TORU TAKEMITSU Orion and Pleides AMG Description by Blue Gene Tyranny [-] Composed in 1984, Orion and Pleiades was commissioned by the Suntory Music Foundation and was premiered that year in Paris by Tsuyoshi Tsutsumi and the Tokyo Philharmonic Orchestra conducted by Tadaaki Otaka. This piece belongs to Takemitsus constellation series which includes Asterism for piano and orchestra (1967), Gémeaux (Gemini) for oboe and trombone soloists and 2 orchestras (1971-86), Star-Isle for orchestra (1982) and Cassiopeia for percussion and orchestra (1971). Regarding the structure of this work, Takemitsu stated, Whereas the modern Western concept of time is linear in nature, that is, its continuance always maintains the same state, in Japan time is perceived as a circulating and repeating entity. This idea is articulated subtly in the first of the three movements Orion. Marked Lento quasi una fantasia (Slow, like a fantasia), the tempo is elastic and rubato, which takes attention away from the underlying structure built on the repetition of specific gestures and passages in the orchestra part. The gestures - a gentle even rocking back and forth in the percussion, an arpeggiated then sustained chord ascending usually in the strings, a brief quickly descending arpeggio in the harps, sighing parallel chords in the brass and winds, and so on - are presented only briefly and at widely spaced intervals, so the ear does not perceive any minimalist mechanics. Meanwhile, the solo cello in the first part, has a plaintive simple melody (built around a minor second, then minor third descent) that contains microtones and sliding tones expressing uncertainty and indecision as it sings through the orchestral environment. The cello line becomes more bold, sweeping between registers, but the mood of the beginning is recapitulated at the end of the movement and the cyclic sensibility has got the soloist back to the same psychic place; slightly changed, however. The second section is entitled and. Many settings of the melodic motif (minor second, then minor third descending), extended into a longer statement, alternate with solo cello cadenzas. The mood of a lyrical yet plaintive bewilderment is expanded here, as the scene is set for some change expected but as yet unseen - and ...? The third section, entitled Pleiades, extends the previous orchestral gestures making for richer, denser and longer passages of incredible impressionistic textures, some of Takemitsus finest orchestration. The cellos character is more inquisitive and active but nothing is resolved, in the sense of a happy ending. In the last few pages of the score a new universe as it were is entered and we are left suspended in space with a high C harmonic on the cello as flutter-tonguing flutes descend in parallel with a crystalline celesta, vibraphone and clarinets ascend, and the strings sustain a cosmic (C major seventh, sus. 4) drone.
Posted on: Wed, 08 Oct 2014 11:22:08 +0000
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