Toru Takemitsu (1930-1996): Klavierwerke

Detailinformationen

Romance;Lento in due movimenti;Pause ininterrompue Nr. 1-3;
Piano Distance;For Away;Les yeux clos I & II;Rain Tree
Sketch I & II;Piano Pieces for Children;Litany

  • Künstler: Kotaro Fukuma, Klavier
  • Label: Naxos, DDD, 2006
  • Bestellnummer: 9829329
  • Erscheinungstermin: 3.9.2007
  1. 1 Romance Start
  2. 2 Lento in due movimenti: I. Adagio Start
  3. 3 Lento in due movimenti: II. Lento misteriosamente Start
  4. 4 Pause ininterrompue (Uninterrupted Rests): I. Slowly, sadly and as if to converse with Start
  5. 5 Pause ininterrompue (Uninterrupted Rests): II. Quietly and with a cruel reverberation Start
  6. 6 Pause Ininterrompue (Uninterrupted Rests): Iii. A Song Of Love Start
  7. 7 Piano Distance Start
  8. 8 For away Start
  9. 9 Les yeux clos Start
  10. 10 Les yeux clos II Start
  11. 11 Ame no ki (Rain Tree Sketch): Rain Tree Sketch Start
  12. 12 Ame no ki sobyo II (Rain Tree Sketch II), "In memoriam Olivier Messian": Rain Tree Sketch II Start
  13. 13 Piano Pieces for Children: No. 1. Breeze Start
  14. 14 Piano Pieces for Children: No. 2. Clouds Start
  15. 15 Litany: I. Adagio Start
  16. 16 Litany: II. Lento misterioso Start

Produktinfo

Now regarded as one of the most important composers of the second half of the twentieth century, Toru Takemitsu was the first Japanese composer to gain international status. This selection of his piano music, extending over 43 years, offers an inclusive overview of his stylistic development from Romance (1949), the nineteen-year-old composer's earliest surviving piano work, to the hypnotic Rain Tree Sketch II (1992), Takemitsu's last work for solo piano. The music ranges widely in style from Pause ininterrompue (Uninterrupted rest) (1952-59), which shows the influence of Debussy, Scriabin and Messiaen, and the aleatoric Piano Distance (1961), to the nocturnal and meditative For Away (1973) inspired by Indonesian gamelan music.

Pressestimmen

FonoForum 02 / 08: "Dass Fukuma seine künstlerischen Weihen in Paris empfing, kann da nur von Vorteil sein. Er gewährt dieser melancholisch gefärbten Musik den Hauch von Dekadenz, der sie umweht."

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