Takemisu loves rhe very subtle syneries/oppoqitions between very finely orchestrated orchestrasi n a tiny tone and quite subtle soloists, with rather muted sounds, avoiiding any sort of exhibitionist and vulgar virtuosity. Here, we can hear an unique blend of a viola and delicate orchetra synergies and oppositions. This indeed is automnal sound. Note that in writing fourchamber concertos dedicated to seasons, the Franch composer Daruis Milhaud used the viola in his "summer" concerto. Diferant sensitivities, different summers also due both to climar and societal differeces. He used two pianos for atumn.It is well known that Takemitsu catched wonderfully the ' Japanese spirit and culture ", was stronly techically influences in his writing style by the French composers (mainly Debussy and Messalien), and to a less extent and in some specific vores only, by the present minimalist and repetitive American school. Actually, we can hear here some quite qubtle non textual dorms of repetitions. In the Eamerican school, rerztition, either simlar or slowly changing, are deliberately put forward, whix=ch is the signature of this style.
another Takemitsu work that takes my breath away
My favourite Takemistu. The most poignant piece of music from the 20. century!
Takemisu loves rhe very subtle syneries/oppoqitions between very finely orchestrated orchestrasi n a tiny tone and quite subtle soloists, with rather muted sounds, avoiiding any sort of exhibitionist and vulgar virtuosity. Here, we can hear an unique blend of a viola and delicate orchetra synergies and oppositions. This indeed is automnal sound. Note that in writing fourchamber concertos dedicated to seasons, the Franch composer Daruis Milhaud used the viola in his "summer" concerto. Diferant sensitivities, different summers also due both to climar and societal differeces. He used two pianos for atumn.It is well known that Takemitsu catched wonderfully the ' Japanese spirit and culture ", was stronly techically influences in his writing style by the French composers (mainly Debussy and Messalien), and to a less extent and in some specific vores only, by the present minimalist and repetitive American school. Actually, we can hear here some quite qubtle non textual dorms of repetitions. In the Eamerican school, rerztition, either simlar or slowly changing, are deliberately put forward, whix=ch is the signature of this style.
a beautiful work. The esthetic of Berg, Arnold Bax, and others I can't think of ,right now. Wonderful
Debussy?...
+Jack Housman Something of Schoenberg's Gurre Lieder?
6:40 paralyzes me. Simply gorgeous.
Приклад того, що композитор має бути національним...
by who is that beautiful painting?