Composed in 1982 for orchestra, originally as an accompaniment to a dance, the title of this work comes from the Australian Aboriginal expression to indicate a state of mind and existence parallel to and more "real" than physical reality. Takemitsu uses this experience as a metaphor relating to the musical structure of the piece, rather than attempting to depict the dreamtime poetically—"Just as a dream, for its vividness of detail, points to an unanticipated, unreal whole, so in this work short episodes hand suspended in seeming incoherency to form a musical whole" (Takemitsu). Rich fanning motions of shimmering impressionist color sweep over the orchestra at the beginning. Rays of light seem to shine out of a gloomier atmosphere, shapes arise and disappear, low tremolo strings describe an earthbound mystery that the as wind and high strings burst out toward the heavens. A sudden blast of a brass choir adds fire to the picture, then a richly lyrical string section describing some old sorrow, the music suddenly stabs the air (with bells, accented winds, xylophone etc.) to enter a new unknown dimension not describable from our experience. The initial high strings are heard again, deep brass and strings open into a netherworld as rich strings and harp runs again sweep the sky in fantastic and vast timbral space that is still guided by a masterfully delicate touch. Just when the listener seems to be able to grasp the violin lines in memory, everything disappears like the wind. One of this composer's finest scores.

© All Music Guide

Portions of Content Provided by All Music Guide.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.