Joe Hisaishi souvenir tour book
17
-
Upload
lehu-zhang -
Category
Documents
-
view
435 -
download
9
description
Print 1 : Joe Hisaishi souvenir tour book
Transcript of Joe Hisaishi souvenir tour book
JOE HISAISHI久 石让
2010 WORLD TOUR
JOE
HIS
AIS
HI
was
bo
rn i
n N
akan
o,
Nag
ano
,
Jap
an a
s M
amo
ru F
ujis
awa.
Wh
en
he
sta
rte
d
to t
ake
vio
lin l
ess
on
s at
ag
e f
ive
, H
isai
shi
dis
cove
red
his
pas
sio
n f
or
mu
sic.
Re
aliz
ing
his
lo
ve,
he
att
en
de
d t
he
Ku
nit
ach
i C
olle
ge
of
Mu
sic
in 1
969
to m
ajo
r in
mu
sic
com
po
si-
tio
n.
His
aish
i co
llab
ora
ted
wit
h m
inim
alis
t
arti
sts
as a
typ
ese
tte
r, f
urt
he
rin
g h
is e
xpe
ri-
en
ce i
n t
he
mu
sica
l w
orl
d.H
e e
njo
yed
his
firs
t su
cce
ss o
f th
e b
usi
ne
ss i
n 1
974
wh
en
he
com
po
sed
mu
sic
for
a sm
all
anim
atio
n c
alle
d
Gya
toru
zu.
Th
is a
nd
oth
er
ear
ly w
ork
s w
ere
cre
ate
d u
nd
er
his
giv
en
nam
e.
Du
rin
g t
his
pe
rio
d,
he
co
mp
ose
d f
or
Sas
ug
a n
o S
aru
tob
i
(Aca
de
my
of
Nin
ja)
and
Fu
tari
Tak
a (A
Fu
ll
Th
rott
le).
In t
he
197
0s,
Jap
ane
se p
op
ula
r
mu
sic,
ele
ctro
nic
mu
sic,
an
d n
ew
-ag
e m
usi
c
flo
uri
she
d;
tho
se g
en
res,
as
we
ll as
th
e Y
el-
low
Mag
ic O
rch
est
ra (
a Ja
pan
ese
ele
ctro
nic
ban
d i
n 1
978–
1983
), i
nfl
ue
nce
d H
isai
shi’s
com
po
siti
on
s. H
e d
eve
lop
ed
his
mu
sic
fro
m
min
imal
ist
ide
as a
nd
exp
and
ed
to
war
d
orc
he
stra
l w
ork
. A
rou
nd
197
5, H
isai
shi
pre
-
sen
ted
his
fir
st p
ub
lic p
erf
orm
ance
, sp
read
-
ing
his
nam
e a
rou
nd
his
co
mm
un
ity.
His
fir
st
alb
um
, M
KW
AJU
, w
as r
ele
ase
d i
n 1
981,
wit
h
Info
rmat
ion
be
ing
re
leas
ed
a y
ear
lat
er.
As
his
wo
rks
we
re b
eco
min
g w
ell
kno
wn
, H
isai
shi
form
ula
ted
an
alia
s in
spir
ed
by
Qu
incy
Jo
ne
s,
an A
fric
an-A
me
rica
n m
usi
cian
an
d p
rod
uce
r.
Re
tran
scri
be
d i
n J
apan
ese
, “Q
uin
cy J
on
es”
be
cam
e “
Joe
His
aish
i.”A
s m
ore
exp
osu
re
was
giv
en
to
His
aish
i an
d t
he
an
ime
in
du
stry
,
his
car
ee
r g
rew
. H
e i
nit
iate
d a
so
lo c
are
er,
be
gan
to
pro
du
ce m
usi
c, a
nd
cre
ate
d h
is
ow
n l
abe
l A
ye
ar l
ate
r, t
he
lab
el
rele
ase
d i
ts
firs
t al
bu
m,
Pre
ten
de
r, i
n N
ew
Yo
rk.
BIOGRAPHY
01 | 02
Team
Gh
iblin
k w
ish
es
to
ext
en
d i
t’s
sin
cere
th
anks
to
Bu
en
a V
ista
Ho
me
En
tert
ain
-
me
nt
for
the
op
po
rtu
nit
y to
be
th
e f
irst
to
mak
e t
his
in
-
terv
iew
ava
ilab
le t
o t
he
fan
s
and
ad
mir
ers
of
Joe
His
aish
i
and
his
mu
sic.
“CASTLE IN THE SKY” - JOE HISAISHI INTERVIEWInterviewed byBuena Vista Home Entertainment
The original is about 60 minutes long in total. This time it will be more
than 90 minutes. The amount of music increased dramatically, which means
there was a lot of new material I had to write. But my musical style 13 years
ago was totally different from what it is today. And in some cases, the way
that I write music has changed. If I just added new material in places that
needed additional music, balance-wise it would turn out terrible. So there
was nothing I could do but rewrite the entire piece. That was the hardest
part. Another thing is that the original melodies are very well known in
Japan. So it was really hard writing a new version while still maintaining the
original’s integrity.
My music has gotten much better. And technique. I have really developed
technically. That’s why when I looked at these old scores, I thought to
myself, “this is terrible!” and I wanted to rewrite them. But when I tried,
the balance of the music just kept getting worse and worse. What I mean
is, when you look at the scores from 13 years ago, they were very fresh in
their own right and it’s important to preserve the “freshness” of that time.
The expressions and ideas are truly good. But my orchestration technique
has come a long way since then and I found myself in a constant battle of
“old” versus “new”.
This time I focused on bringing out the rhythm a little more. So now there
is more of an overall “pop” feel. It’s easier to relate to. To give it this
feel, I brought the rhythm out much more. I used synthesizers to � how can
I put this � “drive it”. In the synthesizer recordings, especially consider-
ing the rhythm section, I had to make the sound of the orchestra and the
rhythm section “bond” together at a higher level. That is a big difference
from the last time.
Before I even get into emotions and theme... The Hollywood style of using
music to introduce characters and explain what’s on screen is a method that
I don’t normally use in Japan. However, I’m a fan of Hollywood movies and
I watch a lot of them. So I changed my usual approach to make the music
more listener-friendly. I guess you can say that was the foundation of the
entire production and everything was done accordingly.
I don’t know if it was enjoyable, but the biggest thing for me is to take the
director’s message; the number one message of the movie, and apply music to
it in a spiritual sense. That is more or less my personal style. This particu-
lar piece is an action/adventure movie so the action and movement of the
characters is prominent and unmistakable. That’s an aspect I really took into
consideration. But you work on it for months and months, and within all that
you try to bring out your own style. For instance, in the climax scene, up
until that point the sound of the orchestra is violently pounding. But at the
point of true climax, when everything is crumbling away, that powerful music
suddenly changes to nothing but a chorus. I wanted to be sure to bring out
the sadness which was being conveyed. I believe that scene turned out really
well, and I think that sort of thing will become “my style”.
All the basic themes come from the original. So the main theme would
be the friendship between the main characters Sheeta and Pazu. Another
would be, of course, the castle in the sky because the movie is “Castle
in the Sky” Another one would be Grandma Dora, a very brave old lady.
There are, of course, many other themes; like emphasizing trombones when
the soldiers and the military appear. I wanted to separate the events of
the movie using different musical characteristics. That was an area that I
wanted to thoroughly cover this time.
03 | 04
CASTLE IN THE SKY
ano
ch
ihe
ise
n k
agay
aku
no
wa
do
ko k
a n
i ki
mi
o k
aku
shit
e i
ru k
ara
taku
-san
no
hi
ga
nat
suka
shii
no
wa
ano
do
re k
a h
ito
tsu
ni
kim
i g
a ir
u k
ara
saa
de
kake
yo
u
hit
oki
re n
o P
AN
NA
IFU
, R
AN
PU
kab
an n
i ts
um
e k
on
de
do
-san
ga
no
kosh
ita
atsu
i o
mo
i
ka-s
an g
a ku
reta
an
o m
anaz
ash
i
chik
yuu
wa
maw
aru
kim
i o
kak
ush
ite
kag
ayak
u h
ito
mi
kira
me
ku t
om
osh
ibi
chik
yuu
wa
maw
aru
kim
i o
no
sete
itsu
ka k
itto
de
au
bo
kura
o n
ose
te
do
-san
ga
no
kosh
ita
atsu
i o
mo
i
ka-s
an g
a ku
reta
an
o m
anaz
ash
i
chik
yuu
wa
maw
aru
kim
i o
kak
ush
ite
kag
ayak
u h
ito
mi
kira
me
ku t
om
osh
ibi
chik
yuu
wa
maw
aru
kim
i o
no
sete
itsu
ka k
itto
de
au
bo
kura
o n
ose
te
天空の城
あの地平くのは
どこかに君を隠しているから
たくさんの灯が懐
かしいのは あのどれかひとつに
君がいるから
さあ出かけよう 一切
れのパン ナイフ ランプ
鞄につめ込んで
父さんが残したい
想い 母さんがくれたあのまなざし
地球は回る 君 を
隠してく瞳 きらめく灯
地球は回る 君を
せて いつかきっと出逢う仆らをのせて
さあ出かけよう 一切
れのパン ナイフ ランプ 鞄につめ込んで
父さんが残したい
想い 母さんがくれたあのまなざし
地球は回る 君を
隠してく瞳 きらめく灯
地球は回る 君をの
せて いつかきっと出逢う仆らをのせて
さあ出かけよう 一切
れのパン ナイフ ランプ 鞄につめ込んで
父さんが残しい想
い 母さんがくれたあのまなざし
地球は回る 君を
隠して く瞳 きらめく灯
地球は回る 君をの
せて いつかきっと出逢う仆らをのせて
05 | 06
TOUR 2010
07 | 08
さあ出か
父さんが残
一切れのパ
一切れのパ
一切れのパ
TOKYO
, March 13th, 2010
SHANGHAI, M
arch 24th, 2010
BEIJING, April 7th, 2010
HON
GKON
G, April 15th, 2010
TAIPEI, April, 28th, 2010
OSAKA, M
ay 15th, 2010
SYDNEY, M
ay 30th, 2010
SAN FRAN
CISCO, Jun 18th, 2010
LOS AN
GELES, July 7th, 2010
LAS VEGAS, July 20th, 2010
HOUSTO
N, Augest 7th, 2010
NEW
YORK CITY, Augest 21st, 2010
I just happened to start out as a modern composer who was immersed in severe dissonant sounds for the longest time.
DISCOGRAPHY
I also happened to be allowed to compose some melodic pieces as well. I believe Mr. Kitano and Mr. Miyazaki just pulled it out of me.
Min
ima
_R
hy
thm
, A
ug
12
nd
, 2
00
9
Th
e E
nd
of
the
Wo
rld
, F
eb
18
th,
20
09
Pia
no
Sto
rie
s B
est
`8
8-`
08
, A
pr
16
th,
20
08
Asi
an
X.T
.C,
Oct
4th
, 2
00
6
RA
KU
EN
/MA
LD
IVE
S,
Ap
r 2
6th
, 2
00
6
WO
RK
S I
II,
Jul
27
th,
20
05
Fre
ed
om
Pia
no
Sto
rie
s 4
, Ju
n 2
6th
, 2
00
5
PR
IVA
TE
, Ja
n 2
1st
, 2
00
4
20
03
LIV
E B
ES
T,
Oct
22
nd
, 2
00
3
ET
UD
E,
Ma
r 1
2n
d,
20
03
CU
RV
ED
MU
SIC
II,
Ja
n 2
9th
, 2
00
3
Su
pe
r O
rch
est
ra N
igh
t 2
00
1,
Jul
26
th,
20
02
EN
CO
RE
, M
ar
6th
, 2
00
2
Sh
oo
t T
he
Vio
list
, M
ay
17
th,
20
00
WO
RK
S I
I, S
ep
22
nd
, 1
99
9
No
sta
lgia
Pia
no
Sto
rie
s II
I, O
ct 1
4th
, 1
99
8
WO
RK
S I
, O
ct 1
5th
, 1
99
7
PIA
NO
ST
OR
IES
II,
Oct
25
th,
19
96
ME
LO
DY
Blv
d.,
Ja
n 2
5th
, 1
99
5
Sy
mp
ho
nic
Be
st S
ele
ctio
n,
Se
p 9
th,
19
92
My
Lo
st C
ity
, F
eb
12
nd
, 1
99
2
I a
m,
Fe
b 2
2n
d,
19
91
PR
ET
EN
DE
R,
Se
p 2
1st
, 1
98
9
ills
ion
, D
ec
21
st,
19
88
PIA
NO
ST
OR
IES
, Ju
l 2
1st
, 1
98
8
CU
RV
E M
US
IC,
Se
p 2
5th
, 1
98
6
a-B
ET-
CIT
Y,
Jun
25
th,
19
85
INF
OR
MA
TIO
N,
Oct
25
th,
19
82
MK
WA
JU
, A
ug
21
st,
19
81
09 | 10
11 | 12
WWW.JOEHISAISHI.COM
