JOE HISAISHI 久 石让
2010 WORLD TOUR
JOE HISAISHI was born in Nakano, Nagano,
first album, Pretender, in New York.
own label A year later, the label released its
began to produce music, and created his
his career grew. He initiated a solo career,
was given to Hisaishi and the anime industry,
became “Joe Hisaishi.”As more exposure
Retranscribed in Japanese, “Quincy Jones”
an African-American musician and producer.
formulated an alias inspired by Quincy Jones,
works were becoming well known, Hisaishi
Information being released a year later.As his
album, MKWAJU, was released in 1981, with
ing his name around his community. His first
sented his first public performance, spread-
orchestral work. Around 1975, Hisaishi pre-
minimalist ideas and expanded toward
compositions. He developed his music from
band in 1978–1983), influenced Hisaishi’s
low Magic Orchestra (a Japanese electronic
flourished; those genres, as well as the Yel-
music, electronic music, and new-age music
Throttle).In the 1970s, Japanese popular
(Academy of Ninja) and Futari Taka (A Full
period, he composed for Sasuga no Sarutobi
created under his given name. During this
Gyatoruzu. This and other early works were
composed music for a small animation called
first success of the business in 1974 when he
ence in the musical world.He enjoyed his
artists as a typesetter, furthering his experi-
tion. Hisaishi collaborated with minimalist
of Music in 1969 to major in music composi-
his love, he attended the Kunitachi College
discovered his passion for music. Realizing
to take violin lessons at age five, Hisaishi
Japan as Mamoru Fujisawa. When he started
01 | 02
BIOGRAPHY
and his music.
and admirers of Joe Hisaishi
terview available to the fans
be the first to make this in-
ment for the opportunity to
Buena Vista Home Entertain-
extend it’s sincere thanks to
Team Ghiblink wishes to
“ C ASTL E IN THE S K Y” - J O E H I S AI S HI I N TE R VIEW Interviewed by Buena Vista Home Entertainment
The original is about 60 minutes long in total. This time it will be more
Before I even get into emotions and theme... The Hollywood style of using
than 90 minutes. The amount of music increased dramatically, which means
music to introduce characters and explain what’s on screen is a method that
there was a lot of new material I had to write. But my musical style 13 years
I don’t normally use in Japan. However, I’m a fan of Hollywood movies and
ago was totally different from what it is today. And in some cases, the way
I watch a lot of them. So I changed my usual approach to make the music
that I write music has changed. If I just added new material in places that
more listener-friendly. I guess you can say that was the foundation of the
needed additional music, balance-wise it would turn out terrible. So there
entire production and everything was done accordingly.
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.
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 particular piece is an action/adventure movie so the action and movement of the
My music has gotten much better. And technique. I have really developed
characters is prominent and unmistakable. That’s an aspect I really took into
technically. That’s why when I looked at these old scores, I thought to
consideration. But you work on it for months and months, and within all that
myself, “this is terrible!” and I wanted to rewrite them. But when I tried,
you try to bring out your own style. For instance, in the climax scene, up
the balance of the music just kept getting worse and worse. What I mean
until that point the sound of the orchestra is violently pounding. But at the
is, when you look at the scores from 13 years ago, they were very fresh in
point of true climax, when everything is crumbling away, that powerful music
their own right and it’s important to preserve the “freshness” of that time.
suddenly changes to nothing but a chorus. I wanted to be sure to bring out
The expressions and ideas are truly good. But my orchestration technique
the sadness which was being conveyed. I believe that scene turned out really
has come a long way since then and I found myself in a constant battle of
well, and I think that sort of thing will become “my style”.
“old” versus “new”.
All the basic themes come from the original. So the main theme would
This time I focused on bringing out the rhythm a little more. So now there
be the friendship between the main characters Sheeta and Pazu. Another
is more of an overall “pop” feel. It’s easier to relate to. To give it this
would be, of course, the castle in the sky because the movie is “Castle
feel, I brought the rhythm out much more. I used synthesizers to � how can
in the Sky” Another one would be Grandma Dora, a very brave old lady.
I put this � “drive it”. In the synthesizer recordings, especially consider-
There are, of course, many other themes; like emphasizing trombones when
ing the rhythm section, I had to make the sound of the orchestra and the
the soldiers and the military appear. I wanted to separate the events of
rhythm section “bond” together at a higher level. That is a big difference
the movie using different musical characteristics. That was an area that I
from the last time.
wanted to thoroughly cover this time.
03 | 04
ano chiheisen kagayaku no wa
bokura o nosete
itsuka kitto deau
chikyuu wa mawaru kimi o nosete
kagayaku hitomi kirameku tomoshibi
chikyuu wa mawaru kimi o kakushite
ka-san ga kureta ano manazashi
do-san ga nokoshita atsui omoi
bokura o nosete
itsuka kitto deau
chikyuu wa mawaru kimi o nosete
kagayaku hitomi kirameku tomoshibi
chikyuu wa mawaru kimi o kakushite
ka-san ga kureta ano manazashi
do-san ga nokoshita atsui omoi
NAIFU, RANPU kaban ni tsume konde
hitokire no PAN
saa dekake you
kimi ga iru kara
ano dore ka hitotsu ni
natsukashii no wa
taku-san no hi ga
doko ka ni kimi o kakushite iru kara
CASTLE IN THE SKY
05 | 06
天空の城 せ て い つ か き っ と 出 逢 う 仆 ら を の せ て
地 球 は 回 る 君 を の
隠 し て く 瞳 き ら め く 灯
地 球 は 回 る 君 を
い 母 さ ん が く れ た あ の ま な ざ し
父 さ ん が 残 し い 想
れ の パ ン ナ イ フ ラ ン プ 鞄 に つ め 込 ん で
さ あ 出 か け よ う 一 切
せ て い つ か き っ と 出 逢 う 仆 ら を の せ て
地 球 は 回 る 君 を の
隠 し て く 瞳 き ら め く 灯
地 球 は 回 る 君 を
想 い 母 さ ん が く れ た あ の ま な ざ し
父 さ ん が 残 し た い
れ の パ ン ナ イ フ ラ ン プ 鞄 に つ め 込 ん で
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地 球 は 回 る 君 を
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か し い の は あ の ど れ か ひ と つ に
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ど こ か に 君 を 隠 し て い る か ら
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07 | 08
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I just happened to start out as a modern composer who was immersed in severe dissonant sounds for the longest time.
DISCOGRAPHY
MKWA JU , Aug 21st, 1981
INF ORMAT ION, Oct 25th, 1982
a-BET-CIT Y, Jun 25th, 1985
CU RVE MU S IC, Sep 25th, 1986
PIA NO S T ORIES, Jul 21st, 1988
illsio n, Dec 21st, 1988
PRET ENDER, Sep 21st, 1989
I am, Feb 22nd, 1991
My L o st City, Feb 12nd, 1992
S y mp ho n ic Be st S e le ctio n, Sep 9th, 1992
MEL ODY Blv d., Ja n 25th, 1995
P IA NO S T ORIES II, Oct 25th, 1996
WORKS I, Oct 15th, 1997
N o s t alg ia Pian o S to rie s III, Oct 14th, 1998
WORKS II, Sep 22nd, 1999
S h o o t T h e V io list, Ma y 17th, 2000
ENCORE, Ma r 6th, 2002
Sup er Orch e stra Nigh t 2001, Jul 26th, 2002
CU RVED MU S IC II, Ja n 29th, 2003
ET U DE, Ma r 12nd, 2003
2003 L IVE BES T, Oct 22nd, 2003
PRIVAT E, Ja n 21st, 2004
Free d o m Pian o S to rie s 4, Jun 26th, 2005
WORKS III, Jul 27th, 2005
R A KU EN/MA L DIV ES, Apr 26th, 2006
A sian X.T.C, Oct 4th, 2006
Pia no St o rie s Be st `88-`08, Apr 16th, 2008
The En d o f th e Wo rld, Feb 18th, 2009
Min im a_Rh y th m, Aug 12nd, 2009
09 | 10
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.
11 | 12
W W W. J O E H I S A I S H I . CO M