Yoritsune Matsudaira (1907-2001) was descended both from the Shogun rulers of Japan and the Fujiwaras, among the most powerful factions at the Imperial Court between the 7th and 12th centuries, but in his formative years he was surrounded by liberal elements opposed to the pervading mood of nationalism.

Like Takemitsu after him, he was repelled by Japanese militarism and studied European music, particularly Debussy and Satie. He read French literature at university but was inspired to take up music professionally after hearing pianist Henri Gil-Marchex. Throughout the 1930s he wrote in a French-influenced neo-Classical style, then, apart from a few brass band works, stopped composing during the Second World War, being out of sympathy with the patriotic art required at that time. He was, however, extending his studies into Japanese forms, finding renewed inspiration in the ancient Gagaku (court music) tradition.

Theme and Variations (1951), the most approachable and out-going work here, illustrates Matsudaira’s melding of Gagaku and neo-classicism. The other pieces, arranged as a suite for this recording, date from the late 1950s. By then Matsudaira was experimenting with serialism and aleatoric techniques. (Morihide Katayama‘s comprehensive and informative notes observe: ‘Gagaku is equipped with many elements that may fit with avant-garde music.’ Similarly, some of the most extreme and experimental electro-acoustic, electronic and improvising Japanese musicians of the past two decades use traditional instruments associated with Gagaku, such as the sho and biwa, types of mouth-organ and lute respectively.)

Matsudaira‘s admirers have included Takemitsu, Messiaen and Boulez, and his influence on Boulez in particular is clear from these ritualistic works, with their stern, rather cold yet mesmerising grace and beauty. With its convincing, suitably ceremonial performances and atmospheric recorded ambience, this is yet another fascinating release to add to Naxos’s roll of honour.