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Originally Posted by bates
translated:
From the album 'MY STORY' records a large hit (which exceeds 120,000) (December of 04 sale): ' MY STORY Classical ' is born as a classic arrangement. Not only does it break the Japanese classic boundary, the conductor and Sado Yutaka who represent the world in supervision direction, the Paris "ラムルー" orchestra performs. And as the prominent writer position was arranged, the island health took charge of the piano and arrangement. They have the luxurious work. Furthermore the Aichi international exposition is also present of the opening ceremony song tune "A Song is Born" of which "love is held in the release day".
In the first place, with ' MY STORY ', Hamasaki was inside and the work of the "渾" body which approached to essence. Inner strength as an artist (of course) has easily been released, [also sheath which is on the reverse side intention??]. "アグレッシヴ エレクトロニカ" and the vivid band sound increases force until now, the real lyrics with singing, full in self-confidence, is proud and echoes high. The music being arranged, the orchestral ' MY STORY ' offshoot was also made. The workmanship which the classic used to sidestep this album is easy to adapt to. On the other hand, in changing the world view with interest, it does not even begin. The music was easily bent like a timber of some kind, and the original piano leaves the impression of true opposites. (By the fact that the Hamasaki's vocals flow, in addition a new world view was completed.)
"The charm of music, voical and mental (of course) can bring into existance various atmospheres. With anytime, "Hamasaki Ayumi" keeps it how it is, while maintaining energy, don't you think? Hamasaki is the kind of person who keeps changing shape steadily.
As for Sado Yutaka who like this talk of the charm of the Hamasaki: ' MY STORY ' how does it change into "Classical"? ' MY STORY Classical ' introduced the contour in it offered from the super first-rate orchestra of Europe does not become extinct.
' MY STORY Classical ': it is to be done with direction and supervision. Please tell the circumstances.
< Sado > Halfway through January, with opening ceremony of Aichi international exposition, Hamasaki herself starting from the question, is a story which simultaneous work will be done. [MY STORY Classical] had begun the sound recording of the orchestra in the February. ' MY STORY ' conveying my image which takes in to 9 arrangement people, it had to be arranging. You think that an enormously good album was possible even at the time when it is limited.
It remains clearly in the ear of the listener, ' MY STORY ' makes rather bold changes, but as far as arrangement goes, does it represent that kind of thing?
< Sado > ' MY STORY ' began from the fact that the charm of sound had been found. I thought it would be very exciting to do an Orchestral version, it's an an ideal way of sound and the electric pop. Then, ayu made "WONDERLAND" with 1 tune (like the background of the album), that in the orchestra it probably will make an outrageous tune, (laughing). As for the person who knows the original, I think that I'm are surprised. As for the orchestra, the machine can't decide the tempo that it's played at. When the performance comes the "no っ て", tempo becomes fast, when sound is relaxed it keeps loosening. It seems like change like the flow of water, a large breath. The quantity has entered in this CD.
What kind of role does your direction there have?
< Sado > As for my work, Beethoven would like to see it is not to reproduce the "譜" aspect, which was made 200 years ago and it is simply the most important element to realize: it's funny for the customer, and the multitude. Even if it was arranged one week ago, released two months ago, but 200 years ago it was composed on the other side of the earth, but the "譜" aspect is my labor assistant: "now is instantaneous". Don't you think? Everything depends on the response to that. If ' MY STORY Classical ', dips up the image of the tune which was seen from each "アレンジャー", it'll make the indication to the performance, the fact that it keeps making sound at that place is the roll of the conductor.
Please tell us how we should hear this album.
< Sado > Ayu's songs are splendid, and you'd say that the performance person of the orchestra was there to be a "musical instrument" respectively. [MY STORY Classical] is furthermore exceeding the genre. There is an interest which makes a raw sound. The image of the present ayu's 'phase' is different, made to feel, and you think that the tune which you have not heard until now by all means is accustomed to be a favorite, born by this CD.
(Does that make any sense? My lack of Japanese vocab might've slaughtered the context cause I used altavista to help with sentences I couldn't directly translate.)
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26th March 2005, 06:11 AM
Linear Mode
