Les Origines: Il y eut peut-être une vision première, assoupie dans la fleur
(The Origins: There was perhaps a first vision, drowsing in the flower)
“There, some life beyond time existed quietly, in harmony, telling us of eternity–those violent and cruel powers that form the world are gently captured. That work of Redon’s that my friend showed me in his small studio looked like unformed heaven and earth, with a violent primordial energy and anxiety of things being born: an eyeball floating in the dark night, looking like… what? A flower? A human form? In “The Origins” one can see Redon’s true qualities purely concentrated in black and white: the movement of the desire in all earthly things as they aspire to evolve into something human, or, the mysterious exchange of feelings that Rilke felt in the swaying trees when he wrote, "I am becoming a tree, or, is the tree becoming me?” Emerging from some deep swamp, that eyeball will haunt me forever. Is that the stare that threatened Cain?“
–Toru Takemitsu, “Redon Fantasy: A Lone Tree in the Wasteland”, 1980.
“Toward” uses sound material from a performance held in the Space Theatre of the Steel Pavilion in March 1970. All the players use François Baschet’s sculptures. For this record, Takemitsu manipulated the tape of this performance into a new work. He produced it during November 1971 at the Electronic Music Studio at NHK.”
What always strikes me about Corona II is how instantly recognizable it is by its timbre and quality – I’ve heard several varying performances and it was a bit like meeting the same person but at different points in their life.
#054 Awayuki [ アワユキ ] || Takemitsu [ タケミツ ]
Two small rabbit ayakashi were on a journey when it saw the Hairy One entering Tooru Taki's house. Curious, they followed behind and later found themselves unable to leave and separated in the process. Awayuki was caught by Takashi Natsume and he lend a hand to find its friend, Takemitsu. Although they shared their dislike of human, Awayuki was concerned for Tooru when she cut her hand as it heard human are weak creatures.
After reuniting with its friend, they told Takashi they no longer hate human but would rather not be near to one anymore. The both left the house, along with the hairy ayakashi.
Ichiyanagi says that when a composer puts meaning into sound he objectifies himself, but I don’t think I really understand that. To me the world is sound. Sound penetrates me, linking me to the world. I give sounds active meaning. By doing this I am assured of being in the sounds, becoming one with them. To me this is the greatest reality. It is not that I shape anything, but rather that I desire to merge with the world.
“Takemitsu […] was too sophisticated and cosmopolitan an artist to be limited to a stereotypical Japanese aesthetic. His enveloping textures are mists in which one can easily become lost, in a way both pleasant and eerie; they have the unnerving potency of dreams.”