Ulysses Loken, piano

The Messiaen-influenced harmonic and gestural language of Toru Takemitsu (1930-1996) is set against the elegant modal counterpoint of Takashi Yoshimatsu (b. 1953), with influences of Bach, Satie, jazz, and progressive rock.

Takemitsu’s Rain Tree Sketch (1982) and Rain Tree Sketch II – In Memoriam Olivier Messiaen (1992), written in his mature compositional language, melds western classical music with Japanese aesthetics and traditions. The concept of ma, of empty space, influences the structure and sound of these pieces.

Yoshimatsu describes the Pleiades Dances IV (1992) as “a new form of preludes for the modern piano.” This set is a study of pedal points, the subtle counterpoint dancing around the fixed notes.