Setlist:

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If you’ve ever listened to a Ghibli orchestral arrangement album, you will be awed by the intricate instrumentation and expression of Joe Hisashi’s timeless music. Now imagine watching an orchestra consisting of over 200 players and a choir of over 600 members performing the pieces under Hisaishi’s energetic conducting. With a variety greater than that offered by any arrangement albums to date (then again, it is commemorating Ghibli’s 25th anniversary), Joe Hisaishi’s concert at the Budokan brings to fans and regular listeners alike a feast for one’s senses and a performance for the ages.

What is good about it? Well, almost everything. From the dark and tribal ambience created by the booming beats of the Taiko and tinklings of the triangle in “The Curse God” (Princess Mononoke), to the solo violinist’s soulful performance of “Mother’s Broom” (Kiki’s Delivery Service), to the nostalgic piano melody of “The Bygone Days” (Porco Rosso) played by none other than Hisaishi himself, each piece is a musical and emotional adventure for listeners, and the experience of watching Hisaishi bring out the magic in his music is just phenomenal.

Hisaishi’s competence with orchestral instruments makes his works perfect for this sort of presentation. In Joe Hisaishi in Budokan, the orchestra helps bring out the different dimensions in the music and the nuances between different segments. “Tonari no Totoro,” for example, started out slowly and gracefully with strings accompanied by lower brasses. The different sections then took turns at the main melody, steadily increasing the energy, reaching its peak at the portion after the piano.

Hisaishi’s skill at the piano is another reason for the success. There haven’t been many good renditions of “The Merry-Go-Round of Life,” but Hisaishi gentle piano introduction to the piece nails the it spot-on. Many versions are just unable to articulate the elegance of the piece, and they often turn out overpowering and clumsy. Here, the orchestra takes the baton after Hisaishi’s soulful introduction and builds it into yet another fantasy for listeners to immerse themselves in.

The invited vocalists also hold their own against the might of the orchestra and Hisaishi’s presence. My personal favourite is Hirahara Ayaka, who sings “The Name of Life” and “Reprise” from Spirited Away. With her repertoire of classical renditions, it is of little surprise Hirahara’s vocals worked wonders with this orchestra, and her deeper voice almost caresses listeners with its gentleness. Operatic Soprano Hayashi Masako also provided her version of Princess Mononoke, which I personally thought could only be expressed fully with a piano or strings solo. But with her virtuosic expression, and an aria accentuating the anguish, I found myself grudgingly admitting that she has not let the music down the slightest.

With such a talented group of musicians, Hisaishi himself as conductor and pianist, this performance truly does justice for his works. It is indeed a pity for anyone, whether Hisaishi fans or not, to miss this breathtaking performance. And if you weren’t already a Hisaishi fan already, I’m almost certain that by the end of the performance, you will become one.

Overview: When Joe Hisaishi’s name is mentioned, the first thing that may come to mind is his work with Studio Ghibli, and, more specifically, with Hayao Miyazaki. Hisaishi’s music has an immersive quality, one that draws the viewer into Ghibli’s gorgeous visuals and Miyazaki’s spellbinding stories, bringing the films to life. While his collaborations with Miyazaki make up the list of his better-known works, it unfortunately ignores a huge chunk of his anime compositions that much of today’s fandom may never encounter. We are, of course, referring to titles like Galactic Whirlwind Sasuraiger and Genesis Climber Mospeada (though they may be familiar to fans who got into anime during the 1980s).

The other dichotomy to consider when dealing with Hisaishi is his stylistic transition from synth, rock, and electronica to scoring anime using an orchestra. We will go a bit into that shift in the main article, but for the purpose of this synopsis, we can say that regardless of the medium in which he chooses to work, Hisaishi has done an excellent job, thereby forging a strong reputation that stretches across the past three decades. And there are still no signs of him slowing down!

In case you’re here to only listen to the soundclips and not read any of the text, below is the master list of all the pieces featured in this profile entry in order. It’ll save time if you don’t want to have to click through each and every track.

Master List

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Biography:
Unlike the two previous composers we’ve profiled, Joe Hisaishi’s career was consistently geared towards music, starting from a very young age. He started taking violin lessons when he was five and the passion that he developed for music would eventually propel him to enroll in the Kunitachi College of Music. There, he discovered the joys of composing Minimalist music and pursued that area of interest by majoring in music composition. To gather experience, he worked as a typesetter alongside other composers.

Upon graduation, Hisaishi found himself in a time where a wave of western influence in the form of electronica and new age was shaping the Japanese music scene. Hisaishi wasn’t immune to these tides. Though it would not surface in Hisaishi’s first commercial success, some of his later works like the appropriately-titled Techno Police would feature this blend of contemporary music.

But we’re getting a bit ahead of ourselves here. Hisaishi’s first success, Hajime Ningen Giatrus, was an anime set in prehistoric times. This soundtrack, released in 1974, features mostly quiet, mellow cues like “Yatsura no Ashioto no Ballad’s,” which features peaceful woodwinds and period vocals. As with most prominent anime composers’ first works, the music is enjoyable enough but wasn’t outstanding to the point that the signposts towards future greatness were clearly marked.

Hajime Ningen Giatrus – Yatsura no Ashioto no Ballad

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Still, it was enough to get him more work. Hisaishi would go on to compose the soundtracks to Sasuga no Sarutobi (1982), an anime about a ninja academy, and Futari Daka (1984), which focused on motorcycle racing. Another of those early works, the aforementioned Techno Police (1982), was a collaboration between Hisaishi and a rock group called the Black Boat Band. The result of this joint effort was an intriguing melting pot of contemporary rock, disco-y synth, trumpet fanfares, and an occasional saxophone melody. Galactic Whirlwind Sasuraiger, released in 1983, would see Hisaishi continue exploring jazz music even further through tracks like “Let’s Spend the J9 Together.” Finally, the tail end of 1983 would see the release of Genesis Climber Mospeada where Hisaishi kept to the rock cues for the action scenes and smooth jazz for everything else.

Techno Police – Techno Police

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Sasuraiger – Let’s Spend the J9 Together

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Mospeada – The Betrayal

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However, another 1983 project would prove to be something of a turning point for Hisaishi’s career when a record company recommended his works to a certain up-and-coming director. The project in question was Nausicaa of the Valley of the Wind, and that budding director was none other than Hayao Miyazaki. This partnership would prove to be a creative and commercial success. The way director and composer complemented each other was seamless; the music featured a blend of synth that matched up well with the scenes of a post-apocalyptic world, along with a symphonic theme that showed what Hisaishi could produce, given the resources. The wonderful results of Nausicaa’s soundtrack were a promising start that brought about one of the most enduring and successful director/composer partnerships in anime.

Nausicaa – Kaze no Tani no Nausicaa

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Next up for the pair was Laputa: Castle in the Sky, released in 1986. The movie focused on two children and a band of sky pirates as they encounter the mysteries of an ancient flying civilization. Hisaishi’s moving score rose to the occasion, offering such gems as the theme “Carrying You,” whose melancholy, longing lyrics recall the quest of an adventurer to taste the nostalgia of a long gone but great past. While this score still contained some tracks utilizing well-executed synth, Laputa demonstrated Hisaishi’s movement towards ensembles for his compositions which was no doubt propelled by Studio Ghibli’s increasing fame.

Laputa – Morning in Slagg’s Ravine

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In Kiki’s Delivery Service, released in 1989, there was an observable transition from the epic grandiosity of his previous works to more lighthearted and cheerful fare to fit the movie’s focus on a girl’s sojourn into the city. Kiki’s tracks are exemplified by themes such as “Helping At The Bakery,” which carries a waltz-like air, but perhaps nothing in that soundtrack captures the feel of the city quite like “Town With an Ocean View” where the staccato arrangement, combined with the upbeat tone, brings out an aura of curiosity, and evokes an image of the titular character exploring the town. The melancholy moments do crop up here and there to depict Kiki at some of her more downcast moments, but on the whole, the soundtrack brims with optimism and energy.

Kiki’s Delivery Service – Helping At The Bakery

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This happy tone continued in My Neighbor Totoro, which features perhaps some of the most recognizable melodies to appear in an anime soundtrack. Here, Hisaishi painted the world through a child’s eyes. The fantastical imaginations of youth are captured through such tracks as “Catbus”, whose vivacious and sprightly atmosphere conjures up the sensation of taking a ride in the miraculous feline vehicle that adults can’t see. “Village in May” and “Let’s Go to the Hospital” both express the appreciation and joy children experience from almost any simple experience. And, of course, “My Neighbor Totoro” can’t be forgotten. The track is about as iconic in Japan as a Disney song is in the United States, and is a jubilant ending to a truly heartwarming soundtrack and movie.

My Neighbor Totoro – My Neighbor Totoro

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The last soundtrack in this trend of cheerful scores was Porco Rosso, the story of a veteran World War I Pilot turned pig and bounty hunter. The music maintains an animated and lively atmosphere in such tracks as “Women of Piccolo” and “Mama Aiutto” whose use of band brass give the pieces a carnival-like feel and, once again, showcases Hisaishi’s effectiveness at creating a score which complements the mood of the movie.

Porco Rosso – Mamma Aiutto

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Although the Ghibli scores are what brought Hisaishi to fame during the 1980s, there were also a smattering other works that are worth mentioning like 1984′s Birth Suite, which has a heavy emphasis on synthesizer voices. Arion’s soundtrack, released in 1987, would touch on this trend but ultimately drew most of its stylistic influence from Laputa the year before. With this, Hisaishi pays some tribute to his synth past, waves farewell, and takes strides towards symphonic compositions.

Birth Suite – Theme of Birth

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Arion – Arion – Main Theme

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Then, in 1997, Hisaishi once more returns to work with Miyazaki, this time, on Princess Mononoke. The score was noted for its capacity to bring out the epic scale of the adventure, made very apparent through “The Legend of Ashitaka” and “The Journey to the West” which are packed with a grandeur perfect for a rendezvous with destiny. While the bombastic, forceful orchestrals lie at the core of what carries the listener through this fantastic journey, the soundtrack brings out the best of Hisaishi’s gentler love themes, first through “Mononoke-Hime’s” heartfelt serenity, then the very uplifting “Ashitaka and San” which is infused with a sense of renewal and rebirth to bring a note of hope for what the future holds.

Princess Mononoke – Mononoke-Hime

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As Princess Mononoke sought to convey the scope of the grand adventure, Spirited Away maintains the musical cues that conjure up images of a journey, but its focus is more on a personal one. What you get is a soundtrack that is quieter as it radiates a lonely mood through its reserved melodies, exemplified through the opener “One Summer’s Day” with its melancholy, reticent aura. There are moments of bombast here and there as well as a myriad of dissonant melodies that wind their way through the soundtrack to heighten this loneliness, but like Princess Mononoke, the hope that comes in by the end puts a positive note to Chihiro’s moment of self-discovery as she grows more confident going forward.

Spirited Away – One Summer’s Day

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His next score for Ghibli, Howl’s Moving Castle, explored themes of both the warmth of love and the mysteries of the magical world depicted in the movie. Opening with powerful organ notes that foreshadow more ominous things to come, “Merry Go Round of Life” is a fitting introduction, meshing the enigmas of magic with the famous theme that is the trademark of the soundtrack. In the rest of the score, Hisaishi masterfully depicts the mysterious in tracks such as “The Secret Cave”, weaving together the beauty of the unknown with an undercurrent of uneasiness. Yet, the movie is just as much a story of the heroine’s growth. “Wandering Sophie” portrays Sophie’s first tentative steps out into the wide world, ending on a note of uncertainty indicative of hidden dangers. Nevertheless, she finally finds a place where she is able to forge strong bonds of love in Howl’s moving castle. Hisaishi truly captures the affections of the makeshift family of the castle in the tender and heartfelt melodies composed for the film.

Howl’s Moving Castle – Wandering Sophie

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His most recent work, Ponyo on the Cliff by the Sea, once more illustrates Hisaishi’s ability to convey the rich imagery of the movie through music to immerse the viewer in the movie’s environs. Tracks like “Deep Sea Ranch,” are particularly beautiful in this regard. Once the first notes sound off, one cannot help but feel surrounded by the dazzling array of colors and creatures that swirl around, backed by a symphonic delight that, while busy, captures the lively scene that opens up the movie.

Ponyo – Deep Sea Ranch

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There are further tracks we could touch upon of course, but the works that remain tend to fall under video game music (we do recommend giving Ni no Kuni a listen!) as well as the memorable themes that he’s composed for live-action movies. Still, we do wish to continue opining, so check out page 2 for our individual staff impressions.

Good doujin music is hard to find. That’s the message I’ve gotten when I was unfortunate enough to have to listen to either of the Anime House albums or TAMUSIC’s godawful Haruhi arrange album. Hell, if it weren’t for kevo’s post celebrating the better Japanese doujin electronica works, I’d probably be giving up on the endeavor altogether.

My chief complaint with doujin music lies in its lack of creativity; most groups seem content with taking a well-known melody, be it an OP, ED, insert song, or, even more rarely, BGM, and slapping some UNTZ UNTZ UNTZ on top of it. Such a method feels so half-assed that I just become disenchanted by what passes for effort, and head off to better anime music pastures. I realize that such pastures are thin indeed, but the one that has stood out has been the works at AnimeRemix.org.

Back when videogame music dominated my listening charts, OCRemix.org was a site that I’d check out a lot. Not only did it (and still does) offer a whole lot of video game remixes, the ones that were posted there were generally pretty good. You didn’t have lazy techno beats draped on top of an anime melody, straight up transcriptions of game scores, or anything that simple. The people whose submissions were put on the site demonstrated a good amount of effort and creativity in their works, which made listening to their compositions a very fulfilling experience.

AnimeRemix is pretty much an offshoot of OCRemix and their goals are the same, except their focus is on music from animated works (be it Western or Japanese). The scale to which they’re operating isn’t quite as large as OCR because anime music is still an underdeveloped area within the anime fandom, but that it even has more than 100 remixes housed on the site is something to celebrate.

After going through their cache of remixes, I figured I’d showcase some of my favorites in no particular order. If you want to download the track in question, I’ve linked to the track’s downloads page for your convenience.

Dale North – Close Your Eyes (Witch Hunter Robin)

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This is, by far and away my favorite piece on the site. Composed by Dale North (yes, that Dale North), this composition stands out not only because it combines some of my favorite BGM from Witch Hunter Robin, the work remains cohesive as it weaves that mysterious aura that one feels while watching the show. I’m also fond of the the quote Dale takes from the Prophecy movie in the beginning of the piece. It helps to establish the piece’s tone while giving you something to think about as you connect those lines to the anime.

David Hsu – Castitatis (Elfen Lied)

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David Hsu (or Dhsu as he’s more commonly known), is a fantastic arranger, dealing mostly with piano arrangements for video game music, but here, you’ll find his anime contribution in the form of an arrangement of Elfen Lied’s “Lilium.” Though the initial impression that one gets is that this is nothing more than a softer version of “Lilium,” do give it a listen to the end. You might find yourself dazzled by the departure around the middle as the piano picks up and the syncopation towards the end of “Castitatis” times the pauses just right to give you room to ruminate further.

Tepid – Something Special (Spirited Away)

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What can I say? I really love the way the way the piano and the guitars work together in this remix so as to create a feeling of sweetness that Chihiro might experience after reuniting with her family at the end of this movie. I could attempt to expand my thoughts further, but I find that I just can’t. My thoughts are silenced by how well-executed this piece is, reducing me into a state where all I can tell you is to listen to the interplay between the instruments.

Vampire Hunter Dan – To Fly (Anime Medley)

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I’m not sure whether people know this or not, but I really love “Decisive Battle” from Evangelion, so when this arrangement opened up with that piece, I was immediately hooked by the orchestral treatment that it got. I didn’t know this would be a full-blown medley, so the first time I listened to this, you could imagine the shock of delight on my face when a well-known Rurouni Kenshin arrangement came on. Still, of the pieces that got to share time on this medley, I really enjoyed Escaflowne’s “Yakusoku Wa Iranai.” Vampire Hunter Dan works that piece in the medley in such a way that it really seems like the subject is dancing through the skies. It’s a wonderful feeling, that’s for sure!

Final Thoughts:
Looking at the pieces I’ve selected, I’m afraid they do reflect my musical tastes/biases towards piano/symphonic music. My apologies for those who were looking more for electronica, which you’ll find more of in the Japanese electronica post I referenced earlier.

Thanks to Overcoat and Xaleph for keeping the Anime Remix ship steady! I hope to see more stuff posted in the future and that one day, it gets as much attention as OCR!

Rest assured that Anime Remix won’t be the only ones to get a chance to shine. I’ll do Josh Agaraddo next since I really enjoy his piano performances and arrangements quite a bit. Especially when he puts together medleys like this one.

And yes, as long as I can keep finding good arrangements, this segment will continue.

Why yes, I have been quite busy as of late.

Anyhow, it was nice getting that chance to look really deep into the shows that aired in 2000 since delving to those lengths is a luxury from here on out, mostly because of how my interest in the medium grew somewhat around this time period. I say somewhat because there was a bit of a lull from 2001 and 2002, but that is a story for another day.

But with the focus on 2001, I can say that I saw a lot of enjoyable shows surface and some not-so enjoyable shows that nevertheless had some pretty awesome music.

Disclaimer: I unfortunately have not been able to solve the problem on how to turn myself into a being who no longer requires sustenance or sleep, both of which cut into my being able to watch copious amounts of anime and listen to all of their soundtracks. As such, it will be a given that I will not be able to touch upon all of them in this series. If a particular show that came out during the year highlighted did not receive a mention and you believe that it merits one because of its soundtrack, feel free to note that in the comments section. Being the soundtrack freak I am, I will add it to the list of stuff I should listen to. After all, if I can sit through Lingerie Soldier Papillon Rose’s soundtrack, I figure I can stomach anything you can throw my way.

Youtube videos are spoilered, clips contain the entire track, and with that, let’s go!

The Read or Die OVA gave me a lot of things that I found to be awesome. The production values were superb, the animation was crisp, the plot wasn’t something I had seen before, and, of course, the music was fantastic. The soundtrack oozed that cool vibe with its blend of jazz, electronica, and orchestral music into one enjoyable package that has had a remarkable amount of staying power. Even now, when I need a bit of energy and inspiration, I’ll turn to tracks like the glorious-sounding “Bring all the wisdom to Great Britain!” and the “Read or Die Theme” with its groovy, jazzy flavor that reminds me of those 1970s spy flicks.

Bring all the wisdom to Great Britain!
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[[Visit blog to check out this spoiler]]

So yes, the R.O.D. OVA OST cements Taku Iwasaki as one of the most consistent anime composers in my book (at that point). And as if his reputation needed any further bolstering, he also goes on to compose music for the Kenshin Seisouhen OVA which is utterly fantastic.

Anyone who has listened to his work on the Kenshin Tsuiokuhen knows that it’s a dark, brooding soundtrack that is wonderful to behold and I’d go as far as to say that it is probably his best work of all time! ALL TIME!!! Nevertheless, this followup manages to meet the expectations that the Tsuiokuhen OVA sets in terms of musical quality. To say that I love the orchestral pieces in Seisouhen is an understatement. Even though the Seisouhen OVA is a bit underwhelming at times, the music helps save it with awesome warrior-esque themes like “Heart of Sunrise” (now on a MALKeionbu Companion CD near you!) and the badass “The Duel in the Name of Love” which depicts the ebb and flow of a fight perfectly in the way it handles the intensity.

The Duel in the Name of Love
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It’s not hard to see why an orchestral fiend like myself enjoys this sort of stuff so much.

Moving on, we come no Noir. Though it’s not quite as badass as Iwasaki’s work on Kenshin Seisouhen, Kajiura’s first notable soundtrack managed to grab anime viewers’ attention with its use of vocals, fast-paced action tracks, and the slower, more introspective works. The amazing thing about all this is that Kajiura’s only improved with time and I’ve been very impressed by her advancement. It shows that when I give Noir a listen, I find it a bit lackluster compared to the music she’s putting out nowadays.

Still, you’ll have pieces that will remain classics no matter what. The action-oriented tracks are what really rule the day here, especially with the awe-inspiring “Salva Nos” which sounds like some divine entity delivering that bolt of judgement on all the sinners out there through the soaring vocals. It’s an amazing piece no doubt, one that’s practically unforgettable, especially if you’ve seen the show itself.

[[Visit blog to check out this spoiler]]

Angelic Layer also has some action-oriented moments given its plot revolving around a girl who competes in a doll battle arena tournament, but I don’t find the battle themes to be quite as riveting as the slice of life/character theme components. Kouhei Tanaka sculpts a very pleasing soundtrack overall though, and while some of the tension-filled themes can get a bit repetitive with its ominous rhythms (sort of like how Saki’s can get a bit wearisome), the light-hearted moments and the graceful melodies are the tracks that make this album a good choice for those pick-me-up moments.

Misaki’s Theme
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Speaking of light-hearted feel-good anime, Fruits Basket also came out in 2001. The soundtrack never struck me as being a memorable affair, but this anime does give us the poignant “For Fruits Basket” theme song which, for many anisong fans, carries a special weight because it’s hard not to think of Ritsuko Okazaki when one listens to it. Rest in peace, wherever you may be.

[[Visit blog to check out this spoiler]]

Finally, we also got two movies that are worth mentioning. Spirited Away is the better-known of the two and here, Joe Hisaishi once again leaves us in awe with his ability to compose a soundtrack that draws us into the movie’s setting. The music is light for the most part and there’s a dab of melancholy that permeates many of the pieces depicting Chihiro’s journey and growth as she goes from place to place, seeking out her parents while coming to terms with the changes in her life. Although tracks like “One Summer Day” is memorable, as it turns out, a lot of people like “The Sixth Station” much more (myself included).

One Summer Day
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The Sixth Station
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Princess Arete would be the other movie, and the only reason why I even watched this movie at all was due to Akira Senju’s compositions. While the movie left me wanting at times because it falls short of its potential, there’s no denying that the music leaves a very strong impression. The pieces in this movie are comparable to the music in Spice and Wolf in its incorporation of medieval/Renaissance themes. However, the piece that stands out the most here is the piece that introduces the anime, “Kiniro no Tsubasa.” Sung by Taeko Onuki, its melody caused me to melt in my seat, leaving me in a state of bliss the first time I heard it, reinforcing Akira Senju’s position as one of my favorite anime music composers.

Kiniro no Tsubasa
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Despite all that, there are a few notables that I left out that’s worth chastising me for. I have seen Millennium Actress and I’m sure it certainly deserves a mention if I ever get around to giving that album a go. Earth Maiden Arjuna also has some good music, but again, I haven’t seen the series or listened to the music enough to give an informed judgment. Finally, for all that one Kokoro Library track did to leave me impressed, I still haven’t gotten around to giving that soundtrack its time to shine even though it’s packed with piano melodies which is normally a sure winner with me.

Anyhow, as I mentioned, I’ve been busy as of late, but I’ll hopefully have a few news tidbits to toss around in the next few days.