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In the west, Hisaishi is sometimes referred to as the ‘John Williams of Japan’ due to his long-running partnership with Hayao Miyazaki. Like Steven Spielberg and composer John Williams (who scored the likes of Jaws, Jurassic Park, and the Indiana Jones series), Miyazaki’s bond with Hisaishi remains strong to this day, with their most recent collaboration coming in 2018 for the Studio Ghibli Museum short Boro the Caterpillar.In 2019, the compilation Miyazaki / Kitano / Hisaishi was released, commemorating some of Hisaishi’s best musical contributions to the works of the two directors. Tracks like “Summer”, from Kitano’s Kikujiro, are among Hisaishi’s most recognisable works, while films like Sonatine and A Scene at the Sea are also responsible for some of Hisaishi’s coveted Japanese Academy Award gongs.

For all the beautiful animation, heartwarming stories and captivating characters, there is another facet of the Studio Ghibli machine that has been just as consistently spectacular: the music of Joe Hisaishi. He’s the master behind the magical sounds in all but one of Hayao Miyazaki’s animated films (his debut feature, 1979’s The Castle of Cagliostro, which predated Studio Ghibli by six years), and his work is so influential to the overall picture that the studio requests early compositions during pre-production to help to shape the direction and writing.

Several of Hisaishi’s earlier Studio Ghibli scores bear similarities with this style of music, most notably Laputa: Castle in the Sky. The film’s entire score was composed largely on synthesisers, but was fleshed out with live orchestration to satisfy studio demands. Tracks like “The Levitation Crystal” present a kind of middle ground between the two styles, fusing minimal electronics with the grand, classical symphonies that we are used to hearing.Try to imagine Spirited Away without the twinkling piano melodies of “One Summer’s Day”, or Princess Mononoke without the swooping strings and swelling brass of “The Legend of Ashitaka”. It’s pieces like these, often drawing on the dynamic, orchestral flow of Impressionist composers like Claude Debussy, that supply some of the lingering emotions that Studio Ghibli is famed for. It’s Hisaishi that conjures up that feeling of being suspended in time, in a peaceful, magical place.

Prior to his film-scoring days, Hisaishi made a name for himself as a solo artist. Inspired by popular Japanese electronic artists like Yellow Magic Orchestra in the 1970s, and American avant-garde musicians like Steve Reich, he released his first album, MKWAJU, in 1981. The album utilised minimal synthesisers and percussive arrangements, and featured famed Japanese composer Midori Takada as a performer….but he’s also known as the ‘Japanese Quincy Jones’. Joe Hisaishi is actually the stage name of one Mamoru Fujisawa, who decided early on in his career to adopt a moniker that would be more easily recognisable to international audiences. The name ‘Joe Hisaishi’ was inspired by revered African-American producer Quincy Jones, whose name becomes ‘Kuishi’ Jones ,or ‘Hisaishi’ Jones, when translated into Japanese kanji lettering.

Netflix will be adding 21 Studio Ghibli films to their platform from next month, and with the weather getting steadily colder, the timing couldn’t be better. But before you grab a blanket and dive deep into one of the greatest collections of animated cinema in the world, ask yourself: what is it that makes films like My Neighbour Totoro and Howl’s Moving Castle so special? The event, which took place in Iceland in 2016, featured over 2,000 musicians performing for an audience of around 100,000. It is certainly a record that is unlikely to be broken any time soon. You can see smaller acts perform for a lower cost because they aren’t as popular. It’s really cool to experience an artist’s intimate show before they go on to play stadiums.

I remember Billie Eilish played at 7th St. Entry in Minneapolis– one of the smallest venues in the state. Tickets were about $15, if I recall correctly.

However, there are some all-ages venues out there, so it just depends. It is always a good idea to check the age restrictions before purchasing your tickets.No, there are some all-ages venues out there. However, most typically have an age restriction of 18+. You should be sure to check the age restrictions on the venue’s website.Generally, most concerts end around 10 or 11 pm. This gives people time to enjoy the encore (if there is one) and then make their way out of the venue and head back home.It is recommended that you arrive at a concert around 30 minutes to an hour before it starts. This allows you time to find your seat (or place, grab a drink, and settle before the show begins.

On the contrary, you could risk it and try to get a good deal by waiting till the last minute, as some scalpers and fans may try to sell leftover tickets before the performance date.Some fans prefer to skip the opening act and arrive later just to see the headlining act. This allows for more pre-gaming, less paying for overpriced drinks, and listening to songs you don’t know.

This depends on the venue, but most venues require some form of ID for entry. This is usually to ensure that only people of legal age are allowed into the venue.The shortest concert on record lasted just 24 seconds and featured Japanese musician Nobuyuki Tsujii playing Chopin’s “Military Polonaise” at a charity event in 2009.

There was a time I forgot my wallet and didn’t realize it until I was standing in front of the bouncer. It was an 18+ show to see the band Hellogoodbye.Oftentimes, the doors will open an hour before the music begins. For example, the details on the concert poster might say 7/8 pm, which means doors open at 7 pm, and music begins at 8 pm.

Usually a headlining act will perform a 90 minute set. This can vary greatly depending on the musician or band. Some may play for two hours or more, while others may only play for an hour. Ultimately, it all depends on the concert and the performers.

Then the crowd will begin chanting “Encore!” or “One more song”. If they cheer loud enough and for long enough, it will cause the artist to come back on stage and play another song.Whether you’re figuring out if you’ll be home by curfew or making sure you’re in bed at a decent time, you might be wondering how long does a concert last. Fortunately, concerts have an average universal time length. Below, we’ll talk about how long you can expect a musical concert to go on for, plus a few other important facts.The encore is the last song or set of songs that a band or musician plays at a concert. The band will leave the stage as if they are finished for the night.If a show goes on any longer, it can end up being too much for fans. Personally, my lower back starts to hurt midway through the show due to standing on hard concrete.

So how long is a concert exactly? A rock concert is generally about 3 to 4 hours long. This depends on how many acts are on the lineup. Typically there are three performers for the night, with the headlining artist playing the longest set.

A typical set list for a rock band may contain 10 to 20 songs, while a classical orchestra may play upwards of 30 or 40 pieces in a single concert. The performance length also depends on if the artist is the opening act or the headliner.

However, if you are going to be standing in general admission at a rock concert for example, then you probably won’t need to bring anything other than your ID and debit card. Carrying anything else may be a nuisance.By entering your email address you agree to our Terms of Use and Privacy Policy and consent to receive emails from Time Out about news, events, offers and partner promotions.

Joe Hisaishi—who’s behind the music for all but one of Hayao Miyazaki’s Studio Ghibli films—will lead the LA Phil in a suite of songs from Princess Mononoke and one from Howl’s Moving Castle, plus a few of his other compositions as well as Debussy’s La mer.Hisaishi has produced the music for 10 films by director Hayao Miyazaki, including “My Neighbor Totoro” and “Spirited Away”, and continues to tour the music worldwide through his production ‘Joe Hisaishi Symphonic Concert: Music from the Studio Ghibli Films of Hayao Miyazaki’.

His body of film work encompasses over 80 Japanese and foreign films. His works have won many awards including the Annie Award, Hong Kong Film Award, Asian Film Award and several Outstanding Achievement in Music prizes of Japan Academy Film Prize. In 2001, he made his debut as a film director for “Quartet”, for which he also wrote the music. The film was officially invited for the World Competition section of the Montreal World Film Festival.

In July of 2004, he assumed the post of first music director of the newly created ‘Word Dream Orchestra (W.D.O.)’, by the New Japan Philharmonic. Starting in September of 2014, he started to work as a producer and conductor for the ‘Joe Hisaishi presents MUSIC FUTURE’ concerts, which earned him enormous popularity, resulting in a live recording of the album. In July of 2019, he led a concert series called ‘Future Orchestra Classics’ and released a Beethoven Complete Symphonies Box that was awarded the ‘Special Prize’ in the 57th edition of the Record Academy Awards in Japan.Hisaishi has collaborated with a wide range of artists including Philip Glass, David Lang, Mischa Maisky, and orchestras such as the Hong Kong Philharmonic, Melbourne Symphony Orchestra, Singapore Symphony Orchestra, London Symphony Orchestra, American Symphony Orchestra among others.

Hisaishi is also a skilled performed, having been a solo pianist and an orchestra conductor. He was the first Japanese musician to conduct at the Cannes International Film Festival, performing Buster Keaton’s “The General”.

Hisaishi is an Invited Professor at Kunitachi College of Music. In 2009, he received the Medal of Honor with Purple Ribbon by the government of Japan. For the 2016-2018 seasons, he served as Artistic Director of Nagano City Arts Center. He holds two new positions, as Composer in Residence and Music Partner with New Japan Philharmonic Orchestra which started in September 2020, and as Principal Guest Conductor with Japan Century Orchestra, which will begin in April 2021.“Dear Alice”, for Chobani, is a love letter from a grandmother to a granddaughter and an optimistic vision of the future of farming. The animated video is complete with beautifully crafted backgrounds, delicate animation and a completely unique score by world renowned composer Joe Hisaishi.

My Neighbor Totoro, Kiki’s Delivery Service, Spirited Away, Princess Mononoke, Howl’s Moving Castle… the list of animated masterpieces is long, and the Studio Ghibli films are beloved by audiences all over the world. Joe Hisaishi’s moving and personal music makes a powerful contribution to the character of the movies. Or, in the words of legendary Ghibli producer Toshio Suzuki: “Joe Hisaishi is the only match for Miyazaki’s anime.”This concert is a tribute to the successful and close collaboration between two legendary artists: the composer Joe Hisaishi and the director Hayao Miyazaki. This magical concert experience will reach Stockholm in June – and Joe Hisaishi himself will participate on stage as both conductor and piano soloist.

This lavish production has been a hit in Tokyo, New York, Los Angeles and Melbourne, Australia. In Europe, it has been presented in Paris, Lyon, Brussels and Prague. The concerts at Konserthuset Stockholm will thus be the Scandinavian premiere of the Joe Hisaishi Symphonic Concert – a unique opportunity for all Ghibli fans.We’ve detected that JavaScript is disabled in this browser. Please enable JavaScript or switch to a supported browser to continue using twitter.com. You can see a list of supported browsers in our Help Center.

Throughout the first movement, “From Dawn to Noon on the Sea,” motives interplay with quick timbral changes to suggest the sea’s dual nature: ever-changing on the surface but with an underlying eternal and static quality. The opening wavelike figure gradually accelerates; several thematic gestures emerge as the sea awakens, then subsides as a brass chorale suggests the ocean’s depths. “Play of the Waves” functions as a symphonic scherzo, its evanescent interaction of timbre, non-Western scales, and cross-rhythms portraying the unsettled nature of the waves that dance, break apart, and come back together. As its title suggests, “Dialogue of the Wind and the Sea” offers more traditional thematic interchange, enhanced by the return of material from the first movement; this thematic repetition gives the piece a sense of settling down. There is an especially delicious effect when a solo trumpet rises above the fray momentarily, only to be reabsorbed into the orchestra. The ending washes over us with forceful dissonance, leaving the sensation Debussy identified of being “in your place.”

Many call Debussy a musical impressionist, and his works certainly share an atmosphere with paintings by artists such as Monet. Debussy didn’t like the designation, arguing that music “can represent all the variations of color and light in one go,” whereas painting was limited to capturing just one moment. His innovative style, which moved away from the heavy, Wagner-influenced sound of his predecessors, had a profound impact on subsequent composers. He was a master of orchestration, and his works are filled with shimmering colors and subtle harmonies.

The multi-talented Joe Hisaishi has composed more than 100 film scores and is best known as the musical mind behind nearly all of famed Japanese animation director Hayao Miyazaki’s films with Studio Ghibli. Hisaishi leads the Los Angeles Philharmonic in selections of his own music—including his evocative scores for landmark anime films Howl’s Moving Castle and Princess Mononoke—as well as Debussy’s sea-inspired, Impressionistic La mer. However problematic the label “impressionistic” is for the music of Claude Debussy, it does serve to highlight a crucial moment in the relationship between music and the other arts. After a century in which the Romantics celebrated music as the highest form of artistic expression, writers and painters began to free themselves from the ties to concrete reality that had seemed so limiting next to music’s ineffable, abstract qualities. Their resultant breakthroughs inspired composers, most fruitfully Debussy, to think about the materials of their art in new and previously unimaginable ways. Specific visual inspiration for the 1905 orchestral triptych La mer came, ironically, from the earlier generation of painters: Joseph Turner (1775–1851), whom Debussy lauded as the “finest creator of mystery in art,” and Katsushika Hokusai (1760–1849), whose The Great Wave Off Kanagawa print was the composer’s choice to adorn the title page of the score. Debussy’s own life experience provided an emotional canvas; he had thought at one point to become a sailor and kept a lifelong attachment to “my old friend, the sea; it is always endless and beautiful. It is really the thing in nature which best puts you in your place.”  Please arrive at the theatre with enough time to take your seats before the scheduled performance. Gates will open 2 hours prior to the start of a concert and we suggest arriving at least one hour prior to your performance.

Among the visual artists’ innovations was the use of color as an end in itself, and among the most influential legacies of Debussy was the use of musical color as an end in itself. The most obvious way Debussy achieves his sonorities is by augmenting the standard orchestra with some glitter: two harps and a large percussion section. But other musical elements also become agents of color. Harmonic changes serve as color washes; chords dissolve rather than resolve. Short melodic motives rather than fully developed themes sparkle in brief solos, substituting timbre and movement for narrative coherence. 

It was composed for the 1985 solo album “α-BET-CITY” and performed in a small ensemble, but after that, it was completed as an orchestral work for the album “Minima _Rhythm” in 2009.In the first half of this suite, “Tatari God”, Japanese drums and other percussion plays a big role, and it is especially popular overseas. Also, the title song and “Ashitaka and San” sung by the soprano singer are slightly different in expression depending on the singer, so I personally look forward to it every time. —Joe Hisaishi

The entire piece consists of a combination of about eight phrases generated from the motif of the first violin plays at the beginning. In addition, the key changes between A major and Bb major due to the heavy blows of brass instruments, which changes the overall color. In the second half, the combination of eight motifs is joined by a brass chorale, creating a long-lasting ending. It’s a very lively and positive music.The title was inspired by M.C. Escher. This is because I sympathized with his style, which is logical and humorous, rather than his specific paintings. —Joe Hisaishi Based on the music written for Hayao Miyazaki’s animated film “Princess Mononoke” in 1997, it was reconstructed as a symphonic suite in 2016 and premiered in the summer with the World Dream Orchestra (W.D.O.) tour. Never let your wardrobe keep you from a concert! Your experience of the music is what’s important, so wear whatever makes you feel comfortable. As you’ll see, a lot of concertgoers wear business attire or casual business attire. We do ask that you refrain from using strong fragrances, as they may be distracting to other patrons and the performers.

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formance. Order your Los Angeles Philharmonic: Joe Hisaishi – La Mer Thu, Aug 24, 2023 8:00 pm tickets to secure your chance to see the best classical music performed live in Los Angeles.The Los Angeles Philharmonic: Joe Hisaishi – La Mer 2023 tour is coming to the Hollywood Bowl. Use TicketSmarter to learn more about Los Angeles Philharmonic: Joe Hisaishi – La Mer concert dates in your city.

In April, Rolling Loud announced its first ever Rolling Loud festival in Canada, which took place from Sept. 9 to 11 at Ontario Place in the heart of Toronto, with headliners Dave, Future and Wizkid.The festival is set to take over the NYC stadium from Sept. 23 to 25. Tickets went on sale in June and are available at RollingLoudNy.com and Ticketmaster. Three-day general admission passes start at $379. You can also get tickets through Vivid Seats and StubHub for around $245-$325. Related Taylor Swift Sets Records as Australia Tour Adds DatesThe festival franchise is continuing a massive year of success, and it warmed up for a loaded concert season with a standout showcase at SXSW, headlined by Don Toliver and showcasing some of hip-hop’s hottest up-and-comers. Led by its founders Matt Zingler and Tariq Cherif, Rolling Loud is on a mission to top their massively successful 2021 with their international expansions and leadership in the live music space.