Vinphonic
10-03-2017, 05:21 PM
Legacy of Japan
Kaoru Wada [The True Wada]
Here's a happy conductor (https://www.youtube.com/watch?v=2buZvJA40kY)
His first work (https://picosong.com/wJtY5/) / His latest work (https://picosong.com/wJtYX/)
"Great music is always simple"
- Akira Ifukube
Kaoru Wada has really grown on me the older I get. He remains a constant force of quality. Inheriting Akira Ifukube's compositional style, the primarily TV Anime composer (and occasional film composer) worked for 30 years in the Anime and Games industry and wrote and arranged many scores and has become one of the few old guard veterans to stay relevant and even be as exciting to listen to in 2019 as in 1990.
Kaoru Wada:
Akira Ifukube is actually my teacher and my mentor. He’s been my teacher since I was seventeen. And I, in fact, helped him on the Godzilla composition. So, there’s quite a few sort of key words that come up when it comes to advice I’ve gotten especially when it comes to composing. He said that “true art crosses any ethnic boundaries.” There’s another phrase that he often mentioned, which is actually something from China, which translates to something like “Always be kind or nice.” To explain it in more detai, it means something like “great music always comes from simple foundations,” and those are very important words to me.
Something that I value highly is the traditional Japanese sounds, and sort of combining that with western style, and bringing the traditional and modern components together.
Yu (Anime Instrumentality):
Have you ever mentored anyone, or what are your thoughts on teaching music?
Kaoru Wada:
To be straight about it, I haven’t. I haven’t taught in school or mentored anyone.
I always have a lot of work to do. I tend to handle three different types of mediums: TV Anime, Film, and Game, and for each of them the approach is completely different.
So in Japan, for a TV Anime series, we tend to use the process of creating a lot of "BGM". So, for example, a request for fifty tracks from the very beginning. And after I finish them, either the sound director, or a role specialized for this called the Music Selector, picks out the tracks for the scenes. So, my job for TV Anime is basically freestyle composition and arrangement.
In the case of films, you actually compose for each scene. So the score must be fitting and there’s a time block which you compose for. So I even go as far as thinking about the performance of the players.
In the case of video games, it’s different in that you need to think about multiple different patterns for each track. So for example, to go to a single destination or goal in the game, there’s different paths you can take to it.
So, in total, the approaches to these three different types of mediums are entirely different.
Fundamentally, there’s not a huge difference between working with foreign orchestras and Japanese groups, but there is sometimes the issue of the quality of a given orchestra. So, whether it be anime, or film, or games, or my own personal music, there’s always the question of how interested the orchestra is in the music itself.
Whether it be domestic or foreign, Anime, Film or Game, I sort of approach it the same way, and I'm told its always fine.
For any project, there will be always trouble. It’s always difficult. But going even way past the hardships is the joy of making it. So, in fact, something that’s really nice about getting involved in these works is the relationships you get to build with other staff, such as the directors and producers but also the general staff. In fact there’s a couple of things like that that I’m currently doing. There’s always a lot of work, and I try to do as best as I can with it.
Anime Herald (Samantha):
As someone whose compositions have been heard through a generation, be it through games, film, and TV, how does it feel to know you’ve had an impact on so many people across the world, and impacted so many lives?
Kaoru Wada:
Let’s just say I’m very happy about it. I’m happy about the fact that I’m involved in all of these TV Anime and film projects, and people want me to get involved in the projects. And, of course, all the people listening to it, and being happy to hear it, that makes me very very happy.
Interview With Kaoru Wada
Location: Anime Boston 2018
Interview Date: 3/31/2018
This collection/tribute/post looks back on Kaoru Wada, the Anime and Game Concert Composer and 30 years of constant quality. Granted, a lot of his scores are recycled and sometimes it can get boring fast if you are not into his world, but I promise, not in this collection ;)
The 90s: Wada, the King of Fantasy.
If there's one thing Wada's early scores really excell at is at being a Japanese Conan franchise, music-wise. Each score could be part of the same musical franchise and all is deliciously out of a dark fantasy epic. Special mention to RPG Legend Hepoi for being his debut score and Symphonic Oratoria being Wada's big Moscow score. I wonder if he will work with a full symphony orchestra for a TV Anime series again eventually.
Japanese Folklore and European Mythology
Another important aspect of Wada's style is merging Japanese writing style with western film scoring sensibilities and in no other score did he excell with his devices than in Inuyasha. Its his Magnum Opus. Hours of great TV scoring of yesteryear and to top it off, a nice symphonic ensemble for a musical finale you won't forget. Inuyasha is probably Wada's most popular score to this day and his symphonic concert arrangement has been performed on numerous occasions. One of the greatest anime scores: Beautiful tunes in there (https://www.youtube.com/watch?v=oovv9z3QRHQ). His scores for mythological figures are also stunning on occasion. His writing for toms is especially noteworthy, in general he's excellent at percussion, no surprise for Ifukube's protegee.
The Heroic Age and Serene Beauty
There's more to Wada's style than simply dark and introspective. His scores are also full of beautiful lyrical themes you hum in the bathtub and when the occasion calls for it he can be extremely joyful, best examplified in his Anime score for Pazudora were he evokes Kikuchi and basically upgrades his fantasy style from the 90s.
Rescue Wings shows us his rare "film composer side" and he can really throw out a tune: Friendship (https://picosong.com/wJtYS/). He even wrote with Lux Centuriae one of the best "filmic" symphonic suites I've ever heard. Lucky that I have a video of the recording session in high quality. I've added it to the album, Wada weaving the baton with a powerful force is a must-see to understand what kind of composer he is. He also has shown his film score persona again with this film (https://konomichi-movie.jp/) released in January.
The beautiful, lyrical side gets a good showcase in his romance scores for To Heart and Graduation, showing once again, cute anime girls and orchestra has a long history, though after Episode 5 of Endro, I would argue its dangerously close to reaching its peak. Then there's Princess Tutu which has some of my favorite arrangement of Ballett tunes (and some of the best usage of classical pieces in a piece of media): Jolly Nutcracker (https://picosong.com/wJtcE/).
The Concert Hall and Selected Pieces
All Anime scores aside, Wada is also a "serious business" concert composer and percussion master, examplified by his two concert albums and two conert arrangement albums. I prefer my Kingdom Hearts album over the official symphonic album (though it has some stellar moments) but the New Japan BGM Philharmonic suite has made Wada's early orchestral game music album a bit obsolete. Also the 20th Century Fox Fanfare was maybe more pronounced in this version because Wada is a fan and used it in his own compositions.
Part I (https://mega.nz/#!zeIjHawR!p-dLIjTdfKgnVlkKTA0Ao6emztX1Y_FF3b3kZyBBg9Q) / Part II (https://mega.nz/#!XGARjCaR!_OkHpZzkEBsTJLjpTZnAEXZn0laGzHgdjRo2_SFDx8g) / Part III (https://mega.nz/#!OCJ1CIQR!QtVQcDekDcT-oTr2qzQNM7ZikJ2NFZSEEAP9mr_0Skc) / Part IV (https://mega.nz/#!7bRk0ABC!Te8EUQmSfTbZvTj46WRhZ4TWEGWbq7ZG240TBnIgF3g)
Right now, Kaoru Wada's latest anime score (https://www.youtube.com/watch?v=nuNQ9p7HKaw&t=9m53s) can be heard this very week.
It doesn't matter which score you pick from each decade, they all sound like they belong to the same franchise from the same age. In that sense he is uncompromising and doesn't work with any new technology or electronic tools. He likes it oldschool and likewise doesn't want to be bothered teaching. He loves being out there working, giving fine music for fine musicians to play. He conducts the baton even more earnestly than 30 years ago. Nowadays he's happily flying around the globe with Natsumi Kameoka and enjoys giving concerts of his music. He has many new project in the works and I'm sure he will remind us, no matter the period of Anime history we live in... Wada will always sound like Wada.
I feel that Ifukube's soul is watching the music industry around us. I would like to worship the teacher's spirit and continue to devote myself to the future. (Feb. 8th, 2019)
Finally, if you have not been exposed to the world of Akira Ifukube, here's your chance to discover one of Japan's first musical giants (https://www.youtube.com/watch?v=PDeU42u2s2Y).
Special thanks to Herr Salat, amish and DaveKramer.
"True art crosses any ethnic boundaries.”
-Akira Ifukube
Kaoru Wada [The True Wada]
Here's a happy conductor (https://www.youtube.com/watch?v=2buZvJA40kY)
His first work (https://picosong.com/wJtY5/) / His latest work (https://picosong.com/wJtYX/)
"Great music is always simple"
- Akira Ifukube
Kaoru Wada has really grown on me the older I get. He remains a constant force of quality. Inheriting Akira Ifukube's compositional style, the primarily TV Anime composer (and occasional film composer) worked for 30 years in the Anime and Games industry and wrote and arranged many scores and has become one of the few old guard veterans to stay relevant and even be as exciting to listen to in 2019 as in 1990.
Kaoru Wada:
Akira Ifukube is actually my teacher and my mentor. He’s been my teacher since I was seventeen. And I, in fact, helped him on the Godzilla composition. So, there’s quite a few sort of key words that come up when it comes to advice I’ve gotten especially when it comes to composing. He said that “true art crosses any ethnic boundaries.” There’s another phrase that he often mentioned, which is actually something from China, which translates to something like “Always be kind or nice.” To explain it in more detai, it means something like “great music always comes from simple foundations,” and those are very important words to me.
Something that I value highly is the traditional Japanese sounds, and sort of combining that with western style, and bringing the traditional and modern components together.
Yu (Anime Instrumentality):
Have you ever mentored anyone, or what are your thoughts on teaching music?
Kaoru Wada:
To be straight about it, I haven’t. I haven’t taught in school or mentored anyone.
I always have a lot of work to do. I tend to handle three different types of mediums: TV Anime, Film, and Game, and for each of them the approach is completely different.
So in Japan, for a TV Anime series, we tend to use the process of creating a lot of "BGM". So, for example, a request for fifty tracks from the very beginning. And after I finish them, either the sound director, or a role specialized for this called the Music Selector, picks out the tracks for the scenes. So, my job for TV Anime is basically freestyle composition and arrangement.
In the case of films, you actually compose for each scene. So the score must be fitting and there’s a time block which you compose for. So I even go as far as thinking about the performance of the players.
In the case of video games, it’s different in that you need to think about multiple different patterns for each track. So for example, to go to a single destination or goal in the game, there’s different paths you can take to it.
So, in total, the approaches to these three different types of mediums are entirely different.
Fundamentally, there’s not a huge difference between working with foreign orchestras and Japanese groups, but there is sometimes the issue of the quality of a given orchestra. So, whether it be anime, or film, or games, or my own personal music, there’s always the question of how interested the orchestra is in the music itself.
Whether it be domestic or foreign, Anime, Film or Game, I sort of approach it the same way, and I'm told its always fine.
For any project, there will be always trouble. It’s always difficult. But going even way past the hardships is the joy of making it. So, in fact, something that’s really nice about getting involved in these works is the relationships you get to build with other staff, such as the directors and producers but also the general staff. In fact there’s a couple of things like that that I’m currently doing. There’s always a lot of work, and I try to do as best as I can with it.
Anime Herald (Samantha):
As someone whose compositions have been heard through a generation, be it through games, film, and TV, how does it feel to know you’ve had an impact on so many people across the world, and impacted so many lives?
Kaoru Wada:
Let’s just say I’m very happy about it. I’m happy about the fact that I’m involved in all of these TV Anime and film projects, and people want me to get involved in the projects. And, of course, all the people listening to it, and being happy to hear it, that makes me very very happy.
Interview With Kaoru Wada
Location: Anime Boston 2018
Interview Date: 3/31/2018
This collection/tribute/post looks back on Kaoru Wada, the Anime and Game Concert Composer and 30 years of constant quality. Granted, a lot of his scores are recycled and sometimes it can get boring fast if you are not into his world, but I promise, not in this collection ;)
The 90s: Wada, the King of Fantasy.
If there's one thing Wada's early scores really excell at is at being a Japanese Conan franchise, music-wise. Each score could be part of the same musical franchise and all is deliciously out of a dark fantasy epic. Special mention to RPG Legend Hepoi for being his debut score and Symphonic Oratoria being Wada's big Moscow score. I wonder if he will work with a full symphony orchestra for a TV Anime series again eventually.
Japanese Folklore and European Mythology
Another important aspect of Wada's style is merging Japanese writing style with western film scoring sensibilities and in no other score did he excell with his devices than in Inuyasha. Its his Magnum Opus. Hours of great TV scoring of yesteryear and to top it off, a nice symphonic ensemble for a musical finale you won't forget. Inuyasha is probably Wada's most popular score to this day and his symphonic concert arrangement has been performed on numerous occasions. One of the greatest anime scores: Beautiful tunes in there (https://www.youtube.com/watch?v=oovv9z3QRHQ). His scores for mythological figures are also stunning on occasion. His writing for toms is especially noteworthy, in general he's excellent at percussion, no surprise for Ifukube's protegee.
The Heroic Age and Serene Beauty
There's more to Wada's style than simply dark and introspective. His scores are also full of beautiful lyrical themes you hum in the bathtub and when the occasion calls for it he can be extremely joyful, best examplified in his Anime score for Pazudora were he evokes Kikuchi and basically upgrades his fantasy style from the 90s.
Rescue Wings shows us his rare "film composer side" and he can really throw out a tune: Friendship (https://picosong.com/wJtYS/). He even wrote with Lux Centuriae one of the best "filmic" symphonic suites I've ever heard. Lucky that I have a video of the recording session in high quality. I've added it to the album, Wada weaving the baton with a powerful force is a must-see to understand what kind of composer he is. He also has shown his film score persona again with this film (https://konomichi-movie.jp/) released in January.
The beautiful, lyrical side gets a good showcase in his romance scores for To Heart and Graduation, showing once again, cute anime girls and orchestra has a long history, though after Episode 5 of Endro, I would argue its dangerously close to reaching its peak. Then there's Princess Tutu which has some of my favorite arrangement of Ballett tunes (and some of the best usage of classical pieces in a piece of media): Jolly Nutcracker (https://picosong.com/wJtcE/).
The Concert Hall and Selected Pieces
All Anime scores aside, Wada is also a "serious business" concert composer and percussion master, examplified by his two concert albums and two conert arrangement albums. I prefer my Kingdom Hearts album over the official symphonic album (though it has some stellar moments) but the New Japan BGM Philharmonic suite has made Wada's early orchestral game music album a bit obsolete. Also the 20th Century Fox Fanfare was maybe more pronounced in this version because Wada is a fan and used it in his own compositions.
Part I (https://mega.nz/#!zeIjHawR!p-dLIjTdfKgnVlkKTA0Ao6emztX1Y_FF3b3kZyBBg9Q) / Part II (https://mega.nz/#!XGARjCaR!_OkHpZzkEBsTJLjpTZnAEXZn0laGzHgdjRo2_SFDx8g) / Part III (https://mega.nz/#!OCJ1CIQR!QtVQcDekDcT-oTr2qzQNM7ZikJ2NFZSEEAP9mr_0Skc) / Part IV (https://mega.nz/#!7bRk0ABC!Te8EUQmSfTbZvTj46WRhZ4TWEGWbq7ZG240TBnIgF3g)
Right now, Kaoru Wada's latest anime score (https://www.youtube.com/watch?v=nuNQ9p7HKaw&t=9m53s) can be heard this very week.
It doesn't matter which score you pick from each decade, they all sound like they belong to the same franchise from the same age. In that sense he is uncompromising and doesn't work with any new technology or electronic tools. He likes it oldschool and likewise doesn't want to be bothered teaching. He loves being out there working, giving fine music for fine musicians to play. He conducts the baton even more earnestly than 30 years ago. Nowadays he's happily flying around the globe with Natsumi Kameoka and enjoys giving concerts of his music. He has many new project in the works and I'm sure he will remind us, no matter the period of Anime history we live in... Wada will always sound like Wada.
I feel that Ifukube's soul is watching the music industry around us. I would like to worship the teacher's spirit and continue to devote myself to the future. (Feb. 8th, 2019)
Finally, if you have not been exposed to the world of Akira Ifukube, here's your chance to discover one of Japan's first musical giants (https://www.youtube.com/watch?v=PDeU42u2s2Y).
Special thanks to Herr Salat, amish and DaveKramer.
"True art crosses any ethnic boundaries.”
-Akira Ifukube