September 1, 2021
-
Rediscover Joe Hisaishi in Songs of Hope
Songs of Hope: The Essential Joe Hisaishi, vol 2 *****
Joe Hisaishi is perhaps one of Japan’s best-known film composers (along with Ryuichi Sakamoto) whose music is most associated with the animated films of Hayao Miyazaki. His music tends to fall into a classic sense of romantic lyricism but also incorporates aspects of minimalism as well as European and Japanese classical styles. Decca has released this second compilation of his music that includes excerpts from his film and concert work across two fascinating albums of his music. One needs to wade through the dense liner notes to connect what music is from where as the title list itself provides nothing to aid the listener. But, regardless, there is a lot here to enjoy taken from wide variety of Hisaishi’s recordings many featuring him on keyboards as well. Sings of Hope-The Essential Joe Hisaishi, volume 2 (Decca B0034301-02) is a wonderful survey of the composer's work with over 2 hours of engaging music.
The collection provides a wide swath of the composer’s film and concert music each a highlight of their own with inviting melodic writing and gorgeous orchestral support. Organization is more for album flow and variety which aids this quite a bit. The Morricone-like “La pioggia” (Diary of Early Winter Shower, 1998) is a stunning romantic theme. The jazzier side comes through in “La porco ross0” (Porco Rosso, 1992). Solo piano with a somewhat modern leaning provides contrast in “Lost Sheep on the Bed”, one of several solo tracks where the composer pays homage to Satie and Chopin (“Rain Garden”; “Nocturne”) some of these appeared on an earlier compilation (Dream Songs). Other scores represented include Princess Mononoke (1997, “Ashitaka and Son”), Kid’s Return (1996), HANA-BI (1998), Kikujiro (1999, “Summer” and “The Rain”), Chizuko’s Younger Sister (1991, “Two of Us”), Haruka-noutaruji (1993), the gorgeous “For You” from Water Traveler-Samurai Kids (1993), and The Little House (2014).
Some of the composer’s more minimalist styles appear strewn through the album as well. One of these is the rather brilliant post-minimalist DA-MA-SHI-E (1985/1996) with its John Adams vibe. Other concert works include MKWAJU in a 2009 recording featuring the London Symphony Orchestra. A 2007 work, Links explores irregular meters within the minimalistic propelling pulses. Hisaishi’s exploration of more contemporary techniques can also be heard in a movement from DEAD (1999) which is perhaps his most avant-garde of pieces.
Fans of Hisaishi may have some of the scores in their entirety, but there are a few items here which may have slipped past some listeners. Regardless, this is a set worth picking up to have a fine collection of often gorgeous orchestral music with post-minimalist concert pieces that are brilliantly orchestrated. The order shifts between solo piano impressionistic-like moments, orchestral lyricism, and touches of jazz. It all flows well to create a sense of beauty. There is no doubt by the end of this truly wonderful collection of the composer’s work that he is indeed among the important composers whose music captivates audiences worldwide.—Steven A. Kennedy