For people who have not read this post, the Eminence Symphony Orchestra, based out in Sydney, Australia, will be releasing a 13-track disc this December containing arrangements of Tenmon’s musical compositions in honor of Makoto Shinkai and his 10 years of work as an anime director, animator, and scriptwriter. Until recently, we’ve only had a glimpse of what this disc was capable of delivering through the tracklist; what we didn’t have was a solid idea of what what to should expect out of these arrangements. But now that my Eminence contact has disclosed the names of the arrangers, fans of Tenmon and Makoto Shinkai can rejoice! With people like Shiro Hamaguchi, Akifumi Tada, and Yasunori Iwasaki at the helm, the arrangements should turn out to be awesome!

First off, we have none other than Shiro Hamaguchi. The fact that his name came up isn’t a huge surprise since he’s done a lot of orchestral arrangements for such franchises like the Final Fantasy series as well as the spectacular String Concert of Haruhi Suzumiya along with anime works like One Piece and Rosario to Vampire (both of which were done with Kouhei Tanaka). Furthermore he has worked alongside Eminence for many of their concerts including the Night in Fantasia Concert just last month and because of his experience, he was probably a natural choice to have in this group of arrangers. His presence alone is a strong indication that this CD will be definitely worth listening to because of the creative spin that Hamaguchi puts into his music. That is, he does a really good job with taking the original piece and seamlessly working it so that while one can still recognize the original melody, it’s different enough such that it can stand really well on its own. After all, if he can improve something like “Koi no Mikuru Dentetsu,” there’s no piece that’s beyond his ability to arrange into an excellent orchestral or piano track.

Koi no Mikuru Densetsu
[See post to listen to audio]

Though I’m very much familiar with Hamaguchi, the other two aren’t exactly household names (at least, they didn’t ring a bell to me when I saw their names). As you might have been able to guess from the picture, Akifumi Tada will also be a part of the circle of arrangers and while I recognize the titles that he’s worked on, I’ve never actually watched any of them, so I wouldn’t be able to tell you how skillful he is with composing and arranging music. I suppose the least I can do is listen to Ah! My Goddess’s ED theme to at least get some idea for how it’ll go.

Finally, Yasunori Iwasaki rounds out the list of arrangers. Like Tada, the anime series that he has worked on are recognizable, and unlike Tada, I have watched one of the shows that Iwasaki has worked on. Unfortunately, that doesn’t mean I actually remember much about its music. The show in question was Grenadier, and given that show’s fanservicey tendencies, I don’t really remember all too much about the music, effectively putting me at square zero in terms of knowing what to expect out of Iwasaki.

Upcoming Q&A
With that in mind, I’d like to turn it over to you, the reader. I have been granted an opportunity to send a list of questions to the people working on Project Promise and while I do have my list, it’s also likely that you’ll have some questions you’d like to have answered by the arrangers and even by Tenmon himself! If so, just type your questions into the comments and I’ll include it along with my list of questions to be submitted to the arrangers. Just let me know to whom the question is to be addressed (e.g. Hamaguchi, Tada, Iwasaki, or the group as a whole). Also feel free to ask general questions about Project Promise if you have them since Eminence’s founder, Hiroaki Yura, will be more than happy to take your questions. I’ll be sending the questions fairly quickly (in about 24 hours) so get them in while you can!

As a note, the Q&A will be submitted on the Eminence website. Hopefully a response will come by quickly so with no further ado, submit away!

Review: Suzumiya Haruhi no Gensou’s release was met with some skepticism from two fronts. The first had to do with TAMUSIC’s colossal failure in The Recital of Haruhi Suzumiya, which raised the question as to whether an orchestrated Haruhi album could actually be done competently. The second related to the fact that much of Haruhi’s BGM wasn’t exactly memorable because after looking through this album’s track list, I couldn’t say I was able to recall any of the melodies beyond Shostakovich’s “Leningrad” Symphony and the songs like “God Knows,” “Bouken Desho Desho?,” and “Hare Hare Yukai.” The latter issue isn’t as much a problem since context, while helpful, isn’t a necessary component in making this album enjoyable and thankfully, the former concern doesn’t raise its ugly head when you have Shiro Hamaguchi doing the orchestral arrangements. With his solid track record in arranging Final Fantasy music to piano and orchestra, there is reason to hope that he can work his magic with Haruhi.

Right off the bat, Hamaguchi’s arrangement of “Koi no Mikuru Densetsu” is impressive. At first glance, this off-tune variant of a cheesy magical girl OP doesn’t seem to be a particularly viable candidate for serious orchestration, but the arrangement manages to prove these initial thoughts wrong. I enjoyed how it provides a different spin on the original by upping the tempo, giving the track a sense of urgency that, when combined with the orchestra, yields a piece that is absolutely epic. While it focuses more on the serious side, a lighthearted moment pops up in the “Come on let’s dance, baby” segment, which helps keeps the listener engaged all the way up to its glorious conclusion.

Koi no Mikuru Densetsu
[See post to listen to audio]

By starting out so commendably, Hamaguchi sets a high bar for his arrangements and the succession of pieces manages to meet these lofty expectations. As we go further into the album, we’ll find that most of the pieces are the result of combining various themes from Haruhi’s BGM into a cohesive medley. Even though my memory of Haruhi’s music is spotty at best, I still found most of the medleys to be enjoyable since the transitions from one theme to another are handled quite well.

Take, for example, “Kouchou Kouchou ~ Mikuru no Kokoro ~ Chiisaku demo Shiawase ~ Oioi ~ Comical Hustle,” which explores many aspects of day to day life. The bustling, energetic theme meanders about before settling into the next two sections which offer a mellow, heartfelt atmosphere, leaving the listener feeling calm and at ease. Around the 4:40 mark, the orchestra builds up bombastically towards a sillier air as it depicts Haruhi while she’s executing one of her hare-brained schemes. Although it starts off softly, the mischief grows in scope and excitement before going into the final section where it draws upon its storehouse of energy to bring about a rousing finish. By capturing both the exciting and relaxing moments of day to day life so well, this medley succeeds in being enjoyable and engaging.

Kouchou Kouchou ~ Mikuru no Kokoro ~ Chiisaku demo Shiawase ~ Oioi ~ Comical Hustle
[See post to listen to audio]

Other tracks to note include “Sunao na Kimochi ~ Aru Ame no Hi ~ Haruhi no Omoi” which relies on the piano to touch upon a wide range of emotions, from contentment, to introspection, to hope, as the piece reassures the listener that the future has never looked brighter. And of course, the arrangement of “Hare Hare Yukai” deserves a mention for taking a different approach from the original. The sense of joy and excitement doesn’t appear until you reach the middle section, and even then, the fun is muted compared to the original as the piece aims towards an epic experience rather than a fun one. Although I do enjoy this interpretation of “Hare Hare Yukai,” my preference favors the original which captured that sense of happiness and joy far better than the arrangement.

Sunao na Kimochi ~ Aru Ame no Hi ~ Haruhi no Omoi
[See post to listen to audio]

So while these arrangements are good, the same can’t be said for Aya Hirano’s songs. It’s no secret that her live performances are pretty bad and I think that the nicest thing that can be said here is that she doesn’t ruin the overall enjoyment of this album. Nevertheless, it’s kind of painful whenever she sings off tune or employs a grating vibrato which makes her performances impossible to ignore. Of all her songs, “God knows…” is her worst song on this album since, in addition to the previously mentioned problems, her performance during the chorus part sounds awkward since she seems to be trying so hard that she forgets to breathe, resulting in a windy delivery that lacks impact. The other performances aren’t this awful, but they are a step down in terms of quality, even if the orchestration is decent all around.

God knows…
[See post to listen to audio]

On the plus side, Minori Chihara manages to put forth an enjoyable performance in “Yuki, Muon, Madobe nite.” where she switches between her Yuki voice and a more emotionally-charged voice, but overall, it’s a passable job. There are a few points where I think she struggles a bit, especially when she has to sing those lower-pitched notes at a fast tempo, but even with that considered, I wasn’t displeased with how the song turned out.

Yuki, Muon, Madobe nite.
[See post to listen to audio]

Finally, the inclusion of the first movement of Shostakovich’s “Leningrad” Symphony, while fitting in the way it employs a steady, militaristic melody to complement the scenes in the computer game episode, fails to be engaging because of its repetitive nature. Yes, I am aware that this is the point of a movement that uses the same form that Ravel uses in his Bolero, but when the option exists to choose a more compelling piece like the 4th movement of Tchaikovsky’s “Pathetique” Symphony, the “Pathetique” should take precedence over the “Leningrad.” That said, the “Leningrad” isn’t bad and it offers a nice introduction for people not familiar with Shostakovich (though his 5th Symphony is still my favorite).

Symphony No. 7 in C major, Op. 60, “Leningrad” First Movement
[See post to listen to audio]

From looking at the music here, Hamaguchi’s efforts yield a solid album through and through. There are a few issues that mostly crop up as a result of Aya Hirano’s inability to sing, but it’s not so bad as to ruin one’s listening experience. I wouldn’t go as far as to rate it higher than the ARIA piano albums, but it’s still really good and worth a listen as its excellent arrangements work well in capturing our favorite moments in Haruhi back when the show wasn’t looping endlessly.

Rating: Excellent