moments of stillness and repose. This arresting juxtaposition between sound and silence reveals Takemitsu’s intense interest in the Japanese concept of “Ma” – which translates as a pause in time, an interval or emptiness in space. The best performances of Rain Tree Sketch II are by those performers who appreciate the music’s need for stasis rather than forward flow. (The powerful use of silence is also evident in Oliver Knussen’s homage to Takemitsu, ‘Prayer Bell Sketch’.)

There are suggestions of traditional Japanese instruments in this work (and other piano works by Takemitsu): specifically the Taiko drum (the low D pedal point at the opening of page 2), the long zither koto and the short-necked lute biwa (the ascending arpeggio figure suggests the plucked sound of these instruments). This music requires a particularly sensitive approach: the sounds should be played with absolute clarity, and must also have great beauty, but not too much sentiment. Motifs and forms unfold like a “picture scroll unrolled.” (Tōru Takemitsu), emerging out of silence and retreating back into stillness.

“….sound, in its ultimate expressiveness, being constantly refined, approaches the nothingness of that wind in the bamboo grove.”

― Tōru Takemistu, ‘Confronting Silence: Selected Writings’

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(Image: Schott Japan)

 

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‘Heading for the Hills’ by Nobuya Monta and Peter Byrom-Smith
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Performed by Strata String Quartet
Violin 1: Oliver Morris
Violin 2: Alexandra Dunn
Viola: Laurie Dempsey / Alice Billen
Cello: Roderick Skipp

Recorded at Blueprint Studios, Salford
Mixed and Mastered by Gaz Hadfield
Cover design by Louis Barabbas

Debt Records, released July 15, 2016

This first classical release by Debt Records celebrates a groundbreaking East-West collaborative partnership between Japanese composer Nobuya Monta and British composer Peter Byrom-Smith. ‘Heading for the Hills’, a suite in 10 movements for string quartet, is the main work on the album, bookended by Sonata Lamentosa and Sinfonia by Monta. Peter Byrom-Smith’s work, which lends its title to the album, is a tribute to the landscape of the Peak District close to where Peter and his wife Gillian, a poet, have made their home in Glossop in Derbyshire.

“The title of the album was taken from a poem written by my wife Gillian Byrom-Smith. The poem was inspired by the frequent rail journeys we have taken across the flat Vale of York towards the beauty of the Pennines.”

The main six movements of the work are musical images of real journeys between the east and west of England, depicting things the composer observed, or thought he had observed during the course of these journeys (Galleons, Swallows, Raindrops, Heading for the Hills Lanterns, Buds). A Prelude and Postlude were added to complete the work – and the journey – so that the suite works as an entire narrative when performed in concert. No. 7, Buds, was composed by Nobuya Monta and Peter Byrom-Smith.

This haunting, expressive and evocative music contains hints of British minimalist composer Michael Nyman, but without the (sometimes tiresome) insistent repetitions. Byrom-Smith seems more intent on using melody, harmony and dialogue between the instruments to create interesting textures and musical interactions. Motifs are stated, restated and developed, for example the dancing figure which opens over a drone in ‘Raindrops’  develops into a playful, twirling dance between the instruments. Here there are more than a few hints of English folksong and dance before the middle section unfolds in a more contemplative manner. Later, the folksy motif returns and an insistent little fanfare is heard in all instruments. 

‘Swallows’ creates a feeling of space, of birds wheeling and circling in the sky, with its contoured melodic lines and delicate fioriture, redolent of the solo violin line in ‘The Lark Ascending’ by Vaughan-Williams. ‘Buds’ unfolds slowly, just as a flower or plant opens to reveal itself. The final work in the suite, Postlude, recalls themes heard previously in the Prelude and introduces new material to bring the narrative and imagery to its conclusion.

Nobuya Monta’s ‘Sonata Lamentosa’ is an emotional response to the tragedies that have occurred all over the world. The textures here are more florid, the mood more urgent with an almost Schubertian melancholy (cf String Quartet No. 14, ‘Death and the Maiden’), though, as in Schubert, there is also a sense of hope. 

The closing work on the album, ‘Sinfonia’, is also by Monta, and once again seems infused with the moods and motifs of late Schubert and the harmonic and rhythmic piquancy of the early twentieth century (Ravel, Debussy). It utilises contrapuntal textures and the second movement is a thrilling fugue.

‘Heading for the Hills’ – CD or download

Composer Peter Byrom-Smith will featured in forthcoming Meet the Artist interview

 

 

 

 

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Who or what inspired you to take up composing, and pursue a career in music?

I have never pursued a career in music, it ended up like this. Ok, let me tell you backwards. All I wanted in my life was to compose my own music, whatever it may be to other people. The end result of my compositions are often categorised as “contemporary classical music” (which was also not my choice; I thought of my music is as easy listening top of the chart pop music, but I guess a lot of people don’t feel that way, sadly), and I always want to compose.

Like a lot of people, one needs to earn money to live, as I am from normal working class family; in other words, if I breathe, I need to earn (like everyone else, I guess), and I don’t want to spend time doing things other than composing. So naturally I had to think how can I compose music so that I can also eat. Then it became profession.

If I won the lottery tomorrow, I would be doing the same thing, composing-wise. My life hasn’t really changed since I was an 8 year old composing every day. I guess I don’t have to go to school as I am 37, so I can spend more time composing, not just after school hours and weekends.

Who or what were the most significant influences on your musical life and career as a composer?

If I can speak about inspiration (before I get to the influence), I think I would say everyday life. I really think the inspirations are everywhere. Most significantly, by watching my wife being pregnant, going through each day until the birth, then my daughter growing and changing every day (she is now 3). The one and only good thing about being a composer is that you get to stay home and work, so you will not miss any of these magical times. I have written many works inspired by the specific parts of these situations, from early pregnancy to 2-day-old baby, movement of 2 week old cheeks, learning to walk, etc etc. All separate works.

Now, speaking of influences, I will mention these 4 people: Pierre Boulez, Peter Eötvös, Ryuichi Sakamoto, David Sylvian.

I am incredibly lucky, not just to know these people, or just shake hands once, but to actually work with these people, whom I grew up listening to when I was early teens. Sakamoto and Sylvian were my everyday play list, and Boulez and Eötvös were my everyday play list from when I was at music college student to today.

To be honest, I feel I’ve met everyone (my heroes) I wanted to meet in my life; everyone else, however many “famous” people are standing there in front of me now, I wouldn’t feel star struck.

What have been the greatest challenges of your career so far?

Hmmmm, maybe writing my first opera SOLARIS.

It’s 90min, music for 5 singers, ensemble and live-processing electronics (I worked for months in IRCAM in Paris).

I must say I was a little worried before I started working on this opera, how would I feel about writing an opera. But from bar 1, until the final bar, I felt great. I have never had such a wonderful experience writing it, making drama, telling the story, controlling the pace, mood, atmosphere of the drama. At no point did I feel “I didn’t know what to do next” while composing SOLARIS.

I was sorry after 1.5 year I reached the final bar of SOLARIS, that I had to leave this world in which I lived for a year and a half composing.

What are the special challenges/pleasures of working on a commissioned piece?

Not every commission, but some commissions come with some “request”. I quite like this.

From when I was small, I always love studying. I loved school, I always studied (not because I wanted good grades, but I just wanted to know more things) something in my life, including unnecessary things!

For instance, I wrote a piece for Lucerne Festival, which was for anniversary of the oldest and biggest insurance company, Swiss RE. They requested me to write music about “risk management”, a term which I had not even heard of until then. Soon I found out one of my close friend’s partner whom I knew for years, is a professional Risk Manager! I knew that he wears a suit every day to go to work, unlike floating around everyday like a jobless person like me. So it was fascinating for me to study this totally unknown area.

Another was the anniversary for Kierkegaard. I knew the name, but never really knew about him. It was a great excuse to study and research him.

So it is not a challenge, it is an excuse for me to know more, a good reason to do research.

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras?

I wouldn’t say “challenges”, but I always think about the musicians who will perform (for the first time) the work I am writing. It may be hard to believe for some, but I really do. If it is an orchestra then I think about the conductor (especially if I know the conductor very well); if it is a solo or concerto works, I would have lengthy face to face or skype sessions with the musicians I am writing for. It is so important that I have these musicians in mind when I am composing.

But it is strange, quite often I compose music like that, then they premiere the work, they say nice things, but they never play the work again. A few years later, someone totally different from whom I imagined when I was writing the piece contacts me and then plays the work obsessively many times, as if the work was written especially for him/her.

I can never really control this, it’s a chemistry, I think. But it is nice, for me to try to seek the “reason of the work’s birth”. Once he/she is born, they walk their own life….

Which works are you most proud of?

Can’t answer that….though my old works, I feel are quite distant, a bit like someone else’s compositions with lots of bits I feel comfortable with, or like or am familiar with. I feel more possessive about recent works.

What is your most memorable concert experience?

“Daphnis and Chloe” BBC Symphony Orchestra at the Barbican, conducted by Pierre Boulez. It was amazing to me that I literary could hear every single note which was played, and the pacing of it. The piece started, and finished as if in one breath. Really clean, like the most smooth single malt whisky.

What do you consider to be the most important ideas and concepts to impart to aspiring composers and musicians?

Why do you play these particular works in this exact time and for whom, and why those instruments. When I feel this clearly as an audience, I will most likely to like the concert.

Where would you like to be in 10 years’ time?

I would like to be writing larger scale works only, like operas. Hmmm….. maybe some little pieces in between for people I like.

What is your idea of perfect happiness?

Composing – and when my daughter is lying on me on the sofa, watching tv or reading books (preferably the latter).

Although Dai Fujikura was born in Osaka, Japan, he has now spent more than 20 years in the UK where he studied composition with Edwin Roxburgh, Daryl Runswick and George Benjamin. During the last decade he has been the recipient of numerous prizes, including the Huddersfield Festival Young Composers Award and a Royal Philharmonic Society Award in UK, Internationaler Wiener Composition Prize, the Paul Hindemith Prize in Austria and Germany respectively and both the OTAKA and Akutagawa awards in 2009.


A quick glance at his list of commissions and performances reveals he is fast becoming a truly international composer. His music is not only performed in the country of his birth or his adopted home, but is now performed in venues as geographically diverse as Caracas and Oslo, Venice and Schleswig-Holstein, Lucerne and Paris.

Full biography here

www.daifujikura.com