Toru Takemitsu - Riverrun, Water-ways, etc - The London Sinfonietta (1991)
Toru Takemitsu (1930-1996)
Riverrun, Water-ways, etc - The London Sinfonietta
XLD Rip | FLAC+CUE+LOG | Covers | 55'44 | 202 MB
20th Century Classical - Contemporary | 1991 | Virgin Classics
Riverrun, Water-ways, etc - The London Sinfonietta
XLD Rip | FLAC+CUE+LOG | Covers | 55'44 | 202 MB
20th Century Classical - Contemporary | 1991 | Virgin Classics
The London Sinfonietta - Oliver Knussen, conductor
- "Riverrun, for piano and orchestra" is a work inspired by James Joyce's "Finnegans Wake", the same as the string quartet "A way a lone" and "Far calls. Coming, far!" for violin and orchestra. These are deeply connected alike with the image of water.
The music flows in the form of a musical tributary dervied from a certain main current, wending its way through the scenery of night towards the sea of tonality. The motif, and the intervals of a major seventh and minor third, almost like simple symbols, gradually disperse and always give birth to a variety of melodic sub-species. While they sometimes do confront one another, they do not necessarily represent dialectic development, but continually keep occurring, disappearing and recurring.
Like his other Joycean works, Takemitsu uses the "river/sea" motif of "Finnegans Wake" to explore a musical world based on the three keys found in the word SEA (the German Es or E-flat, E, and A). And as with his violin concerto, this symbolism is further used to broaden and transform a piece of atonal music into a wider expanse of tonalism.
A piano concerto, the piece begins immediately in an atonal nebula of sound, and the piano wanders its way through the first few minutes supported by strings which pulse and swell like waves, with an occasional burst of muted brass or woodwinds emerging like a crest that never quite breaks. Percussion and various instrumental color add a certain edginess to the work – perhaps half-glimpsed shapes passed on the riverbank – and the overall feeling is very dark, both nocturnal and mysterious. It is, at times, reminiscent of Debussy's "La Mer" and Barber's "Fadograph of Yestern Scene". Eventually the piano begins to make more tonal "sense," and the orchestral swells broaden, exerting a gravitational pull on the piano – which sheds one final shimmer of notes before dissolving peacefully into the sea, repeating a simple motif until everythings fades to silence.
- "Water-ways", as the title suggests, shows the way various streams follow different water-ways. Finally all of them get together to become one high stream, and all those streams go towards the sea of tonality.
- "Rain Coming" and "Rain Spell" belong to a series of works inspired by the common theme of rain. It was Takemitsu's intention to create a series of works that pass through various metamorphoses aiming at the sea of tonality, just like water which circulates in the universe.
- "Tree Line": the tree line in the title is a row of acacia trees luxuriously growing near the mountain villa which is Takemitsu's workshop. A stroll under the long line of acacia trees lining the hilly slopes always soothes his mind.
This work was written as an 'hommage' to these graceful, and yet dauntless trees. The music proceeds like a tapestry, woven around D natural and B flat in various modes, along with its main line of tonal variation.
TRACKS
01. Riverrun, for piano & orchestra (1984) [14:15]
02. Waterways, for clarinet, violin, cello, piano, 2 harpsichords & 2 vibraphones (1977) [10:12]
03. Rain Coming, for chamber orchestra (1982) [08:33]
04. Rain Spell, for flute, clarinet, harp, piano & vibraphone (1982) [09:40]
05. Tree Line, for chamber orchestra (1988) [12:19]
X Lossless Decoder version 20100711 (120.5)
XLD extraction logfile from 2010-07-14 12:16:57 +0200
Toru Takemitsu / Riverrun - Water-Ways etc
Used drive : MATSHITA DVD-R UJ-85J (revision FBZ8)
Use cdparanoia mode : YES (CDParanoia III 10.2 engine)
Disable audio cache : OK for the drive with cache less than 2750KB
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Read offset correction : 102
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Gap status : Analyzed, Appended
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 00:00:32 | 14:26:73 | 32 | 65054
2 | 14:27:30 | 10:21:00 | 65055 | 111629
3 | 24:48:30 | 08:43:20 | 111630 | 150874
4 | 33:31:50 | 09:53:30 | 150875 | 195379
5 | 43:25:05 | 12:19:22 | 195380 | 250826
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