Joe Hisaishi souvenir tour book

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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

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

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

鞄 に つ め 込 ん で

れ の パ ン ナ イ フ ラ ン プ

さ あ 出 か け よ う 一 切

君 が い る か ら

か し い の は あ の ど れ か ひ と つ に

た く さ ん の 灯 が 懐

ど こ か に 君 を 隠 し て い る か ら

あ の 地 平 く の は


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07 | 08


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


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