Toru Takemitsu Composition Award

4 Finalists selected for Toru Takemitsu Composition Award 2014
[Judge: Peter Eötvös]

6 Dec, 2013

Peter Eötvös, judge of the Toru Takemitsu Composition Award 2014, has chosen the following 4 orchestral works out of 108 entries from 31 countries eligibly accepted by 30 September 2013. Screening was done with the anonymous scores having only their titles.
These four nominated works will be performed on 25 May 2014 at the Tokyo Opera City Concert Hall : Takemitsu Memorial for Mr. Eötvös’s final judgement.
Here is the list of finalists in order of their entry.

Applications for 2014（PDF/238KB）

Year 2014 Peter Eötvös (Hungary)

Finalists (in order of entry)

Comments for the Final / as a single judge
for the Toru Takemitsu Composition Award 2014

(In order of entry)

AWAKENING / SERENITY

Reading the score I had the same feeling that I sometimes have in a foreign country, where despite the fact that I do not speak the language, I seem to understand everything; everything becomes clear and obvious in the composition. It is a piece one can recognize after hearing it only once. It is unique, singular, and very positive.
The composer uses strong, contrasting colors. The set of instruments where the glockenspiel, the vibraphone, the tubular bells, the harp, the piano and the sparkling sound of the wind chimes dominate probably represent "serenity", in opposition to the wind and string instruments that make regular attempts to "wake up". If they manage to do so, we can look forward to a serene and energetic day.

BLACK BOXES

It is easily discernible that the composer comes from the German musical heritage. The model for this piece written for 3 groups of instruments cannot have been any other than the Stockhausen piece from 1957, "Gruppen", written for 3 different orchestras.
However, it is only a model, and the "Black Boxes" is not an imitation.
While Stockhausen was interested in polyphony - the independent, individual lives of the three orchestras, perceived as the life of three countries would be seen from the cosmos - "Black Boxes" incorporates its incredibly compact and energetic material into a single frame, into one great stereo sound.
This piece is without a doubt the most traditional of the four chosen scores. Because of its extraordinarily clear, formal composition, dynamism and verve and the transparent sound that comes from constantly　employing the entire orchestra, it would most certainly be a pleasure to listen to this piece sitting in the middle of the front row of the balcony.
I do hope that the premiere in Tokyo will arouse the interest of other orchestras to perform it.

THE NORTHERN CAMELLIA - GRADATION OF SOUNDING AMITY No.2 -

I read and reread this score, at length, several times. I perused it as I sometimes do with a painting, when I am in a museum, alone in a room where there is only one picture exhibited. I stand in front of the picture for a long time, taking stock of the whole, then studying the details, then looking at the whole again – and so on, for some time.
The composer has a deep knowledge of sound. He does not listen to it from outside, but from within the music. He uses a special technique that reminds one of the Impressionists: he constantly repeats sounds, as the painters used points strung together instead of lines. In this way, sounds are lifted from the ground into space: they will be lighter, and as the sound is made up of points, they can mix and mingle with each other lightly and easily, like snowflakes. The composer found an extremely simple and clear writing technique to help musicians with the performance of this repetitive sound.
I am very much looking forward to hearing a live performance of this composition.

Until the sea above us closed again

There are certain themes that are not suitable for musical transformation. In this case the exact opposite happens: it is the choice of theme and the musical refinement that makes this subdued and sensitive piece stand out from among the others. This piece is like three poems, recited in a whisper. It evokes the spirit of Dante – and the moment it becomes almost tangible, it disappears.
This piece was written for a medium-size orchestra and it is relatively short, suitable for a concert hall, but I imagine that listening to it on CD at home alone, a closer inspection would bring further details to the listener's attention.

Peter Eötvös
November 30, 2013