Just one point about Horner and orchestrations. This woman really knows what she's doing when it comes to writing for orchestra - and UNLIKE just about every Western film composer, as far as I know she does all her own orchestrations as well. I'd at LEAST put her on par with Horner's capabilities, but definitely wouldn't call her anywhere near as derivative when it comes to aping or quoting the music of others. Last comment - if I could meet one living composer today, it would be Kanno. Below is "von" with lyrices in English and Icelandic.Īlso she also for years SUNG many of her own songs under the name Gabriela Robin and in 2009 came out during a performance of her music letting everyone know she was also Gabriela.
Her score to the recent series, Terror in Resonance is simply astounding. Macross Frontier had incredible symphonic and vocal music. Kanno is also a master at writing songs for talented vocalists using words that are basically gibberish - but it just sounds lovely - basically a universal language - "music" She also writes several songs in various languages - and is an accomplished song writer as well. I was taken with Kanno immediately and I'm only really familiar with what she wrote for Cowboy Bebop and Ghost In The Shell, and a Macross mini-series.Ĭlearly I have been depriving myself and I need to look further into her other work. Yoko Kanno is closer to Horner: the many lifts from classical music are obvious to those who have ears. There's SO much more to explore with Yoko Kanno. The ravishing middle portion of this one is gorgeous!Įnjoy. NO ONE is writing stuff this good in 2017 elsewhere in the world. This one evokes ET, Ravel, Gershwin all at once. If this isn't a shoe in for best score of the year, I don't know what is. ANY of the "usual suspects" around here (Goldsmith, Williams etc.) would be proud to call this one their own.īelow are excerpts from her STUNNING new score to the NHK drama Onna Joushu Naotora. This one is one of her most tragic, stunning themes. That amazing theme of flight! Good grief! And here's it gorgeous reprise from the final cue of the score:Īmazing Williams-ian flying theme that segues into beautiful misterioso choral music.ġ:15 onward. Most breathtaking 1:15 second cue I think I've ever heard. The opening of this one owes a debt to John Adams' Fast Ride and a Short Machine, but stick with it. Her ability to craft incredibly Williams-ian themes, sumptuous orchestrations in the best Ravelian/French impressionistic tradition and thunderous, large-scale action is nothing short of remarkable and breathtaking.
Today I'm here to talk about one of her fellow countrywomen - The insanely talented, diverse and prolific composer named Yoko Kanno. This is a sister post to the one I made for amazing Japanese composer Michiru Oshima a ways back ) General Discussion: Yoko Kanno: The Modern Day John Williams FSM Board: Yoko Kanno: The Modern Day John Williams
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