Toru Takmitsu's music proves that contemporary music can be exquisitely beautiful too. This Litany In Memory of Michael Vyner consists of two separate pieces (Litany I and II). I love these intense pieces with their ceremonial gestures and delicate brush strokes, making use of Japanese scales and harmonies. I think there's one or two wrong notes which you probably won't notice unless you have played the piece.

Takemitsu - Litany In Memory of Michael Vyner (1989) (8:58)

Bravo, Chris, I´m enthused! I have followed your recording with score and I think, you play this piece very good. It´s an interesting and absolutely beautiful composition in freetonal style. There are interesting "colours" in the chords and scales and both movements are very contemplative from my view. You have a good feeling for this kind of music.
Thank you for sharing this quite young gem (this composition is only 20 years old) and I think, it´s a good aim to care also for contemporary music! (I will try some takes of Lutoslawsky today, btw.)

Thanks Andreas
No doubt you will have spotted one or maybe two wrong notes in the second part, which is really not easy in places. I would not call Takemitsu's writing unpianistic but he does make some awkward demands now and then. I think I've caught the spirit though.

Chris,
I just had a listen to these, as if I were an audience member without knowledge of the score (which I do not have anyway). I find the works interesting, but especially the second. Their mood is appropriate for a requiem. If I didn't have the title to help me anticipate, I would have found the works too subtle for my personal taste.

Thanks for the interesting post.

Sounded well-played. I like the second piece.

Hi Chris,

I enjoyed hearing both pieces for the first time. They are certainly very contemporary in sound, yet there is a lush neo-romanticism present at times too in the harmonies. Although it is probably repertoire I would not choose for myself, I believe this music has great stature, so it was a pleasure hearing another pianist performing it so well. I'm sure that in learning these pieces they presented some challenges at times. Great playing!

David

Hi Chris,

I had a listen to your recording of Takemitsu, nicely played. I have not heard these pieces before. I wish I had a score of this piece, as it seemed there were some very shifty dynamics in the second piece, one chord would be piano and the next forte, which took me by surprise, though it made the already interesting chords highlighted even more. The first piece reminds me of Debussy's berceuse heroique, and the last diminished chord reminded me of the final chord in Hamelin's After Pergolesi.

I was curious about who Michael Vyner is so I found he was appointed Musical Director for London Sinfonietta in 1972. Perhaps Takemitsu was his student?

Enjoyed this litany ,

Riley

Thanks all for the comments. I was surprised to like Takemitsu's music so much, not otherwise being much into modern music as yet.
He was very influenced by Messiaen (as can be clearly heard in the second litany) but whereas I have trouble enjoying Messiaen's music, except some early works, I took to these pieces instantly. I'll soon follow up with his best piece, Rain Tree Sketch II, and maybe also the early Romance.