By Marguerite Yourcenar
Le 24 novembre 1970, Mishima prépare avec un soin minutieux sa mort. Il veut que son suicide obéisse en tous issues aux rigueurs du ceremony exigé depuis des siècles par l. a. culture de son can pay, le milieu dans lequel il a choisi de vivre religieusement, socialement, littérairement, politiquement : il s'ouvre le ventre avant de se faire décapiter par los angeles major d'un ami. Mort à los angeles fois bad et exemplaire parce qu'elle est en quelque sorte le moyen de rejoindre en profondeur le vide métaphysique dont le romancier-poète japonais subit los angeles fascination depuis sa jeunesse. Marguerite Yourcenar met toute l'acuité de son intelligence au carrier d'une telle aventure humaine dont elle pressent à los angeles fois los angeles proximité et l'étrangeté. Ainsi, dans un modèle d'étude critique, un grand écrivain d'Occident démonte les mécanismes de l. a. psychologie d'un grand écrivain d'Orient, mettant au jour les pursuits, les triomphes, les faiblesses, les désastres intérieurs et finalement le braveness.
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Example text
Amongst the various groupings that sprang up in the 1950s alongside such affiliations as Yagi no Kai or Sannin no Kai, there was at least one whose constitution was radically different. Its membership comprised not only composers but artists working in other media; furthermore, the composers working within this group were autodidacts who had received almost no formal education in music, and were thus somewhat marginal to the ‘official’ Japanese composing community. The group in question was called Jikken Ko¯bo¯, the ‘Experimental Workshop’, and its presence on the map of post-war Japanese music marks one of the beginnings of the emergence of a true avant-garde, of an alternative to ‘academic’ tradition or ‘nationalist’ rhetoric.
1’, and, additionally, the score of the Lento was – as the composer later expressed it in his preface to the score of Litany – subsequently ‘lost’. Nevertheless, as matters turned out, some musical documentation of this period was to survive in one form or another, and it is on the basis of this that the following speculations on the compositional preoccupations of Takemitsu’s ‘pre-musical’ years are offered. Début of ‘the Lento composer’ Takemitsu may have destroyed the score of Kakehi, but he did not succeed in eradicating all evidence of his juvenile pentatonic-nationalist sympathies.
It is to a discussion of this next phase in Takemitsu’s artistic career, then, and the artistic alliances that coalesced as a result partly of Takiguchi’s influence, that attention must now be turned. 3 Experimental workshop: the years of Jikken Ko¯ bo¯ 39 Takemitsu’s first exposure to public criticism may ultimately have ended in tears, but the Shinsakkyokuha evening which featured his compositional début was not without its positive side. In the green room after the performance, Takemitsu met two figures who were to become important allies: the composer Jo¯ji Yuasa (1929– ), and the poet and music critic Kuniharu Akiyama (1929–96).
