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Roaming Through Musical Genres
观后感:怡然游走各曲风
Soundtracks for movies and animated films are meant for the general public, as they are typically paired with scenes
from the motion pictures and written so that most people can “understand” them. The Japanese soundtracks usually feature a rhythm that strongly portray the respective films, and sporting a delicate representation of the diverse emotions within, whereas their European and American counterparts would value pageantry, producing a notable difference in their presentation and feel. Having won numerous international awards for his Japanese soundtracks, the key aspect of Joe Hisaishi’s musical charm is his ability to let his music penetrate the heart of his audience through spirituality and empathy. Bringing not just a visual and audio feast to his audience, his music tugs at the heartstrings of many; creating memories that are either novel, or overlapping with the memories of their own lives. I first watched Castle in the Sky when I was still a secondary school student. Though I do not remember all the details, but I have never forgotten the closing theme for the past 20 years.
Showcasing The East Land Symphony in his concert in Singapore, Joe Hisaishi’s new abstract and sombre creation is
definitely not music that everyone can understand immediately. However, his new work still maintained his unique signature that allows his audience to grasp the steel core wire within the seemingly musical chaos to make sense, and not be lost in the wandering. The conclusion of the fifth movement left me feeling disoriented, as if I had just fallen back to reality from another dimension. But a huge sense of satisfaction soon swarmed me as I had discovered a new understanding of symphonic music through Joe Hisaishi’s avant-garde and creative music that was performed flawlessly together with the SSO.
Joe Hisaishi is one of the extremely small number of musicians who can roam across both popular and niche musical genres. I hope that he will visit Singapore again and lead the audience into symphonic bliss once more, with the popular musical genres this time round.
多注重排场、气势的派别截然不同。久 石让在这一领域的发挥，游刃有余，点 石成金，已为国际大奖的常客。不过， 久石让配乐的另一魅力，在于其灵性与 共情，能渗入人心，带给观众视觉、 听觉以外的额外感受，或牵动心弦，或 新奇难忘，或与人生记忆的某一幕交汇 重叠。我在中学时期第一次看《天空之 城》，最后没记住故事情节，却忘不了 片尾曲的旋律，一听就20年。
本次音乐会久石让所展示的新派 创作《东土交响曲》，抽象、沉重，是 很难叫人“一听就懂”的小众曲。不 过，作品依然保有了某种印象画面，不 会让人神游，且还能抓着乱音中的核心 钢索，听出一个所以然。第五乐章结束 后，我略感晕眩，仿佛从另一个时空掉 落回现实，但却心满意足。除了新加坡 交响乐团的实力，在此交响曲完美发 挥，久石让在音乐上的大胆前卫、奇 思妙想，也让我对交响乐曲有了新的 认识。
久石让是极少能在大众与小众乐 种怡然游走的音乐家。尽管他与新加 坡“70年一遇”，但希望他能再次回到 岛国，用大众化配乐曲，引领听众进入 他的交响美学。
动 多数人“听得明白”的曲种。而日系 的影视配乐风格，主旋律的画面感强 烈，情绪起伏细腻、多元，与欧美系
画或电影配乐是相对大众化的音
乐，一般搭配画面一起呈现，是
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(All photos by Clive Choo; 照片拍摄:Clive Choo)
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