Wen 丨 A wake up
The protracted fight against the epidemic has temporarily alienated the world connected by the Internet on a realistic level, but there are still many people – especially artists – who are trying to bring people closer, hearts and hearts. In a live concert coming online tomorrow, a musician who has witnessed the rapid progress of globalization in half a century will respond to this deepening estrangement and re-summon love for each other with his latest creations.
The song is called "I want to talk to you", and the composer's name is Thunder, and he is Hisaishi Jean. Online concerts are not new, but at this moment, it is still significant for Hisaishi to hold such a concert.
Hisaishi Jean
Because for Hisaishi, seeing people as part of society was one of the most important purposes when he entered the creation. Therefore, music is not just a simple enjoyment, it is an important means of connecting people.
Let's start by looking back at Hisaishi's unparalleled musical career.
Experimental music debut
All legends, all in order. For Hisaishi, who is famous for his film scores, the starting point seems to be "off course".
Since college, about ten years, he has been immersed in "modern music" with a completely different path from his future achievements. He recalls the first time he heard "minimalist music" represented by Philip Glass and Terry Reilly, the impact on his body was like an electric current passing through, and this current fascinated him.
Hisaishi Jean as a young man
Hisaishi, who was very dead-eyed when he was self-deprecating in his youth, will have to wait a little later to find the perfect interface between niche and popular, art and business. It is also at this time that he can gradually grasp the subtlety of inclusiveness and the joy of integrating cross-borders.
"Omnivore" Hisaishi makes the belief in quantity better than quality, see more, listen more, read more, walk, try, feel, even if it is not a concert that does not take the initiative to go, you can also harvest the inspiration of "Ode to the Virgin" as the closing song, even if you don't know the so-called best-selling songs, you can also put aside subjective likes and dislikes to listen, and grasp the current trend of the times. When the grass boat is there, it is good to borrow arrows, who thought that the chorus of "Walking" in "Totoro" is the inspiration for soaking in the bath?
Hisaishi, who is always eager to try, has a field of expertise, and those light and pleasant music have long been the symbol, but he often likes to tiptoe up and reach some fruits that have not been tasted, such as using Japanese Okinawan music in Korean movies. Because of his curiosity and passion for different directors and different types of invitations, Hisaishi has a common language with filmmakers all over the world.
Nor can miyazaki blindly follow
The most important thing in Hisaishi's film music writing career was his long-term collaboration with two Japanese masters. One, of course, is Miyazaki.
Hisaishi jean knows how to use a simple instrumental arrangement to render Miyazaki's subtle fantasies and the fluctuating hearts of real characters.
For example, when making the "Princess Mononoke" impression album, he used shakuhachi and pipa in response to the setting of ancient Japan, but Miyazaki felt that this was equivalent to putting on a sign and would make the audience unhappy, so he cleverly tried to play with a three-degree harmony, and then added the uplink sound of the stalk blowing, and the South American kuna flute playing the downward sound, both East Asian ancient style and sometimes new music rhyme, the swaying of the character's mood, the tragic posture of the opposite position, all picked up by this clean and sentimental music. This is another feedback that Hisaishi gave to Miyazaki beyond expectations.
However, even after so many times of cooperation, he still has the "mood of no retreat", always afraid that a tedious incident will lead to the suspension of the cooperative relationship.
Miyazaki's animation time is very long, the number of tracks is large, but he created a symphonic suite for "Hal's Moving Castle", but the other party said that he "wanted to coherent the whole film with a theme song", and with frustration, he later took three candidate songs to Miyazaki's studio "Tobaraki House" to play, timidly like a candidate.
He cherished his engagement with Miyazaki. When considering the balance between the soundtrack and the movie, he would decide the number of the film's score according to the arrangement of the opening 5 minutes, and one day Miyazaki told him, "The first 5 minutes of the movie determine everything!" He wrote the excitement of the hero's vision into "Moving, So Created".
Takeshi Kitano's requirements for the soundtrack are bizarre
Takeshi Kitano, Hisaishi
Hisaishi's first collaboration with Takeshi Kitano was in 1991's "That Summer, The Sea of Tranquility." The first time they met, Kitano tookshi broke the impression of fast talk on TV, people are reticent, even the script is very concise, he hates the bloat of over-explanation, and prefers to leave blank space for the audience.
He asked Hisaishi to keep the usual soundtrack quiet, so in this film about the deaf and mute, the music is handled as simple and refreshing as breathing.
"That Summer, the Sea of Tranquility"
Takeshi Kitano hated the traditional film score, so Hisaishi broke through many of the scoring rules according to his requirements. He understands the gentleness and romance of Kitano Takeshi's rough violence, and his soundtrack is to outline the unknown and uncared emotions under the darkness and absurdity, to quietly but powerfully amplify.
Jiang Wende thanked him
The Chinese film industry has always had Hisaishi's confidant.
It is said that when collaborating on "The Sun Also Rises", Jiang Wen used the second movement of Mozart's "Requiem" as a model, so that Hisaishi, who asked himself "incomparable", was "embarrassed". Jiang Wen later said in an interview, "Long old age is wine, and if there is no good wine in this banquet, it will be almost." I just told him: You can write better than Mozart, but you can do it better than Mozart."
Laughing and laughing, Jiang Wen loves Hisaishi Jean's creation with ironclad evidence, that is, he used the soundtrack of the last time in "Let the Bullets Fly", but I don't know if the film remuneration will also be doubled?
You can also count the names of many Chinese films, Xu Anhua's "Auntie's Postmodern Life" and "When is the Bright Moon", Xue Xiaolu's "Ocean Paradise", Liu Zhenwei's "Love Epilepsy Dasheng", etc., all with the participation of Jiushi Rang. The richness of these works and the variety of emotions have made the world realize that in addition to Miyazaki's works, Hisaishi jean has a arsenal of weapons beyond our imagination.
Musicians have to go beyond the director's instructions
A lot of great musicians don't necessarily do a good job of scoring movies, and I think there may be two reasons.
First, do not understand the relationship between music and film, and do not know how to let music to help the expression of the film, it is certainly not right to dominate, but music is not a self-willed supporting role in the movie. The successful soundtrack is that when you take it off, you immediately feel like something is missing from the picture.
The second is more difficult, that is, to understand the needs of the director, but must not blindly follow. It's important to know that most directors are not music professionals, and if you just "translate" the feelings he wants into notes, it is probably not right. Hisaishi Jean has said that musicians are also needed to take a professional standpoint and help directors gradually take shape with his unclear ideas.
Hisaishi jeans and Hayao Miyazaki
The soundtrack process of today's Hollywood movies has developed to the level of assembly line industrialization, what emotions and what melodies are corresponding one by one, that is, ready to use, many blockbuster soundtracks are just a little more advanced canned music, in addition to using sound to maintain the audience's attention and mobilize emotions, there is no other role.
Hisaishi Jean is a completely opposite example, and still taking Miyazaki and Takeshi Kitano, Hisaishi Jean's thinking of working for these two directors is completely different.
In Miyazaki's anime, Hisaishi's music is like a friend who respects each other equally. Because animated films are often re-established a space-time and action logic independent of the real world, it is necessary to mobilize the imagination of the audience, only the picture is not enough in any case, and the role of music and sound in filling the sense of space is often greater than the visual level. So the role of Hisaishi's music is to become a supporting part of that fantasy time and space, so that the audience can really immerse themselves in the story on the sensory level.
But in Takeshi Kitano's films, the music is no longer to support the story, but to "empty" out, "withdraw" down, and use it to prompt the existence of unspoken meanings on the screen, so that the audience's thoughts transcend the reality in front of them.
See you online for Hisaishi Jean!
In addition to a large number of film soundtracks, Hisaishi is also committed to the restoration and creation of the spirit of classical music, including contemporary works that pay tribute to Beethoven such as "The Fifth Dimension". These works show Hisaishi's efforts as a musician with strict classical music professional training to trace his roots to the source of music in the era of globalization.
Speaking of the online concert mentioned at the beginning of the article, in addition to performing Hisaishi's most prestigious soundtrack works and new creations, it will also present two symphonic works by Mozart, the top master of music history: Symphonies No. 40 and 41, which are not only the first famous pieces in Mozart's works, but also the most familiar pieces in the broad sense of "classical music", which are often performed around the world.
This time, Hisaishi Will interpret these two most energetic Mozart works as a conductor, in the sense of his own multiple identities as a composer and conductor, it is a review of the musical journey of most of his life, and it undoubtedly contains the meaning of starting again in the ancient years.
In his self-description, Hisaishi confessed that he strives to become a "composer living in modern times", which is his attitude towards his relationship with the world, which coincides with the original intention of China Mobile Migu to broadcast the concert live.
In fact, the concert was long overdue, but Hisaishi's fracture left it a little late. At the moment when the epidemic is in progress, this reunion is even more precious.
For the audience who are accustomed to live listening, China Mobile's Migu "cloud broadcast" form has some new experiences that keep pace with the times, and the "cloud scene" established through the "cloud broadcast" overseas special session will invite overseas artists who are difficult to come to China to the audience. This actually opens up a new dimension of performance, even if the epidemic recedes in the future, its existence and development is still an important supplement to the performance market.
The maintenance of the world's cultural diversity is embodied in the process of presenting such a real cultural product "cloud".
In the process of vigorously introducing Western and Japanese artists and establishing an increasingly rich performance matrix in China Mobile Migu, Hisaishi's healing music is the most suitable and direct quality choice, and it plays a very prominent role as a bridge in the sense of promoting foreign cultural exchanges.
Listening to Hisaishi Is a spiritual resource for directly enjoying classical music, and it also evokes the memories of many people's youth, connecting individual memories with the world.
All of these rich perceptions will be within reach at tomorrow's concert.
Migu music, eight o'clock in the evening.