After a Saturday afternoon matinee in San Francisco, I was greeted by one of the local composers, and invited to attend an evening concert, which was part of a contemporary music concert series called “BYOP Concerts”.

(Photo: Edo de Waart, Daniel Kobialka, Toru Takemitsu, on the occasion of the San Francisco Symphony’s 1981 American premiere of Toru Takemitsu’s “Far Calls…Coming, far!” with Kobialka performing on violin.)

This was a very popular concert series back in the 70’s, and he was the creator and manager of this ‘Bring Your Own Pillow’ series. That evening’s concert event was featuring the music of Toru Takemitsu.

The concert itself was spellbinding, as Takemitsu created a musical palette of textures and combination of instruments that were beyond anything I would ever have imagined.

After the concert was completed I was introduced to Toru Takemitsu. He had a gently manner and his deep thoughts were immediately evident as he began to speak quietly with a very beautiful tone of voice.

Our conversation began with a gentle motion of questions to answers, and answers to questions. After a brief time we recognized a strong connection regarding expanded levels of understanding which led us to a long and close friendship.

Over the years we would visit with each other as schedules permitted. I have many wonderful stories to share with all of my friends, but one comes to mind when I visited him in the beautiful country area outside of Tokyo, Japan.

He was by himself composing in the beauty of nature away from the busy activities of Tokyo. The work that he was just completing was to be premiered at the opening of the Lincoln Center in New York City by the New York Philharmonic, and titled ‘November Steps’ for Japanese satsuma biwa, shakuhachi flute, and the New York Philharmonic.

This was such a memorable moment because of the peaceful setting he centered himself in at Karuizawa, a mountain resort at the foot of the active volcano Mount Asama in Nagano Prefecture. He was residing in a small box-like structure raised high off the ground on tall poles with steps leading up to its entrance. Once I entered this Japanese dwelling I saw that it had the bare essentials of living, and his small composing table with a small biwa alongside his table.

Inside this structure the wood was weather worn and so basic in its natural purity that I came to realize Toru’s sensitivity to all universal things and possibilities. He commented that he did not even have a telephone, and when it was needed would walk to the local town and make his calls.

The magic was about to come!

While we where sitting and talking on the floor, as is the tradition in Japan, he asked if I wanted to see the score of ‘November Steps’ and I immediately said YES!

I realized that this composition was one of his most important works, and I was so excited to look at this magnificent score with its mixture of new musical notation for the Japanese instruments and traditional western musical notation.

The score was in his beautiful pencil writing of musical notation. This also was a work of visual art in itself, as created by a Master painter in the style of Japanese calligraphy. This was such an honor to see, as I probably was the first person to view his completed score.

In future articles, I will humbly share more anecdotal stories about Takemitsu, as we were connected in so many aspects of philosophy of music expression, and the art of music making, until his passing. I often recall his wonderful comments, and even to this day ask for his guided assistance when I face a musical challenge.

The minds of east and west are different in understanding and perception.

It is like speaking about Zen and Buddhism, where there are no words to describe it, even though much is spoken about it and its process towards enlightenment.

For me, I reflected upon my experiences with Takemitsu deeply, developing a sort of consciousness of non-consciousness - which is a pathway for each soul to seek in his or her way through the practice of meditation.

The musical ideas that I discovered after much contemplation, searching to capture all of these ideals within my own self expression based on the above things that I have mentioned, culminated in my album titled “Pathless Journey”. It is hard to describe with words something visualized and realized in the power of the universal acknowledgment of Infinity.

Pathless Journey is based upon many elements of thought expressed through music, impressions and feelings, thoughts that I experienced while being in the presence of this great Sensei Toru Takemitsu.

If I may, allow me to share another story with you.

One night when we were visiting in San Francisco, he brought over a recording of new music that he wanted to share. After listening to this magnificent music, our conversation led to him asking to listen to a composition of mine entitled ‘Autumn Beyond’, for Japanese satsuma biwa, solo violin, multi-tracked violins, and percussion. This recording had just won an award for the best recording of contemporary music, in the New York Times.

This was such a great honor for me, and I also shared a composition that was written for me by the Pulitzer Prize wining composer Henry Brant, titled ‘Solar Moth’.This was my musical attempt to bring together the sounds of the East and West, as I also performed all of the parts including the biwa, which was quite a process to learn.

As you can imagine, this was quite a frightening request and I was so reluctant to have him listening as I was very concerned about what he might say. He was a Great Master Sensei, and my thoughts brought me to my knees very quickly.

The moment came when the music was concluded and everything was so silent, a silence that I never quite experienced before. I also never realized that my heart could beat so loudly!

Takemitsu gently lifted his head and looked at me saying, “you understand.”

This was the greatest compliment I could have ever received from this man whom I consider to be a universal being.

I forever thank you, Toru!

Daniel Kobialka