SHIGERU UMEBAYASHI

2046 and In the mood for love contain some of the best small-scale, chamber musical-like themes he has written and probably his most well-known to date. Very, very good material in there, both works, from start to finish.

House of the Flying Daggers is on a different league but contains some very prominent melodies as well, and colorful orchestration. A deeply recommended exotic score, especially his work with the Erhu.

Curse of the Golden Flower is a re-take on his Flying Daggers' material but not on that level of quality imo.

I'd say that 2046 is definitely the place to start for someone new in his music.

I would have liked to hear Fearless being played as well

and what are you babling about Bregt?
I'm going to this concert of course

I meant the other Thomas, aka fommes.

That Bregt, what a card eh!?

Film music in Ghent: 14-17 October | Film music seminar with Shigeru Umebayashi

http://scoremagacine.blogspot.com/2009/ … -film.html

Yesterday was the concert of Shigeru Umebayashi. Short (only 75 minutes), not always very convincing as interesting material (his music doesn't work always very well outside its context) but the second was excellent. A long suite from House of the Flying Daggers (including the love song at the end, with that fabulous theme!), his most famous theme, Yumeji's Theme from Yumeji (and In the Mood for Love), the more upbeat Incendiary and Tears for Sale. 2046, which the concert opened with, was a great one too.

There was a strong percussion section, mainly for the action material of House of the Flying Daggers (with an awesome not on the cd solo percussion track!) and some solo's: violin, cello, horn (quite unique for Asian music) and exotic flutes.

And today was a film music seminary I attended. A first time for me (still waiting for franz's seminary once ) In the morning, there was a 'show and tell' about Chinese films and their use of sounds design and film music. Fragments of Won Kar-Wai's movies, Suzhou's River, some older films and the movies from the guy from House of the Flying Daggers. Not always very interesting (it was not always presented very well) but it gave me more info than I initially who'd have connected with the selected scenes. But if that always adds to the experience, I don't know. It certainly made me want to chck out Suzhou's River and ... oh shame ... In the Mood For Love.

In the afternoon, Shigeru was present to answer questions from the interviewer (and also translate his answer, since his English was limited. Apparently this is something typical Japanese they told me. Is that right Miya?). He talked about how he got from rock musician to film music (the latter giving him much more opportunities since rock is limited in its possibilities), how the theme from Yumeji got a whole new meaning in In the Mood for Love (an later in Blueberry Nights) and what we thought of it (everyone liked it more in In the Mood for Love), ...

In Japan it apparently is the rule to shoot a movie (including pre and post production) in about 3 months, so he also said that time is sometimes a limiting factor. And why he works so often with Chinese directors (and for example also the Olympc Games last year) is because Chinese cinema was influenced a lot by Japanese cinema, and therefore that he has no problems adapting.

He also works often in Europe, but he uses the same template of scoring a movie. He sits in his room with a piano, tries melodies etc, goes to the keyboard and then to his Macintosh (funny how he showed this on the stage).

He has a funny walk, and really is pleased by the success (the first concert was sold out in a couple of weeks, so a second concert was organised to handle the demand). Charming man, very respectful, not very talkative though.

Shigeru is a very approachable guy to talk to. After his Q&A session at the SONCINEMAD he attended, although he had also used a translator he didn't shy away from people approaching him afterwards to talk to him. Though you had to remember to keep the discussions simple (his translator wasn't around at this point.)

He seemed very appreciative of the interest people had in his music. And he looked genuinely pleased when complements were given.

Totally agree, esp. Eshkeri's music which is surprisingly good! An underrated little gem this score is, imo.

Interview and fragments of the concert
http://www.youtube.com/watch?v=vxk4jCkCdFE

The Concert was pretty good, though I would have loved if they played stuff from Fearless as well

Not the most exciting cover, but I'd be curious about the music.

if you have Belgacom of course

Who doesn't have Belgacom?

Review of Umebayashi's "Trishna" for those interested.