Tōru Takemitsu (武満 徹; pronounced [takeꜜmitsɯ̥ toːɾɯ]; 8 October 1930 – 20 February 1996) was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu was admired for his subtle manipulation of instrumental and orchestral timbre. He is known for combining elements of oriental and occidental philosophy and for fusing sound with silence and tradition with innovation. Takemitsu composed several hundred independent works of music, scored more than ninety films and published twenty books. He was also a founding member of the Jikken Kōbō (実験工房, experimental workshop) in Japan, a group of avant-garde artists who distanced themselves from academia and whose collaborative work is often regarded among the most influential of the 20th century. His 1957 Requiem for string orchestra attracted international attention, led to several commissions from across the world and established his reputation as the leading 20th-century Japanese composer. He was the recipient of numerous awards and honours and the Toru Takemitsu Composition Award is named after him.

A concerto (; plural concertos, or concerti from the Italian plural) is, from the late Baroque era, mostly understood as an instrumental composition, written for one or more soloists accompanied by an orchestra or other ensemble. The typical three-movement structure, a slow movement (e.g., lento or adagio) preceded and followed by fast movements (e.g., presto or allegro), became a standard from the early 18th century. The concerto originated as a genre of vocal music in the late 16th century: the instrumental variant appeared around a century later, when Italians such as Arcangelo Corelli and Giuseppe Torelli started to publish their concertos. A few decades later, Venetian composers, such as Antonio Vivaldi, had written hundreds of violin concertos, while also producing solo concertos for other instruments such as a cello or a woodwind instrument, and concerti grossi for a group of soloists. The first keyboard concertos, such as George Frideric Handel's organ concertos and Johann Sebastian Bach's harpsichord concertos, were written around the same time. In the second half of the 18th century, the piano became the most used keyboard instrument, and composers of the Classical Era such as Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven each wrote several piano concertos, and, to a lesser extent, violin concertos, and concertos for other instruments. In the Romantic Era, many composers, including Niccolò Paganini, Felix Mendelssohn, Frédéric Chopin, Robert Schumann, Johannes Brahms, Pyotr Ilyich Tchaikovsky and Sergei Rachmaninoff, continued to write solo concertos, and, more exceptionally, concertos for more than one instrument; 19th century concertos for instruments other than the piano, violin and cello remained comparatively rare, however. In the first half of the 20th century, concertos were written by, among others, Maurice Ravel, Edward Elgar, Richard Strauss, Sergei Prokofiev, George Gershwin, Heitor Villa-Lobos, Joaquín Rodrigo and Béla Bartók, the latter also composing a concerto for orchestra, that is without soloist. During the 20th century concertos appeared by major composers for orchestral instruments which had been neglected in the 19th century such as the clarinet, viola and French horn. In the second half of the 20th century and onwards into the 21st a great many composers have continued to write concertos, including Alfred Schnittke, György Ligeti, Dmitri Shostakovich, Philip Glass and James MacMillan among many others. An interesting feature of this period is the proliferation of concerti for less usual instruments, including orchestral ones such as the double bass (by composers like Eduard Tubin or Peter Maxwell Davies) and cor anglais (like those by MacMillan and Aaron Jay Kernis), but also folk instruments (such as Tubin's concerto for Balalaika, Serry's Concerto in C Major for Bassetti Accordion, or the concertos for Harmonica by Villa-Lobos and Malcolm Arnold), and even Deep Purple's Concerto for Group and Orchestra, a concerto for a rock band. Concertos from previous ages have remained a conspicuous part of the repertoire for concert performances and recordings. Less common has been the previously common practice of the composition of concertos by a performer to be performed personally, though the practice has continued via certain composer-performers such as Daniil Trifonov.

Below is a sortable list of compositions by Tōru Takemitsu. The works are categorized by genre, date of composition, titles and scoring. Scores by Takemitsu are published by Ongaku No Tomo Sha, C.F. Peters, Éditions Salabert, Schott Japan, and Universal Edition.

Michael Vyner (1943 - 20 October 1989) was an English arts administrator. Formerly employed by the music publishers Schott Music, he was Musical Director of the London Sinfonietta from 1972 until his death in 1989. He was one of the victims of the AIDS epidemic. Vyner's death occasioned a range of musical tributes from some of the major composers of the day, including Hans Werner Henze (Requiem), Luciano Berio (Leaf, for piano), Harrison Birtwistle (Ritual Fragment), Toru Takemitsu (Litany - In Memory of Michael Vyner and My Way of Life - In Memory of Michael Vyner), Peter Maxwell Davies (Threnody on a Plainsong for Michael Vyner), Henryk Górecki (Good Night, In Memoriam Michael Vyner), and Oliver Knussen (Secret Psalm). From 1990 to 2004 there was a Michael Vyner Trust, established to assist young composers and commission new works. Michael Vyner's papers are held by the British Library.

Tōru Takemitsu (武満 徹; pronounced [takeꜜmitsɯ̥ toːɾɯ]; 8 October 1930 – 20 February 1996) was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu was admired for his subtle manipulation of instrumental and orchestral timbre. He is known for combining elements of oriental and occidental philosophy and for fusing sound with silence and tradition with innovation. Takemitsu composed several hundred independent works of music, scored more than ninety films and published twenty books. He was also a founding member of the Jikken Kōbō (実験工房, experimental workshop) in Japan, a group of avant-garde artists who distanced themselves from academia and whose collaborative work is often regarded among the most influential of the 20th century. His 1957 Requiem for string orchestra attracted international attention, led to several commissions from across the world and established his reputation as the leading 20th-century Japanese composer. He was the recipient of numerous awards and honours and the Toru Takemitsu Composition Award is named after him.

Tōru Takemitsu (武満 徹; pronounced [takeꜜmitsɯ̥ toːɾɯ]; 8 October 1930 – 20 February 1996) was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu was admired for his subtle manipulation of instrumental and orchestral timbre. He is known for combining elements of oriental and occidental philosophy and for fusing sound with silence and tradition with innovation. Takemitsu composed several hundred independent works of music, scored more than ninety films and published twenty books. He was also a founding member of the Jikken Kōbō (実験工房, experimental workshop) in Japan, a group of avant-garde artists who distanced themselves from academia and whose collaborative work is often regarded among the most influential of the 20th century. His 1957 Requiem for string orchestra attracted international attention, led to several commissions from across the world and established his reputation as the leading 20th-century Japanese composer. He was the recipient of numerous awards and honours and the Toru Takemitsu Composition Award is named after him.

Below is a sortable list of compositions by Tōru Takemitsu. The works are categorized by genre, date of composition, titles and scoring. Scores by Takemitsu are published by Ongaku No Tomo Sha, C.F. Peters, Éditions Salabert, Schott Japan, and Universal Edition.

Tōru Takemitsu (武満 徹; pronounced [takeꜜmitsɯ̥ toːɾɯ]; 8 October 1930 – 20 February 1996) was a Japanese composer and writer on aesthetics and music theory. Largely self-taught, Takemitsu was admired for his subtle manipulation of instrumental and orchestral timbre. He is known for combining elements of oriental and occidental philosophy and for fusing sound with silence and tradition with innovation. Takemitsu composed several hundred independent works of music, scored more than ninety films and published twenty books. He was also a founding member of the Jikken Kōbō (実験工房, experimental workshop) in Japan, a group of avant-garde artists who distanced themselves from academia and whose collaborative work is often regarded among the most influential of the 20th century. His 1957 Requiem for string orchestra attracted international attention, led to several commissions from across the world and established his reputation as the leading 20th-century Japanese composer. He was the recipient of numerous awards and honours and the Toru Takemitsu Composition Award is named after him.