Joe Hisaishi presents Music Future Vol. 11 (2024)

JOE HISAISHI PRESENTS MUSIC FUTURE VOL. 11
Music composed by Joe Hisaishi, Philip Glass, Max Richter, David Lang and Fabio Luppi
Music conducted by Joe Hisaishi
Performed by the Music Future Band
July 26, 2024
Kioi Hall
Tokyo, Japan

PART 1: MUSIC FUTURE

On a muggy and somewhat overcast day I journeyed to central Tokyo to attend the 11^th edition of Joe Hisaishi’s renowned concert series, MUSIC FUTURE. 

Started by Hisaishi in 2014 as a way of “introducing new composers to the Japanese public,” the series has already seen works performed by the likes of Arvo Part, Henryk Gorecki, Nico Muhly, Steve Reich, John Adams, Bryce Dressner, and many other noted contemporary composers.

For this particular edition (Volume 11), we were treated to a program with music from Philip Glass, Max Richter, David Lang, Fabio Luppi, and Joe Hisaishi himself.

PART 2: CLASSICAL MUSIC FROM A LAYMAN’S PERSPECTIVE

Let me preface this report by noting that I do not have a music background, nor am I that familiar with contemporary classical music. I write this review based purely on what happened at the concert, what images the music created in my mind, and how the music made me feel. 

I also write this report knowing full well that it is not a film music concert – but since the program contained music by composers that often work or have worked in film, I thought it would be a good opportunity to share my thoughts on the concert and hopefully encourage film score fans to seek out the aforementioned composers’ non-film work.

PART 3: A SPECIAL PRE-CONCERT PERFORMANCE

Before the concert proper was a special performance of this year’s winning “Young Composer’s Competition,” which was won by young Italian composer, Fabio Luppi.

After some opening remarks on stage about Luppi’s work from Hisaishi and Kenji Ashimoto (Associate Professor, Kunitachi College of Music), Luppi’s fascinating but challenging “SOL D’Oriente Fantasia for string quartet” was premiered on stage.  It was expertly performed and received hearty applause from the audience.

You can read more about Luppi and hear an audio sample of his piece at the official Young Composerʼs Competition website here.

PART 4: THE FIRST HALF

Two Pages Recomposed
(Hisaishi arrangement first premiered in 2018)
Official info page 1: Two Pages – Philip Glass
Official info page 2: Joe Hisaishi Official Website

As I’d not heard this piece before, I previewed a handful of versions of it on YouTube the night before the concert.  Here’s one of them: 

Honestly, it got me a little bit concerned.  First, it’s a difficult piece to appreciate, so I wasn’t sure how the audience would react to it in a live setting.  Second, I really couldn’t imagine what Hisaishi could do to “recompose” it without dramatically altering its character. 

But I really needn’t have worried because Hisaishi gave it a fresh and dynamic arrangement that retained the key thematic essence of the original that was composed for keyboard/organ.

Hisaishi’s arrangement started on the marimba, with each of the instruments in the orchestra joining in one by one starting with the flute, then oboe, then clarinet, and so on.

After all woodwinds, strings and brass joined, the music continued to flow with hypnotic repetition.  When it had just started to become monotonous, Hisaishi called on his secret weapon: the snare drums*.  Adding the drums was, in my opinion, a masterstroke that accented key parts of the piece and gave it a powerful drive.

* I believe it was snare drums – please correct me if I am wrong!

The piece went on as the percussion gradually rose in volume before the whole orchestra faded into near silence… it is then that the lone sounds of the keyboard and marimba playing the melody filled the auditorium.  This bare arrangement was a much welcome respite from all that had preceded it.

Each instrument then came in as before as the piece picked up momentum with the driving accompaniment of the percussion.

The piece came to a satisfying close with a perfectly timed crescendo.

Overall, it was a masterfully arranged and confident performance that had colour, shape and energy.

Daring to recompose “Two Pages” was certainly a risk, but I thought it was a tremendous success.  Bravo to Hisaishi-san and the Future Music Band!

String Quartet No. 5
Official info page: String Quartet No. 5 – Philip Glass

This was another piece that I wasn’t familiar with prior to the concert, so I tracked down a CD copy of KRONOS QUARTET PERFORMS PHILIP GLASS. 

I was immediately impressed with this beautiful work, especially Part V, so I was very much looking forward to hearing it live.

I connected most with this piece during the concert because it was the most filmic and openly emotional. I will therefore describe it as if I were describing the narrative of a film.

Starting with a slow and delicate reading of the piece’s main forlorn theme, I could immediately picture someone alone, in pain, and hesitant to move forward.

For reasons unknown, this soon gives way to a forward moving and positive arrangement of the theme.  Perhaps this person has found a way or found a person that has helped them move forward?

The pieces then builds, almost like a pursuit, like our person has found someone they love and want to be with.

Love is then attained as the piece transitions into a full and shameless expression of love – I’m sure I wasn’t the only one in the audience swooning during this moment.

The piece then pauses before exploding with the power of creation or rebirth, like our person has been reborn through the power of love.

A joyous version of the “pursuit” theme then appears, making us sway in time to the music.

The piece finally concludes by returning to the forlorn theme from the beginning, but this time with slow then delicately plucked strings.  It then fades into a deeply satisfying silence.

Just lovely.

Credit must really go to the string quartet for its precise and deeply emotive performance.  Sunao Goko, on 1^st violin, was tremendous with his confident and crystal-clear playing.  Issey Kobayashi and Hironori Nakamura were also in top form with Miho Naka on cello driving the music forward.

PART 5: THE SECOND HALF

Breathless
Official info page: breathless – David Lang (davidlangmusic.com)

Written for wind quintet*, David Lang’s “Breathless” was admittedly quite difficult to make sense of in the beginning.  I imagine most people would describe the piece as a bunch of fragments with little connection or purpose.

* bassoon, clarinet, flute, French horn and oboe

But halfway through listening to this piece I started to get it – or at least my mind had come to a conclusion about what the piece was trying to say and do.

To me, the whole piece was like a conversation with all instruments “talking” yet not agreeing on anything.  As they had nothing in common, there was no musical theme to latch onto.

There were tiny glimpses of an identifiable melody, but they were fleeting.

As the piece got closer to the end, the music slowed, and the flute, which had opened the piece, was now commanding the “conversation.”  The other instruments agreed, speaking calmly, slowly, and clearly in turn – they were now in total agreement.  And then, the piece ended. 

As mentioned above, I really couldn’t make sense of this piece at the beginning.  But sticking through it and finally being able to make a conclusion about what it was about was highly rewarding. 

I strongly recommend checking out the whole piece which can be found on Lang’s official website.

On the Nature of Daylight 
From the album, THE BLUE NOTEBOOKS

The first time I heard this piece was when it was used in Denis Villeneuve’s film, ARRIVAL.  It really made the scene it was used for, and it fit so well that I had no idea it had been composed years earlier by Max Richter for the standalone “protest” album, THE BLUE NOTEBOOKS.  

Used to Richter’s original string arrangement, I was immediately taken aback when only the brass section (plus one clarinet) came out on stage to perform the piece.

While the original version is slow, sombre, and deeply personal, this version was strong and noble with a slight tinge of sadness.

The two horn players took turns with the melody while the trumpet assisted with the higher notes.

It was a deeply moving performance of a lovely arrangement by Hisaishi.

The Chamber Symphony No.3
(World premiere)

From Hidekuni Maejima’s informative concert program notes, “The Chamber Symphony No. 3” began as a three-movement piano piece called “Sonatine” completed in 2022 on commission from Maki Namekawa, Philharmonie de Paris, and the Arts Electronic Festival. Going through various revisions and additions, it finally became “The Chamber Symphony No. 3.”

Despite this description, I really wasn’t sure what to expect with this new piece by Hisaishi. 

The first movement had a theme that I can only describe as being somewhat quirky yet highly catchy and fast-moving.  This was a repeating figure that was run through each section of the orchestra.

The third and final movement was the most filmic. It immediately created a strong sense of tension and danger, and this was achieved through Hisaishi’s trademark percussion writing with bass drum, snare, and marimba. I even spotted a guiro being used at one stage!

The piece and concert then came to a conclusion with the third movement’s sensational climax.

Despite numerous curtain calls, there was no encore.

PART 6: TICKETS TO A SIGNING SESSION & CONCERT MERCH

While looking for the latest news about the concert the day before I went, I chanced upon a tweet that said that Hisaishi was signing albums for a limited number of concert attendees after the concert.

As I had never gotten anything signed in person by Hisaishi before, I did everything I could to make sure I got a signing session spot – i.e. finish work early when I still had (have!) a mountain of work to do 😊

So I got to the venue ninety minutes early and got in line with the 50+ other people who no doubt were there for the same reason.

As soon as the doors opened, I rushed to the merch table and got my signing session ticket! 

Basically, the first fifty customers to purchase a CD or vinyl copy of Hisaishi’s latest release of Symphony No. 2 (Deutsche Grammophon) were given a post-concert signing session ticket.  As I bought a copy on each format, I got two tickets!

I honestly thought these signing session tickets would sell out pretty quickly, but they were still available after the concert.

(for those that want a signed copy of Symphony No. 2, you can still order one from Deutsche Grammophon’s official webstore.  While it is pricey, it’s not every day that you can buy something that has been officially signed by Joe Hisaishi… and in English too!)

In terms of general merch, a handful of recent and popular Hisaishi releases on CD/SACD were sold at the merch table. 

A complimentary concert program was also given to each attendee.

PART 7: GETTING AUTOGRAPHS & FIST BUMPING JH!

The signing session happened about thirty minutes after the concert. 

We could only get copies of Symphony No. 2 signed and we were not allowed to take photos with Hisaishi.  I politely asked the staff if Hisaishi could personalize the autograph, but was told this was not possible due to the limited time available… oh well.

When my turn came, I said “thank you” and stuck out my arm for a fist bump.  Hisaishi was at first confused about what I wanted to do, but soon caught on and happily obliged to the amusement of the people around us.

Cool 😊

PART 8: OTHER TIDBITS

As there were cameras positioned in multiple places around the hall, I’m quite hopeful that a video recording of this will be released sometime in the future.  If not, there will most certainly be a CD release as there has been with past MUSIC FUTURE concerts.

There was one amusing moment just before “On the Nature of Daylight” was performed.  The stage crew forgot to put out the sheet music for Nobuaki Fukukawa, one of the horn players. Fukukawa quickly ran backstage to retrieve the sheet music.  When he returned, he sheepishly held up the sheet music to the audience – to his surprise, he was welcomed back to a hero’s applause!

PART 9: ANOTHER REVIEW

For those that can read Japanese or use Google translate, here’s a highly informative and insightful review of the concert:

Blog. 「久石譲 presents MUSIC FUTURE Vol.11」コンサート・レポート – 久石譲ファンサイト 響きはじめの部屋 (hibikihajime.com)

The fan site that hosts the above review has a wealth of information about Joe Hisaishi and is written by what I can only assume is someone with a strong music background.  I highly recommend checking it out here!

PART 10: OVER TO YOU

Did you also go to this concert? How did you like it?

And what did you think of my report? Feel free to comment below or reach out to me directly in the “Contact Me” section.