(`'•.¸ w--e--ll.-.-.-.c--o--m--e ¸.•'´)

It is true that Takemitsu is an unusually gifted artist. His works, however, are far from being a free expression of his talent. While, an artist of a very modern type, Takemitsu does not progress exclusively from his own creative energy, but rather constantly enriches himself by absorbing much from the tradition in which he was brought up. In this respect he is considerably different from the type of artists known as avant-garde. He consciously tries to absorb the creative energy inherent in Japanese music, and yet is not at all governed by national or racial sentiments. He is always ready to tackle artistic problems common to the contemporary world. My statement may sound paradoxical. Those who listen to his music, however, will understand that it is not and will be persuaded that it is an extremely orthodox attitude of a creative artist in present-day Japan.

At the same time, I do not deny the fact that, despite all this, he is an extremely unique artist. It may be more proper to say that the very fact that he is going his way all by himself is symbolic of the uniqueness of the contemporary Japanese musical world.

Takemitsu's subsequent orchestral pieces demonstrate his keen perception of the progress of contemporary world music and the inseparable relation of Takemitsu's even more intensified consciousness as an artist resulting in his progress as an artist to his effort to re-discover Japan. To substantiate this, one may point to his Music of the Tree, Coral Island, and Textures in which one almost inevitably perceives the reflection of the "tonal mode" as advocated by the Polish composer K. Penderecki and G. Ligeti. More attention should, however, be paid to the fact that the dynamic technique of climax is strictly non-Western. Western artists make a thorough and deliberate calculation before they construct the climax. Bach and Beethoven are the most classical examples of this. Such contemporary composers as Webern, Stockhausen and Boulez are no exceptions. In Japanese music, however, it is not seldom that one brings out the climax, which is supposed to be the most cardinal element in the work concerned, very abruptly and without any preparation, or suddenly cuts the climax. This is perceived in such theater arts as the Noh and the Kabuki.

In Japanese painting, the center of the picture is set in a unique way. Very often, as in the case of scroll paintings, the centers are deliberately distributed horizontally. Or, as in the case of geniuses of ukiyoye such as Hokusai and others, bold attempts were made in a number of works (in which one can but guess their pleasure) to destroy the balance and harmony. This traditional sense of beauty of the Japanese has been revived in a very vivid way in Takemitsu's work. I do not think this is something which was done unconsciously. This is the reason why a piece, which at first may sound monotonous and lack in compactness of structure, leaves one with a generally fresh memory after one has listened to it. This structure is different from the traditional esthetics of the West, so that it may appear to be odd and incomprehensible to the ear which has become used to and has been nurtured by the former. The ear, however, once having taken notice, will clearly identify it as not being a superficial mystification.

Takemitsu's recent works have been marked by the use of traditional Japanese instruments as in the case of Eclypse for the Shakuhachi and Koto, or the music in the film, (Ghost Stories), which includes extremely original concepts. Here again, the motive of composition seems to seek through these instruments special effects which otherwise could not be obtained. And it is true that he has until now been so successful that one could not expect more. It seems as if it were aimed at producing an interminable dynamic drama from the succession of the momentary sounds from the hand and the mouth of the musician. This is the quality very akin to that which realizes infinite freedom at the very moment of heightened tension as in the case of Japanese calligraphy and the tea ceremony