Título: Tōru Takemitsu
Seção: Influence of Debussy
Background: Toru Takemitsu (Wu Man  Che , Takemitsu Toru, October 8, 1930 - February 20, 1996) pronounced [takemitsW to:rW] was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu possessed consummate skill in the subtle manipulation of instrumental and orchestral timbre. He is famed for combining elements of oriental and occidental philosophy to create a sound uniquely his own, and for fusing opposites together such as sound with silence and tradition with innovation. He composed several hundred independent works of music, scored more than ninety films and published twenty books.

Conteúdo: Takemitsu frequently expressed his indebtedness to Claude Debussy, referring to the French composer as his "great mentor". As Arnold Whittall puts it:  Given the enthusiasm for the exotic and the Orient in these [Debussy and Messiaen] and other French composers, it is understandable that Takemitsu should have been attracted to the expressive and formal qualities of music in which flexibility of rhythm and richness of harmony count for so much.  For Takemitsu, Debussy's "greatest contribution was his unique orchestration which emphasizes colour, light and shadow ... the orchestration of Debussy has many musical focuses." He was fully aware of Debussy's own interest in Japanese art, (the cover of the first edition of La mer, for example, was famously adorned by Hokusai's The Great Wave off Kanagawa). For Takemitsu, this interest in Japanese culture, combined with his unique personality, and perhaps most importantly, his lineage as a composer of the French musical tradition running from Rameau and Lully through Berlioz in which colour is given special attention, gave Debussy his unique style and sense of orchestration.  During the composition of Green (November Steps II, for orchestra, 1967: "steeped in the sound-color world of the orchestral music of Claude Debussy") Takemitsu said he had taken the scores of Debussy's Prelude a l'Apres-midi d'un Faune and Jeux to the mountain villa where both this work and November Steps I were composed. For Oliver Knussen, "the final appearanc

user: In which of Takemitsu's works is Debussy's influence apparent?

assistant: Details of orchestration in Green, such as the prominent use of antique cymbals, and tremolandi harmonies in the strings, clearly point to the influence of Takemitsu's

user: Are there any other interesting aspects about this article?

assistant: Takemitsu frequently expressed his indebtedness to Claude Debussy, referring to the French composer as his "great mentor

user: How did Debussy influence Takemitsu?

assistant: Debussy's "greatest contribution was his unique orchestration which emphasizes colour, light and shadow

user: What qualities of Takemitsu's work are similar to Debussy's?

assistant: Takemitsu said he had taken the scores of Debussy's Prelude a l'Apres-midi d'un Faune and Jeux to the mountain villa where both this work and November Steps I were composed.

user: Are there any other interesting aspects about this article?

assistant: In Quotation of Dream (1991), direct quotations from Debussy's La Mer and Takemitsu's earlier works relating to the sea are incorporated into the musical flow

user: What other works make reference to Debussy?

assistant: the final appearance of the main theme irresistibly prompts the thought that Takemitsu may, quite unconsciously, have been attempting a latter-day Japanese Apres-midi d'un Faune

user: What was Takemitsu's opinion of Debussy?

assistant: Takemitsu frequently expressed his indebtedness to Claude Debussy, referring to the French composer as his "great mentor".

user: What works of Debussy did he particularly like?

assistant: For Takemitsu, Debussy's "greatest contribution was his unique orchestration which emphasizes colour, light and shadow