There is no instrument that has dominated the soundtrack scene quite like the pianoforte. If you think about it, it’s not really that surprising. Practically thinking, using a piano cuts labor costs – whereas it would normally take around five violinists (or ten piccoloists, but no one wants to listen to that many piccolos anyway) to sound ten different notes at once, one pianist can handle that, no sweat. But that’s beside the point. With a clear and crisp tone that can duplicate the delicate shimmering of bells or summon an impassioned thundering of notes, the piano is truly beautiful in its own right.

Since anime is also awesome and this post is on an anime music blog, I have to connect my obsessing over the instrument to anime somehow. That’s where notable piano solos in anime come in. Below are ten tracks (in no particular order) that I believe represent the best of piano in anime BGM. Before someone asks me “where’s Hisaishi’s ‘One Summer’s Day’, ‘Ashitaka and San’, ‘Sixth Station’, etc. etc..?”, let me clarify. When I said solo, I meant it literally. I know that a solo can still have an accompaniment, but to prevent myself from being overwhelmed by the sheer number of options, tracks with anything other than piano weren’t considered. With that cleared up, let’s get started!

One crucial role the piano has come to serve in anime BGM (well, BGM in general, now that I think about it) is the performance of those melancholy pieces that usually accompany the emotional and/or gloomy parts of a show. It isn’t too much of a surprise that the pianoforte has risen to this task, since even in quiet solitude it never sounds “empty”. Such is the case in “Watashi no Theme”, a piano rendition of Tatami Galaxy’s protagonist’s theme. I love the wistful ache in this track because it speaks of so many things, be it loneliness, unreachable dreams, or nostalgic pasts. It conveys the kind of sadness that’s associated with wandering alone on a busy street pondering what went wrong in life (did I mention it’s raining? Well it is). All of these notions are packed in without the music ever rising above its restrained atmosphere. That’s pretty impressive, considering the standard emotional work establishes mood with dramatic displays of passionate zeal.

Watashi no Theme (Piano ver.) – Tatami Galaxy

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Of course that doesn’t mean a depressing piece has to hold itself back to be impacting.  Case in point: “The Will (Piano ver.)”, from the Rurouni Kenshin ~Tsuiokuhen~ OVA. In all aspects, the piece resembles a requiem, a composition for the dead, and it definitely isn’t taking the celebratory approach to the funeral. The deliberate funerary march chords tread on with heavy steps, until things finally escalate into powerful and impassioned hysterics as all the guests burst into tears. It’s an absolutely dismal piece that is depression incarnate, adept for darkening my spirits further when I’m in a foul mood.

The Will (Piano ver.) – Rurouni Kenshin ~Tsuiokuhen~

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But enough with these dreary tracks, let’s move onto something a little more lively! I’ve always enjoyed Mina Kubota’s melancholy piano compositions, but I like her upbeat tracks just as much. “Sora no Theme (piano ver.)” has a spring in its step that’s ridiculously infectious to the ear. After the bouncy beginning, the vivacity only slacks off in a middle portion that’s symbolic of obstacles and hardship with its downer atmosphere. Nevertheless, the contrast when things pick up again is wonderful, giving the end a soaring finish that’s confidently triumphant. After listening to “The Will” one too many times, this is the perfect, refreshing pick-me-up.

Sora no Theme (Piano ver.) – Kaleido Star

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The buoyantly jazzy “Livremente ~ Chiisana Itazura” will always be on hand, just in case I need backup, though. In this animated piano tune, the notes dance, quick on their feet. The resultant sprightly and frolicsome sound gives the piece a charming spontaneity that I’m terribly fond of. Coupled with the addictive rhythms, this is music that wants you to move right along with it. Indeed, practically all of Ken Muramatsu’s catchy piano jazz deserves some mention here, since I had such a difficult time choosing one out of the many options he’s composed.

Livremente ~ Chiisana Itazura – Kurenai

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The next piece doesn’t just want you to dance, it is a dance. A waltz to be more precise. “Introduction & Waltz”, once it begins with its showy chords and scales, quite obviously derives its inspiration from classical music. Nevertheless, it doesn’t take itself too seriously, which is what I appreciate the most about it. Adorning a spirited, regal melody with a generous amount of florid flourishes, the solo sounds much too fancy and dramatic to be anything but in good fun. In the end, all I’m able to do is tap my feet and savor the melodramatic music.

Introduction & Waltz – Ouran High School Host Club

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The next selection is a relaxed piece fittingly titled “Bartender” (guess what anime it’s from. You get one try). This track is the kind of laid back composition that you’d expect to hear playing in perhaps, well, a bar. It doesn’t aim to have you experience an emotional catharsis, an ecstatic high, or anything extreme of the sort. It’s simply a pleasant piece that opts to create an easygoing atmosphere which conveys a contented and unhurried sensation that’s enjoyable, especially as a break. After all, listening to sentimentally weighted stuff all the time can become a little tiring.

Bartender – Bartender

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“BARTENDER” might have been nonchalant, but compared to the next solo it’s as turbulent as a stormy sea. From the anime franchise Aria, “Soshite Fune wa Iku” is sublimely bucolic in a way nothing else has quite been able to match. The aural experience is so enchanting; the music gains a picturesque beauty, turning silence into calm water and sound waves into shimmering ripples on a crystal surface. It’s so wonderfully soothing that listening to it is akin to an emotional cleansing. Take my word for it: it becomes very hard to entertain any heartfelt ugly thoughts when this is playing within hearing distance.

Soshite Fune wa Iku – Aria the Animation

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From Binchou-Tan, “Ameoto” is also notable in its serenity. However, it possesses a different kind of calm. This little composition has not the serenity of water but the dreaminess of air (it’s air-headed! Get it?). Instead of following a very distinct melody, the notes, like a breeze, seem to wander, meandering from one half-formed reality to the next, only lightly brushing existences and never closely interacting. I think of the music as Impressionist in nature – the concepts are formed, yet they do not have distinctive boundaries. It’s as if they’re not quite there. All of this makes for a very unique ethereal and otherworldly aura that’s incredibly well-crafted.

Ameoto – Binchou Tan

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Of course the top ten would have to include some selections that expound on love, the emotion humans have been obsessed with since forever. What better way to start than with a track from the anime adaptation of the classic love story Romeo and Juliet? “Deai”, or “Encounter”, chooses to depict the innocent side of the sentiment. While the music remains quietly affectionate for the entire duration, it also conveys a sensation of movement. How this quickening influences the flow of the music, thereby capturing the sensations of first love, is truly this piece’s strong point. It creates the perfect portrait of two enamored lovers, hearts stirring as they spend brief, stolen moments of time in each other’s company. Thinking of these images, I get mushy every time hearing the heartwarming sentiments this piece gushes.

Deai – Romeo x Juliet

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And finally, Tenmon. This guy knows how take a lovely tune and arrange it into an even lovelier sounding piano work. “One more time, One more chance (Piano ver.) is probably my favorite out of them all. The theme itself is quite beautiful already, but that isn’t what I consider the forte of this track, especially since it repeats so many times. Instead, what makes this work unique is the feeling with which it is performed. Every rendition of the theme is different – sometimes it’s played delicately and tenderly, other times it’s performed powerfully and passionately. Consequently, the melody is transformed every time it’s repeated, capturing a different aspect of love every time.

One More Time, One More Chance (Piano ver.) – Byousoku 5 Centimeter

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So there we are, ten notable piano solos from anime BGM. As I said before, there were many, many tracks that I wanted to include but couldn’t either because of lack of space or inclusions of other instruments (Albergo from Gunslinger Girl, anyone?). I may have also clear-out forgotten some well deserving compositions (which you can feel free to remind me of in the comments).

Tracklist

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Review: No matter how much one may wish to preserve the comforts of the present, the passage of time has other ideas. There’s always this constant push towards new horizons. For some, change comes swiftly like the tempest that turns one’s world upside-down, but for ARIA’s characters, it’s more as though a zephyr was passing through, bringing with it the hope of a brighter future. There may be some tentativeness and timidity when it comes to internalizing this change, but the warm breeze reassures them that all is well, all will be well, as it invites them in with open arms.

With that image in mind, DIPARTENZA opens up with a tranquil air in “Shiki ~Soshite Boku wa Umi ni Kaeru~.” Its softness captures the image of the early dawn where nary a creature is stirring, allowing you to take in the quietude and look upon the still waters that lay mostly undisturbed aside from the occasional ripples from a falling dewdrop, depicted wonderfully through the piano’s grace notes that trickle gently down. This arrangement, moreso than the original, is effective not only in the way it pauses time, but also in the way it grows more confident as the piece progresses, calling in the dawn and with it, a future with endless possibilities!

Shiki ~Soshite Boku wa Umi ni Kaeru~

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But that brightness can be a little intimidating since the next step involves the characters making their first foray outside their comfort zone as they proceed to put their training to become skilled, professional gondoliers in their own right. The hesitation amidst the backdrop of the changes in the characters’ lives lie at the core of the emotions that DIPARTENZA imparts unto us through tracks like “Eien no Umi -A Song for Zephyr-“ and “Mirai he no Kouseki.” These piano arrangements occupy that fence-sitting position where the characters look upon the road ahead with some trepidation and aren’t quite ready to take that first step. That reluctance is conveyed particularly well in “Eien no Umi -A Song for Zephyr-,“ which hits the melancholy notes more profoundly than the original does. The piano channels a sense of solitude and in doing so, evokes all manners of doubts and uncertainties, but like “Shiki,” it ends with a comforting melody that prods them onward.

Eien no Umi -A Song for Zephyr-

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Mirai he no Kouseki

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Amidst the overwhelming joy and wonder mixed in with the occasional dose of melancholia that this album brings to the fore, there’s one thing that makes the listening experience fall slightly short of its full potential: some of the pieces drift too close to the original. In most cases, the feelings that the original track emanate are enhanced in this album, but the piano versions of Origination’s OP, “Spirale” and “Kin no Nami Sen no Nami” are transcriptions. That is, they proceed to match the songs in perfect step rather than add panache so as to stand out on their own merits, and so, hold back on the true depths of their expressiveness.

Kin no Nami Sen no Nami

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This is a minor flaw, one that’s easy to overlook due to the sheer quality of the source tracks and the piano’s capability in accentuating the mood of each piece. Starting with “Shiki’s” wellspring of quiet contentment and hope and ending with “Ashita, Yuugure made’s” exquisite warmth that reaches out and embraces all, DIPARTENZA is a perfect reflection of what Origination signifies to the ARIA franchise: the culmination of the lessons learned and the enduring bonds of friendship forged that give the characters the strength to step outside that protective bubble and come into their own.

Ashita, Yuugure made

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Rating: Very Good

Disc 1

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Disc 2

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Disc 3

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Review: If the ARIA franchise started airing 5 years ago, you wouldn’t know it based on the snippets of conversation that you pick out from the air from people gushing over their favorite moments as though they watched and savored it just yesterday. The way in which the series showers the viewer with warmth and uplifts the soul leaves that indelible mark that will stay in one’s consciousness for years to come.

But none of this would have been possible without ARIA’s masterful score. The Choro Club and Takeshi Senoo have crafted a soundtrack that takes you far away from the hubbub of modern life, far away from the stresses of school and work, and deposits you gently into a wonderful, idyllic world that washes away your burdens and sorrows and rejuvenates your spirit. Every note that comes forth from the background music ripples serenely and nudges you along provided that you’re willing to allow the its beautiful music to envelop and propel you forward.

Natsu Tayori
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As you look around, the city transforms before your eyes revealing its quirks like the seasonal Aqua Alta, where the floodwaters bring a halt to most day-to-day activities. This slow, lackadaisical feeling is reflected in the cello part that sets the rhythm before the bandolim takes over. I find myself absorbed into the piece, especially with the staccato section that imitates the sound of someone splashing through the floodwaters and is a testament to the composers’ ability to use music to illustrate the scenery effectively. It’s not long before the soundtrack shines its spotlight on the show’s main focus, which begins with the beautiful grace notes in “Shourou no Patri -Neo Venezia-” and conveys unto you the gondoliers’ quiet grace and dignity through a simple but sublime piano melody.

Aqua Alta Hiyori
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Shourou no Patri -Neo Venezia-
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This focus upon the gondoliers (aka “undines”) is where ARIA really shines and the way it forges a bond between us and the characters is masterfully executed. The music reinforces these connections as we see the world through their eyes, are privy to their innermost thoughts and feelings, and learn what drives them to work as hard as they do. We share in their delights, their sorrows, and their quiet triumphs, feelings that drift around in our subconscious long after the show has ended. After all, who could forget Alice’s heartfelt delivery in “Lumis Eterne,” a song so bubbling with joy that we too cheered her on? Or how about Aika’s awkwardness in “Kami To Hairpin To Watashi” which voices her sorrows, but ultimately imparts her willingness to move on as she looks forwards to tomorrow? The characters all get their time to share their innermost thoughts, but the overriding theme I get out of it is that their eyes are on the future, a feeling reinforced through Takeshi Senoo’s “Mirai He no Kouseki,” a poignant piano and bandolim piece that lifts our spirits and assures us that all is well and it’s only a matter of time before they find the happiness they seek.

Lumis Eterne
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Kami To Hairpin To Watashi
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Mirai He no Kouseki
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And lest we forget, the voices of Yui Makino and Round Table feat. Nino are almost constantly there to take us in and out of each episode with the former exhibiting her usual flowing voice that allows us to soak in the show’s gentle aura and the latter delivering upbeat vocals backed by the acoustic guitars to make us look forward to the next episode. Special mention goes to Eri Kawai, whose stirring vocals, like the one she does for “Barcarole,” lightens our load long enough for us to gaze out around Neo-Venezia and realize that though these sights may be familiar, they are nonetheless beautiful as people’s hearts mold the city into an entity that warmly embraces all who come to visit, live, or work there.

Barcarole
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I love this soundtrack collection. Though it’s by no means a replacement for getting all of the soundtracks from the three seasons, it’s a good sample of ARIA music that makes for a good start to the journey to Neo-Venezia. The aura of gentleness dissolves any lingering feeling of anger or ill will while also unearthing the snapshots of all those wonderful moments that I have tucked away. I find myself entranced by its exquisite piano and choro-styled melodies which convey the show’s charming atmosphere while winning me over with its sincere sentiments. In the face of all the challenges and difficulties, ARIA’s music is a balm; the message that it and the series seems to stress is that we all can find our own little corner of happiness through the relationships that we build with others and by taking a step back and finding pleasure in even the most unlikely of places. It’s a magical world after all.

Second Season -Deai-
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Rating: Masterpiece

The further I progress into the 2000s, the more familiar the shows look and the more music I seem to have accumulated from those series. That’s no accident given how much more I watched from the second half of the decade and so, the lists start becoming really long and it is in 2005 where I really have issues figuring out which soundtracks I’d consider my favorite because there’s just too many to choose from. I’ve reformatted this year’s selections somewhat to make it easier to read if you’re skimming through. Hopefully, that helps with the deluge of shows that I’m showcasing.

Same goes for OP/EDs for that matter. Fan favorites like Air’s “Tori no Uta” can be heard since 2005, but there are a handful of other good ones that deserve mention. Do be warned though. This list is huge. Ridiculously so. I’d listen to a few and then come back otherwise you might be overwhelmed by the sheer number of awesome tracks on here.

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

Blood+
Blood+ is a good place to start as any because it’s one of the few (I’m guessing) anime soundtracks composed by Western composers. And notable composers at that. I still remember the moment I spotted Mark Mancina and Hans Zimmer in the opening credits and how my eyes bulged out as I began to expect a soundtrack of grand proportions. Both of them are widely known for their film scores and here, their work does not disappoint. The standouts like the “Grand Finale” are absolutely fantastic, but the track that really takes the cake lies in “Diva” which never fails to raise the goosebumps with its hauntingly beautiful melody. Just don’t try to whistle along unless you can hit those high notes.

Grand Theme

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Diva

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Tsubasa Reservoir Chronicle
A lot of people say that Mai HiME was their favorite Kajiura soundtrack, and I’d largely agree with that sentiment. However, the soundtrack to Tsubasa Reservoir Chronicle is really solid and though it wouldn’t top Mai HiME, it certainly comes close. Here, Kajiura dispenses with her usual style to create that mysterious atmosphere through the violins and chorus parts. Still, it’s the tracks ringing with emotion like “Guess How Much I Love You” that win me over alongside with action-y tracks like “Break the Sword of Justice” that bring to mind some of her video game music in the Xenosaga series.

Break the Sword of Justice

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Guess How Much I Love You

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Full Metal Panic: The Second Raid
Sequels generally mean same composers and rehashed music, but for what its worth, some of the newer tracks that showed up in FMP:TSR were pretty impressive on the whole. The main theme in particular struck me as being more memorable and part of that is attributable to me liking the military themes in this series as well as the overall darker atmosphere that Sahashi puts forward. Even his more emotional tracks like “Looking Back” are able to take the main theme of the series and work it in such a way as to bring about an air of calm that works as a way to get you to be introspective. And of course, “Counterattack” takes the theme and delivers a grandiose fanfare that leaves you feeling damned inspired to fight on!

Looking Back

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Counterattack

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Victorian Romance Emma
Beyond the idea of maids done right, this Victorian Romance Emma features some excellent music by Ryo Kunihiko, whose compositions capture more brimming love than an aim to recreate Victorian English music. You do hear quite a few harpsichord tracks here and there, but the recorders are what set this soundtrack apart, especially in the ending sequence that brings out the sort of music you’d expect out of a country fair. Still, with a solid opener in “Silhouette of a Breeze” and the piano stuff like “Emma,” which captures her quiet, introspective, but dignified demeanor, this soundtrack was a love at first listen.

Silhouette of a Breeze

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Emma

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ARIA the Animation
I really don’t know how else to put it. ARIA’s music is pure magic, bringing together waves upon waves of relaxing sentiments that makes you want to run away from the hecticness of day to day life to paddle around in a gondola and experience life through rose-colored glasses. The music certainly helps in that regard with the Choro Club and Takeshi Senoo bringing in both light, bouncy fare like “AQUA” that sets the main theme of the entire ARIA franchise to stunning, heartfelt tracks like “Mangetsu no Dolche” with its cello melody that really succeeds in bringing unto the listener the feeling that they’re privy to a scene that is wonderfully precious. And lest I forget, there are quite a few tracks propped up by Eri Kawai’s serene voice, and listening to her singing makes her passing feel that much more of a loss.

AQUA

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Mangetsu no Dolche

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Santa Claus no Sora

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Air
I’ve already mentioned Air and the music for the VN is probably my second favorite after Clannad’s awesome soundtrack. There’s a reason for this blatant favoritism: the gap between Clannad and Air is pretty wide and I’m not sure I can point out to many of Air’s tunes that are immediately memorable but don’t strike you as “generic dating sim music.” Well, there is Jun Maeda’s “Summer Lights” that’s always going to be a fan favorite. The piano melody is nothing complicated, but the way it conjures up the image of the countryside summer (cicadas not included!) through its breezy feel is catchy and wonderful the whole way through. Yes, there is also “Tori no Uta” on top of that if you want something that’s really memorable. I’m sure that was pretty much everyone’s first introduction to Lia’s voice.

Summer Lights

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Sousei no Aquarion
Sometimes, anime directors make the darnedest things. I’m not sure if this series was supposed to be a joke, a parody, or something borne out of madness, but drawing those comparisons between those unification sequences and sex is far-fetched, but if it’s meant to be played for laughs, then it sure as hell succeeded. Anyhow, Kanno once again showcases her talent for diversity while doing a heck of a job with what she pulls forth. It’s almost like how she conducts herself in Wolf’s Rain because of how it mixes all those musical genres and have it be pretty solid on the whole. Oddly enough, I don’t find myself listening to the first soundtrack a whole lot; the second one is where the songs that really catch my attention are located. “Shinwa Teki Gikou Sonata” nails the kind of fast-paced piano music I really like to hear. If it’s grandiosity, then look no further than “First Love, Final Love” which brings out that finale that fills you with the sort of feeling you’d get out of Handel’s “Hallelujah Chorus” from Messiah. Maybe that’s just intentional since the main character is supposed to be that messianic figure reincarnated.

Shinwa Teki Gikou Sonata

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First Love, Final Love

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That should be it for the BGM. Page 2 is where you want to go for them OP/EDs.

One of the feelings that I had expressed during Week 18 of the MALKeionbu was how ARIA’s music served as an excellent representation of the city of Neo-Venezia and how the focus on the city succeeded in making us all familiar with the setting. While I watched the series, there never was any doubt how important the music was in sculpting ARIA’s wonderful, charming atmosphere and both Takashi Senoo and the Choro Club deserve accolades for their work on the soundtrack. Being the ARIA fan that I am, I wanted to learn more about how the process of setting ARIA’s music to the show worked and it wasn’t until now that I was able to find the time to watch “The Sound of ARIA” segment on the Extras DVD from the ARIA the NATURAL box set. This segment was conducted as a friendly chat between a moderator and ARIA’s main director, Junichi Sato, his wife and the show’s sound director, Yasuno Sato, singer/songwriter Eri Kawai, the Choro Club’s Shigeharu Sasago, and Takeshi Senoo. More details after the jump.

Part 1: The Music Selection for ARIA

In this first section, Junichi and Yasuno Sato described the process of taking the music and incorporating it into the series. The general way of going about it isn’t too surprising; the director will ask for a general mood or concept like “a bright and sunny day” or “a blue ocean” and will usually leave it to the composers to come up with the music. But where ARIA differs from the normal anime series is that these requests caught Takeshi Senoo and the Choro Club off-guard. This admission surprised me partly because I was under the belief that the process of writing music for anime series was something that the Choro Club had done before seeing that they were in charge of the music for Yokohama Kaidashi Kikou’s OVA (Takeshi Senoo did work on Himawari! along with Kei Haneoka, but that was post-ARIA), so I guess their work process on YKK wasn’t the standard practice used in most anime productions. Compounding the difficulties was that Sato himself didn’t have anything concrete in mind when he made the request and it wasn’t until he heard the music that he was able to confirm that the compositions did indeed fit in with his vision of ARIA and then worked to make sure the music was able to express whatever was happening on screen.

Part 2: Themes of ARIA

The second segment focused on the late Eri Kawai and the role she played in writing the themes for the series. One aspect about her music that continues to surprise me is that the lyrics to songs like “Coccolo” and “Barcarolle” are pure gibberish and that she picks the words based on the sound they make and whether it goes well with the melody. Seeing that Athena’s songs are beautifully sung, the important takeaway is that music doesn’t depend on understanding the lyrics so much as being able to feel the emotions coming forth from the performer (something that I think non-Japanese fans of anisongs have learned to appreciate).

For songs like “Undine” though, the lyrics are indeed real and surprisingly, the use of real words created some difficulty since Kawai had a limited amount of experience of writing Japanese lyrics. But after a good amount of persistence, the song came out really well and its flowing melodies and it’s an understatement to say that the OP helped to create the expectations for the series’ overarching atmosphere.

Part 3: How the Songs Were Used

The third segment went into making sure that the animation would sync up with the music and that wasn’t all too surprising. The process generally touched on what would happen if the piece was too long and how strongly Sato felt the music had to work in tandem with the series to express the sentiments that he wanted people to get from watching ARIA. The most interesting detail to come about from this section was in hearing Takeshi Senoo talk about his work on the ED “Smile Again” sung by Akari’s voice actress Erino Hazuki (see sample below, taken from my review of ARIA the NATURAL Vocal Collection).

Smile Again
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Senoo’s intentions for “Smile Again” was to create the feeling one gets as summer comes to a close and that image, combined with the image of Akari in his mind, resulted in a track that was fairly easy to write. According to Senoo, one of the high points was in seeing the finished product play along with the animation and Senoo marveled at how neatly it all came together, especially when he saw President Aria turn into that constellation at the end. He also added that Erino Hazuki was able to perform that song capably by expressing the emotions that fit in with the theme of summer’s end.

Part 4: Zuntaka Pokoten

Before the discussion concluded, the group talked about the song “Zuntaka Pokoten” which can be heard in the first episode of ARIA the NATURAL as Akari and Ai were following Cait Sith. As it turned out, Sawada of the Choro Club was in charge of the piece because it matches his style which tends more towards ad-libbing. The conversation then went into each composer’s relative strengths. Sasago was often left in charge of most of the music, but Senoo’s forte was in the heartfelt, emotional tracks. Given my thoughts regarding Ristorante Paradiso’s Soundtrack, I think Senoo’s added touches were vital in making ARIA’s music as wonderful as it was since the emotional moments was what I felt was missing from Ristorante but was most definitely present in ARIA’s music.

Final Words

As the presentation came to a close, Junichi Sato wanted to emphasize the importance of the music since he truly believed that it would make or break the series. Furthermore, the emotion that he wanted the listener to keep in mind as the listener explored the soundtrack was the kind feeling that shone forth through the music. Overall, the segment was a very enjoyable watch and while there were a lot of elements one could guess at in terms of how the soundtrack process worked for anime series, being able to hear the composers in their own words was invaluable and allowed me to further appreciate their perspective regarding the music and the music’s power to deliver that calm, peaceful atmosphere that captures the essence of ARIA so effectively.

Review: Aria Piano Collection: Stagione, the first of two Aria Piano collections, is aptly named after the Italian word “Stagione” for “seasons.”

To have an air of simplicity that still has the ability to convey deep and powerful emotions is the fundamental ethos the Aria series lives by, and as such, the Aria Piano Collection: Stagione does well to follow the same standard. The arrangements done by the artists are thoughtful and well crafted, and although they are simple renditions of their original counterparts, the piano versions of each song carry enough of the original piece’s spirit, but are still distinct enough to carry a soul of their own. Stagione’s piano pieces are not nearly as intricate as other piano arrangement albums, but what they lack in complexity, they make up for in flawless execution. The various artists, who contribute their own unique rendition of our beloved Aria classics, give a very subtle touch to each piece and make it their own. Moving and captivating, Stagione is a prime example of an album that doesn’t rely on overly complicated musical riff-raff , but is instead fueled by a natural charm that very few albums manage to have, thereby offering an immersive experience that will captivate the listener for years to come.

Each piece in Stagione is utterly moving and stands as proof that less is sometimes more. It should be noted that one of the key aspects of this album that sets it apart from other arrangement albums is the ability for each song to have a very distinct touch that differs from the original. We are not talking about carbon copies; rather, each song carries a life of its own and has an invigorating effect upon the listener, while allowing the listener to explore a distinct array of different styles and nuances rarely captured effectively on one album. It isn’t all that rare for soundtracks to receive piano arrangement albums, but what sets Stagione apart from the rest is the way the album immerses the listener into the world of Neo Venezia, which makes the music feel the more real and endearing as a result.

The album begins with Akari Mizunashi, the lead character of the Aria series, welcoming us into her world of Neo Venezia, and her soothing voice sets the perfect mood for the rest of the album. Organizationally, the album is separated into four different seasons, each introduced by a cast member of the show, hence the album’s title, “Stagione.” After Akari’s brief introduction, the album starts off with Mina Kubota’s rendition of “Euforia,” which functions wonderfully as a gateway to a widely varied album. With a soft, and gentle touch, Mina plays “Euforia” with unparalleled grace that complements the album’s simplistic nature.

Euforia:
[Audio clip: view full post to listen]

It is spring in Neo Venezia, and the new season blossoms forth through Sasako Shigeharu’s tender rendition of “Aqua” and “Hanabie” and ends with “Natsu Machi” played by Shouri Kitagawa. All three songs blend seamlessly and complement the “spring” portion of the album quite well, but it is “Natsu Machi” that stands out from the three as being the principal track that captures the essence of this season. The song gives a very distinct warm feeling that is arranged by Kitagawa to accentuate the back melody rather than the vocals of the original song. The chorus segues into an almost ballad-like direction, which is a step away from the original piece, but does not detract from the overall arrangement in any way.

Natsu Machi:
[Audio clip: view full post to listen]

As summer and fall pass by in Neo Venezia, three of Aria’s most recognizable melodies play. “Tooi Kobune” and “Smile Again” represent the summer season wonderfully. “Smile Again” is arguably one of the songs that makes the biggest departure from its original counterpart, but once again, the piano rendition is just as every bit as beautiful as its source. Takeshi Senoo opts to take a far more mellow and melancholic approach to the song, whereas the original is far more upbeat, but that doesn’t mean Senoo makes the song depressing. Instead, he chooses a very light and airy nuance that brings a whole new dimension to the song. “Undine” is the principal track in the album’s fall cycle. This arrangement sticks close to the original rendition, but Mina Kubota’s playing of “Undine” is exquisite, and reflects her serene style previously seen in her rendition of “Euforia”

Smile Again:
[Audio clip: view full post to listen]

And now as the last season of Neo Venezia, winter, dawns upon us, Takeshi Senoo lends his talent once more and plays endearing arrangements of “Shourou no Patori” and “Santa Claus no Sora” which fit the season’s atmosphere perfectly. Ou Akioka arranges a wonderfully emotionally balanced rendition of “Soshite Fune wa Iku” played by Takeshi Sonoo. So as the album comes to a close, and the female cast share parting words with the listener, “Rainbow” plays as the fitting final piece to end our journey. “Rainbow” is arguably the song on the album that takes the largest stride away from the original, but it is given an entire new aura that is lacking in its counterpart. The feeling of the song is far more somber than the rest of the album, but even so, the wistful tone of the song still has an air of tenderness that invokes deep thought and reflection.

Rainbow:
[Audio clip: view full post to listen]

The first time I listened to this album, I realized that very few albums have the ability to touch the listener on a very raw human level; where music can come to life, and become something far deeper and more meaningful, where notes on a piece of paper become something so tangibly relatable, that it becomes embedded into a person’s very being. Stagione dares to be one of those few albums, and executes its goal to perfection. Whether you are a fan or the Aria series or not, the album is fit for almost any occasion, and if you are in the mood to simply relax, and ease the aches and pains of your day, Stagione is your best bet.

Rating: Masterpiece

Voting Thread

One of the best things about the MAL Keionbu (as Smankh so affectionately nicknamed it) is the voyage of discovery that one gets by listening to a plethora of anime music that revolves around a common theme and delving, even if it’s just a little bit, into what we all love so much about the medium and the music that powers the emotions on screen. We’re no strangers to this week’s theme and from my standpoint, there’s no end to the number of stellar pieces that describe love, whether it’s the one shared between individuals, places, or ideals. So with lelangir leading the way on the blog front (and many others leading the way on the thread post front), here are my thoughts on the ten tracks nominated this week:

5 Centimeters Per Second – Sora to Umi no Shi
[Audio clip: view full post to listen]
The piece starts out timidly and the soft piano melody gives me an image of someone acknowledging their feelings and in that moment, contemplating how to reveal them. As the piece continues, one can hear a certain amount of confidence settling in, indicating that they have an idea as to how to proceed and by the time you reach the climax at 1:01, the piece blooms wonderfully as it kicks into high gear with its expressiveness. The sort of emotional journey that this piece conveys along with “One More Time, One More Chance’s” heartbreaking poignancy, are what made 5 Centimeters Per Second such an unforgettable experience and it definitely makes for a strong track overall.

Gakuen Utopia Manabi Straight – Seioh Gakuen Kouka
[Audio clip: view full post to listen]
The imagery revolving around Manabi’s performance in the face of apathy is what makes this song particularly powerful and that pretty much lies in the presentation. It’s difficult to forget that moment as Manabi stood there like a beacon of light that pierced the cloak of apathy as she brought her emotions to bear and professed her love for Seioh. The way Yui Horie is able to impart Manabi’s feelings through the song is just spectacular. Everything about it flows naturally and convincingly, especially during the “ah ahhh seioh wo” moment that is nothing short of inspiring.

End of Evangelion – THANATOS ~if I can’t be yours~
[Audio clip: view full post to listen]
I do like the blues lounge singing atmosphere but wow, the part around 1:57 really threw me for a loop and the only thought I was left with after that moment was how inconsistent this track is. I’ll pass on the weird chantings because they feel a bit too out of place and this track would have done better to remove them outright.

Rurouni Kenshin – Tsuiokuhen – In Memories “KO・TO・WA・RI”
[Audio clip: view full post to listen]
This piece works wonders at complementing Rurouni Kenshin Tsuiokuhen’s grim atmosphere by mixing melancholy and tragedy together really well. The lonely vibe brings forth an image of the solitary swordsmen taking determined steps to overcome the obstacles in his path while reflecting upon his life choices. While my hazy memories do not allow me to recall whether he was reeling from his tragic relationship with Tomoe when this piece plays (it is pretty damn melancholic after all), this piece stands as a testament to Taku Iwasaki’s ability to bring out the strong emotions within that OVA. The amount of emotion it packs marks this one as my favorite piece this week, both in terms of its nostalgic value as well as its tragic beauty.

Bokura ga Ita – Fuan
[Audio clip: view full post to listen]
Bokura ga Ita is subtle in its use of music and the pieces that I’ve listened to focus on creating that romantic atmosphere as well as the accompanying feelings like anxiety and comfort that arise from such a situation. Still, this piece is just a bit too subtle and while it does get better after each listen, in the field of strong picks that are available this week, this one just falls a bit outside the range of receiving any points.

ARIA the NATURAL – Itsuka Kita Michi
[Audio clip: view full post to listen]
The Choro Club’s work on the Aria trilogy just manages to amaze me because I’ve yet to find any mediocre tracks in any of the three soundtracks. This piece in particular really fits the series’ serene mood and TheBigN’s writeup for this song in the nomination thread is spot-on when he says:

Though it can get schmaltzy at times, whenever I hear it, I think of Neo Venezia and Aqua in general. As the home planet is as much a character as the inhabitants that live on it (at least for the first two seasons), I’d to think that this is the “theme song” for the area. And I’d also like to think that this music goes though Akari’s head as she explores and enjoys her training to be an undine.

Beauty? Check. Serenity? Check. Love? Definitely! Hazukashii serifu kinshi!

Love Hina – Yakusoku
[Audio clip: view full post to listen]
The nostalgia value that I derive from this track is really high since this was my introduction to the romance harem genre way back in the day and even after all this time, this song still has not lost its touch. Yui Horie delivers yet another strong, heartfelt performance that becomes even more poignant within the context of the anime. While it’s been a long time since I’ve seen that series, I can never forget this melancholy piece because its emotional impact is so strong. In light of some comments I’ve made about a recent single, this piece would be a wonderful example of a piece that can and has withstood the test of time.

Cowboy Bebop – Call Me Call Me
[Audio clip: view full post to listen]
“Call Me Call Me” really does sound a bit too rough to fit in with my image of love and it’s also not quite as solid as some of the pieces we’ve heard so far, so I’ll be passing on this one.

Romeo X Juliet – Touch / Fureai
[Audio clip: view full post to listen]
OK, I admit it, I’m a sucker for Sakimoto and have been since I first heard his music from Final Fantasy Tactics. Because of that, it shouldn’t be a surprise that I love this soundtrack to bits, especially when Sakimoto brings out the sweeping, epic, orchestral melodies such as this. “Touch” starts out quietly, but it builds up oh so wonderfully, giving me goosebumps as it progresses by adding instruments to that motive until the song comes to life around 1:44. Here, the various parts of the orchestra work well together to create the graceful melodic fabric that would serve as a lead-in into the clarion trumpet call at 2:13 where it makes way for a dazzling melody that leaves me in awe. It’s definitely one of the stronger pieces on the soundtrack and one that definitely earns points for this week.

Giniro no Kami no Agito – Ai no Melody
[Audio clip: view full post to listen]
My experience with KOKIA isn’t as high as I’d like it to be, but between her performance in Gunslinger Girl -Il Teatrino-’s OP and Red Garden’s last few tracks, my opinion of her has been positive. The way KOKIA performs this song is closer to the intonation she uses in Gunslinger Girl -Il Teatrino-’s OP and it works pretty well in conveying her feelings towards the listener. For example, that wavering voice carries with it a sense of longing mixed in with serenity as she tries to reconcile her feelings in general. It should also be noted that there is a weird chanting bit that manages to succeed where “THANATOS’s” did not. Anyhow, this track has a certain sort lightness to it that carries strong, genuine emotions and makes it enjoyable through and through. The only regret I have is that I don’t have points to spare since this song is very deserving of a listen.

So there you have it! My point distribution can be found below. If I had a major gripe this week, it’s that the selections for the point distribution were really hard to make since many of the tracks were so enjoyable. Fortunately, that’s a good problem to have on one’s hands and I definitely look forwards to listening to people’s nominations for Week 3 where we’ll look into the theme of being “lost.”

(+2) Rurouni Kenshin – Tsuiokuhen – In Memories “KO・TO・WA・RI”
(+1) 5 Centimeters Per Second – Sora to Umi no Shi
(+1) Gakuen Utopia Manabi Straight – Seioh Gakuen Kouka
(+1) ARIA the NATURAL – Itsuka Kita Michi
(+1) Romeo X Juliet – Touch