Takemitsu often uses symbolic or poetic titles. It is very rare to see him giving a technical title to a piece. The title invites us to liten carefully to the textures of the orchestra, which change sometimes vey slowly, sometimes all of a sudden. The style of Takemitsu is here, unmistakably recognizable, but perhaps more abstract than usually.
This happens sometimes with great (or other...) composers. When te hey are happy with a work or fragment of work , they sometimes tend to reuse it. This does not Apply only to paino/orchestra transcritions (Prokofiev, Ravel, etc...) but to reassimilations, superpositions, rewritings … ( Berg in the Kammerkonzert, Boulez &nd his many rezwritings, the last Xenakis superimosing blocks of previous orchestral scores ….)
@@gerardbegni2806 true, one these many techniques can be called "ekphrasis" which is also the title of two of such orchestral pieces by Berio... Boulez, also very true, the core of his thinking... Stockhausen in Licht, where he depicted single layers and arranged them as new independent compositions etc etc...
I've been on a Takemitsu kick recently - massive thanks to the Wellesz channels! - and this piece is simply perfect. I am in awe. Huge props to the conductor & players for a lovingly detailed performance.
Takemitsu often uses symbolic or poetic titles. It is very rare to see him giving a technical title to a piece. The title invites us to liten carefully to the textures of the orchestra, which change sometimes vey slowly, sometimes all of a sudden. The style of Takemitsu is here, unmistakably recognizable, but perhaps more abstract than usually.
he arranged this for piano and orchestra as a movement of "Arc". th-cam.com/video/7VmOsG7InHs/w-d-xo.html
This happens sometimes with great (or other...) composers. When te hey are happy with a work or fragment of work , they sometimes tend to reuse it. This does not Apply only to paino/orchestra transcritions (Prokofiev, Ravel, etc...) but to reassimilations, superpositions, rewritings … ( Berg in the Kammerkonzert, Boulez &nd his many rezwritings, the last Xenakis superimosing blocks of previous orchestral scores ….)
@@gerardbegni2806 true, one these many techniques can be called "ekphrasis" which is also the title of two of such orchestral pieces by Berio... Boulez, also very true, the core of his thinking... Stockhausen in Licht, where he depicted single layers and arranged them as new independent compositions etc etc...
This a quite a dark piece, yet I simply adore it.. I find it to be most intriguing. It is the very essence of it's title..
I've been on a Takemitsu kick recently - massive thanks to the Wellesz channels! - and this piece is simply perfect. I am in awe. Huge props to the conductor & players for a lovingly detailed performance.
just blew my mind