'Kwaidan' and 'Eclipse' as Examples of Takemitsu's Approach to Biwa

Abstract

From the early 1960s Takemitsu began to seek reconciliation of his Japanese identity with his decidedly "Western" musical activities. He started his exploration of traditional music in 1961 by taking lessons in biwa, and from then until the composition of 'November Steps' in 1967 he treated biwa as both an icon of traditional cultural experience and a sonic resource compatible with international avant-garde practice; this was an approach that he applied to other traditional instruments in turn - most notably, the shakuhachi. He later identified compositions for biwa and shakuhachi that he wrote during 1966-1967, in particular, as pivotal works in his artistic development.Takemitsu collaborated with the celebrated biwa performer, Tsuruta Kinshi (1911-1995), on all but two of his compositions for the instrument. Today I will present historical and analytical documentation of the composer's approach to biwa (as played by Tsuruta) during 1961-1966, in particular in two key works: the music for the 1964 film 'Kwaidan', and the 1966 concert piece 'Eclipse'.