Vinphonic
01-03-2017, 05:47 PM
From THE BIG ORCHESTRAL ACTION MUSIC THREAD! (Thread 57893)
The Music of Japanese Entertainment
The Warsaw Collection Vol. 1
The Works for Animation and Games
Download (https://mega.nz/#!NkglWBbR!__P1TJVj7lHAofLsYGxObZpQXqXRYNhQmkSncrtSjEw)
The history of film music is full of beautiful relationships of composers and directors/producers but a magnificent musical relationship between two countries is a rare thing indeed. Poland has one of the worlds most prestigeous classical orchestras: The Warsaw Philharmonic. What is surprising is that it does not focus completely on the classical repertoire but is also credited as a performer for various media related projects. But these projects don't come from domestic or even european composers or companies but rather from people living thousands of kilometers away. The fruitful collaboration between Japanese composers and Warsaw, Masamichi Amano and Yoko Kanno in particular, brought us the best film scores of the past two decades. It all started with Masamichi "Macamicz" Amano and Giant Robot. From then on Masamichi continued to be a regular together with Yoko Kanno and they likely brought the quality and monetary value of a Warsaw score to many Japanese producers attention. The Japanese people in general have this wonderful habbit of doing things better than you really need to and have great respect for art and craftmanship. This also stays true for their entertainment industry. So its not that much of a surprise that they would allow a budget that makes it possible for a composer to fly all the way to Poland and record the music for the best possible quality while not having the budget to go to London. The Orchestra in general seems to enjoy working for Japanese composers and they level good compositions to greatness by their virtuosity alone. And each and everytime a Warsaw score feels more like the work of an artist than a purely commercial one. It also helps that Japanese media composers in general seem to have complete freedom in the way they write a score for a project.
Ah! My Godess. The Motion Picture (Shiro Hamaguchi): Hamaguchi's Magnum Opus, a beautiful choral work with american film music flair and a beautiful gentle theme. The action is on par with everything else this time. Girls und Panzer der FILM was wonderful in that regard as well but here it's a bit more bombastic. "The New World Prelude" might also be my favorite piece Hamaguchi has composed. I've also included Ray of Light from Hanasaku Iroha.
Fafner (Tsunayoshi Seito): A film score arrangement from all the soundtracks, but more concert work than film score really. I've already arranged a little Fantasia for it and it works really well, showcasing the classical nature of the score. The gentle Theme is not all there is, beautiful little piano concertos and orchestral bombast in the vain of Amano are also present.
Final Fantasy XIII (Masashi Hamauzu / Yoshihisa Hirano): Hirano's only time to go big, orchestrating for Hamauzu but for all intends and purposes this comes across more like a Hirano score most of the time than a Hamauzu score. How I wish he would return to Warsaw, Nascent Requiem is just insanely good. This is my usual film score arrangement with worthwhile studio recordings put in the mix.
Full Metal Alchemist Brotherhood (Akira Senju): Not Senju's very best but an interesting and impressive concert work with perhaps too many of his blueprints to be truely original. But the themes are excellent througout. This is a 90 minute arrangement of his three hour recordings because listening to the entirety of it can be a bit dull.
Gin`iro no Kami no Agito (Taku Iwasaki): One of the only times Iwasaki strips away his eccentricism to score a film in a traditional orchestral conetxt. Overall it's an impressive score that shows that he CAN be a great film composer when he wants to be, a pitty he doesn't seem to have any affection for it.
Hellsing (Hayato Matsuo): This is his Magnum Opus and one of the best Japanese orchestral scores I have ever heared. It's a fantastic musical for one of fiction's greatest characters. It might not have the lyrical but melancholic yet delicate love theme from Kilar's Dracula or the complex narrative of Williams Dracula but it still towers them for the sheer bombast and operatic beauty, even including the work of Karl Maria von Weber. A real tragedy that some is in subpar quality or worse, unreleased. I hope Drifters is at least as good and in some shape or form allows for an opportunity to relase an offical soundtrack for Hellsing. I would buy ten copies in a heartbeat.
Jin-Roh (Hajime Mizoguchi): His best solo score by a mile. Not very action heavy but excelling in tragic and melancholic moments. Grace Omega is just beautiful and the perfect ending for this beautiful film.
Beautiful Katamari (Katsuro Taijima): One of Japan's most underrated and underused composers, I think. It's just insane that he delievered a mesmerizing Hollywoodesque symphony for the most obscure Japanese shit possible and yet he's wasting away as part of Namco's Soundteam for years. The moment I see his name on a new game or anime project will be a very joyus day indeed. I'm also very proud how my attempt at a Katamari Symphonic Album turned out, so much so that I ditched the original soundtrack entirely.
The relationship with Warsaw continues strong to this day and certainly will for many years to come. Last year was Fafner 2, Attack on Titan and a concert with Akira Senju and the Warsaw Philharmonic Chamber Orchestra in Tokyo and this year we have Drifters.
The Music of Japanese Entertainment
The Warsaw Collection Vol. 1
The Works for Animation and Games
Download (https://mega.nz/#!NkglWBbR!__P1TJVj7lHAofLsYGxObZpQXqXRYNhQmkSncrtSjEw)
The history of film music is full of beautiful relationships of composers and directors/producers but a magnificent musical relationship between two countries is a rare thing indeed. Poland has one of the worlds most prestigeous classical orchestras: The Warsaw Philharmonic. What is surprising is that it does not focus completely on the classical repertoire but is also credited as a performer for various media related projects. But these projects don't come from domestic or even european composers or companies but rather from people living thousands of kilometers away. The fruitful collaboration between Japanese composers and Warsaw, Masamichi Amano and Yoko Kanno in particular, brought us the best film scores of the past two decades. It all started with Masamichi "Macamicz" Amano and Giant Robot. From then on Masamichi continued to be a regular together with Yoko Kanno and they likely brought the quality and monetary value of a Warsaw score to many Japanese producers attention. The Japanese people in general have this wonderful habbit of doing things better than you really need to and have great respect for art and craftmanship. This also stays true for their entertainment industry. So its not that much of a surprise that they would allow a budget that makes it possible for a composer to fly all the way to Poland and record the music for the best possible quality while not having the budget to go to London. The Orchestra in general seems to enjoy working for Japanese composers and they level good compositions to greatness by their virtuosity alone. And each and everytime a Warsaw score feels more like the work of an artist than a purely commercial one. It also helps that Japanese media composers in general seem to have complete freedom in the way they write a score for a project.
Ah! My Godess. The Motion Picture (Shiro Hamaguchi): Hamaguchi's Magnum Opus, a beautiful choral work with american film music flair and a beautiful gentle theme. The action is on par with everything else this time. Girls und Panzer der FILM was wonderful in that regard as well but here it's a bit more bombastic. "The New World Prelude" might also be my favorite piece Hamaguchi has composed. I've also included Ray of Light from Hanasaku Iroha.
Fafner (Tsunayoshi Seito): A film score arrangement from all the soundtracks, but more concert work than film score really. I've already arranged a little Fantasia for it and it works really well, showcasing the classical nature of the score. The gentle Theme is not all there is, beautiful little piano concertos and orchestral bombast in the vain of Amano are also present.
Final Fantasy XIII (Masashi Hamauzu / Yoshihisa Hirano): Hirano's only time to go big, orchestrating for Hamauzu but for all intends and purposes this comes across more like a Hirano score most of the time than a Hamauzu score. How I wish he would return to Warsaw, Nascent Requiem is just insanely good. This is my usual film score arrangement with worthwhile studio recordings put in the mix.
Full Metal Alchemist Brotherhood (Akira Senju): Not Senju's very best but an interesting and impressive concert work with perhaps too many of his blueprints to be truely original. But the themes are excellent througout. This is a 90 minute arrangement of his three hour recordings because listening to the entirety of it can be a bit dull.
Gin`iro no Kami no Agito (Taku Iwasaki): One of the only times Iwasaki strips away his eccentricism to score a film in a traditional orchestral conetxt. Overall it's an impressive score that shows that he CAN be a great film composer when he wants to be, a pitty he doesn't seem to have any affection for it.
Hellsing (Hayato Matsuo): This is his Magnum Opus and one of the best Japanese orchestral scores I have ever heared. It's a fantastic musical for one of fiction's greatest characters. It might not have the lyrical but melancholic yet delicate love theme from Kilar's Dracula or the complex narrative of Williams Dracula but it still towers them for the sheer bombast and operatic beauty, even including the work of Karl Maria von Weber. A real tragedy that some is in subpar quality or worse, unreleased. I hope Drifters is at least as good and in some shape or form allows for an opportunity to relase an offical soundtrack for Hellsing. I would buy ten copies in a heartbeat.
Jin-Roh (Hajime Mizoguchi): His best solo score by a mile. Not very action heavy but excelling in tragic and melancholic moments. Grace Omega is just beautiful and the perfect ending for this beautiful film.
Beautiful Katamari (Katsuro Taijima): One of Japan's most underrated and underused composers, I think. It's just insane that he delievered a mesmerizing Hollywoodesque symphony for the most obscure Japanese shit possible and yet he's wasting away as part of Namco's Soundteam for years. The moment I see his name on a new game or anime project will be a very joyus day indeed. I'm also very proud how my attempt at a Katamari Symphonic Album turned out, so much so that I ditched the original soundtrack entirely.
The relationship with Warsaw continues strong to this day and certainly will for many years to come. Last year was Fafner 2, Attack on Titan and a concert with Akira Senju and the Warsaw Philharmonic Chamber Orchestra in Tokyo and this year we have Drifters.
