This piece is scored for alto flute, harp, and string orchestra
Like many of the later pieces of Takemitsu, this piece is in a more tonal style than his earlier works (however, it does use some extended techniques for the flute). The “SEA” motif (E♭-E-A) is also used prevalent in this piece.
(0:00) 1. 「夜」(yoru) (The Night) - The first movement’s overarching form is A-B. The movement starts in a very eerie mood, with ambiguous harmonies - something like veiled waves of sounds.
(0:23) After a pause, the second phrase starts, climaxing on (0:41).
(0:47) The third phrase.
(1:33) The “SEA” motif appears in its original form for the first time in here.
(1:41) The new section, and (1:47) SEA motif.
(2:24) The next section features the melodies from (1:41), and concludes quite consonantly (notice that the last note in the strings is just Bb minor chord)
(2:59) A chordal ending, like a silent sea.
(3:28) 2. 「白鯨」(haku-gei) (Moby Dick) - The second movement’s overarching form is A-A’. It starts with a statement of the “Whale” motif, which is Bb-E-C in the cello from the beginning. Then, the alto flute states the SEA motif. These two motifs intermingle in this movement, like a whale swimming through a broad ocean.
(3:51) Next phrase. The texture is denser, and features faster melodies from both of the soloists. There are also some SEA motifs as well as the whale motif hidden in the flute part.
(5:07) The mood is more settled, but notice the motifs that appears in the alto flute part, as well as the “sweeping” texture of the strings.
(5:56) Start of the second section. It contains a cadenza for the alto flute, which contains the key motifs.
(6:39) The movement ends in a placid manner, but with a final reminiscence of both the sea and the whale.
(7:24) 3. 「鱈岬」(tara-misaki) (Cape Cod) - The last movement’s overarching form is A-A’. SEA motif is present in the lower register. Also, this first statement concludes with a Bb minor chord, which represents “A Sea of Tonality” in this piece.
(8:26) The next phrase uses lydian scale, as well as some melodies from the first movement (and Bb minor chord, once again).
(8:45) This section serves as a transition
(9:03) This section is very placid, with pentatonic melody in the flute above Bb minor chords in the strings.
(9:32) Reprise of the first section’s melodies.
(10:05) Part of this section is reminiscent of later parts from the first movement.
(10:22) A “coda”, it concludes the piece with the sea motif (stated in various registers), and then a Bb minor chords from the strings, making the music literally fade away in a “sea of tonality”, in a placid manner.
Source: English, Japanese Wikipedia, original research
7 авг 2024