Título: Tōru Takemitsu
Seção: Influence of Messiaen
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: The influence of Olivier Messiaen on Takemitsu was already apparent in some of Takemitsu's earliest published works. By the time he composed Lento in Due Movimenti, (1950), Takemitsu had already come into possession of a copy of Messiaen's 8 Preludes (through Toshi Ichiyanagi), and the influence of Messiaen is clearly visible in the work, in the use of modes, the suspension of regular metre, and sensitivity to timbre. Throughout his career, Takemitsu often made use of modes from which he derived his musical material, both melodic and harmonic among which Messiaen's modes of limited transposition to appear with some frequency. In particular, the use of the octatonic, (mode II, or the 8-28 collection), and mode VI (8-25) is particularly common. However, Takemitsu pointed out that he had used the octatonic collection in his music before ever coming across it in Messiaen's music.  In 1975, Takemitsu met Messiaen in New York, and during "what was to be a one-hour 'lesson' [but which] lasted three hours ... Messiaen played his Quartet for the End of Time for Takemitsu at the piano", which, Takemitsu recalled, was like listening to an orchestral performance. Takemitsu responded to this with his homage to the French composer, Quatrain, for which he asked Messiaen's permission to use the same instrumental combination for the main quartet, cello, violin, clarinet and piano (which is accompanied by orchestra). As well as the obvious similarity of instrumentation, Takemitsu employs sever

user: What kind of influence was there?

assistant: the influence of Messiaen is clearly visible in the work, in the use of modes, the suspension of regular metre, and sensitivity to timbre.

user: Why did he have such an influence?

assistant: Takemitsu had already come into possession of a copy of Messiaen's 8 Preludes (through Toshi Ichiyanagi),

user: How did he get that?

assistant: through Toshi Ichiyanagi),

user: Who is Toshi Ichiyanagi?

assistant: CANNOTANSWER

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

assistant: In 1975, Takemitsu met Messiaen in New York, and during "what was to be a one-hour 'lesson' [but which] lasted three hours

user: What did they do during this session?

assistant: Messiaen played his Quartet for the End of Time for Takemitsu at the piano",

user: How did Takemitsu react to this?

assistant: Takemitsu responded to this with his homage to the French composer, Quatrain,

user: What happened then?

assistant: he asked Messiaen's permission to use the same instrumental combination for the main quartet, cello, violin, clarinet and piano (which is accompanied by orchestra).

user: Did he grant him permission?

assistant: Takemitsu employs several melodic figures that appear to "mimic" certain musical examples given by Messiaen in his Technique de mon langage musical, (see ex. 4).