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ANAMNESIS | After T​ō​ru Takemitsu part III. With more movement も​っ​と​動​き​を​伴​っ​て​。

from HOMMAGES | Lutos​ł​awski | P​ä​rt | Takemitsu | Piazzolla | De Falla | Mehldau by MAREK PASIECZNY

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SCORE: pasieczny.com/scores/

既往歴 | 武満徹 の後 ANAMNESIS | After Tōru Takemitsu
I. 広大な空間 Spaciously II. 少しだけ速くSlightly faster III. もっと動きを伴って。With more movement

From the Greek words anamimnēskein meaning to recall, to remember; and mimnēskein: to call to mind. In psychology, ‘anamnesis’ is used to describe the recall to memory, a recollection; while in medicine, it represents the ability to recall past events. In philosophy, ‘anamnesis’ is a concept in Plato's epistemological and psychological theory. Platonicism is a recollection of the ideas which the soul had known in a previous existence, especially by means of reasoning. It is the idea that humans possess knowledge from past incarnations and that learning consists of rediscovering that knowledge within us. In the Catholic religion, ‘anamnesis’ appears as a prayer in a Eucharistic service, recalling the Passion, Resurrection, and Ascension of Christ.

In 1992, Takemitsu composed a trio for flute, viola and harp entitled “And then I knew 'twas wind”. This work is a late example of Takemitsu's life-long interest in French music. It was his tribute to Claude Debussy. Takemitsu borrowed the instrumentation of Debussy's Sonata No. 2 for flute, viola, and harp, and also alluded to it by a literal quote of a rising figure that first appears in the viola. He described the piece as a "...soul, or unconscious mind (we could even call it a 'dream'), which continued to blow, like the wind, invisibly, through human consciousness." Following Takemitsu’s idea of borrowing and quoting, I took a figure from the harp solo in the very first opening bar of Takemitsu’s “And then I knew 'twas wind”. The original material is a six-note figure which I have used throughout my piece, partially presented six times (once ‘divided’ in the first movement, twice in the 2nd, and three times in the 3rd movement) before appearing in its complete form at the end of the piece. These quotations (partial or complete) have been clearly pointed out in the guitar score.

ANAMNESIS has been divided into three movements, with each movement increasing in tempo resulting in a gradual condensation in the flow of time. The piece is however meant as a whole, with the movements connected in two ways. Firstly, each movement consists of materials from the other two movements; however this diminishes progressively towards the end. Almost half of the first movement consists of materials from the 2nd and 3rd movements. The second movement, however, contains only nearly 30% of the materials from the 1st and 3rd movements. Finally the third movement is made up of 80% new material with the remaining 20% from the 1st and 2nd movements. The core linking factor of the piece is a five-note pattern (e flat, f, a, b flat, g) - forming the main theme (based in part on the Japanese Ichikosucho scale) – which unfolds partially in the first movement, finally presented in its entirety in the second movement, and returning in reminiscence (mimnēskein) at the very end of movement three.

The phenomenon of ANAMNESIS (i.e. recalling to memory) is also reflected musically via a number of ‘central notes’ (in the guitar version, it is achieved through repeating the same note on different strings, in different octaves or via natural or artificial harmonics) which continuously recur (indicated in the guitar score by dotted lines). This suggests (for the listener) the illusion of memory of previously heard notes.

ANAMNESIS is also my personal tribute to Tōru Takemitsu.

credits

from HOMMAGES | Lutos​ł​awski | P​ä​rt | Takemitsu | Piazzolla | De Falla | Mehldau, released January 13, 2013
composed and performed by Marek Pasieczny, recorded and produced in the UK | November 2014 | SLE Production | all rights reserved worldwide

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MAREK PASIECZNY London, UK

I'm composer and guitarist. Thank YOU for visiting me here. Thanks for your support!

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