Ponyo on the Cliff by the Sea Soundtrack Review
Hisaishi Writes Another Superlative Score for Miyazaki
Feb 3, 2009
Hayao Miyazaki and Studio Ghibli have been producing some of the finest animated films, whether mainstream or not, for quite some time: such classics as Princess Mononoke, Spirited Away, My Neighbor Totoro and Howl’s Moving Castle have endeared themselves to millions, and an integral part of these productions (even more so than in mainstream films, perhaps) has been the magnificent music composed by Japanese maestro Joe Hisaishi.
Joe Hisaishi and Hayao Miyazaki
Hisaishi has composed scores for nine of Miyazaki’s films, beginning with Nausicaa of the Valley of the Wind, and their latest collaboration together, the animated children’s fantasy Ponyo on the Cliff by the Sea, has been an undeniable success. Hisaishi’s score is of such intelligence, beauty and resplendence that it puts many mainstream orchestral scores to shame.
What sets the score apart from many others is not only the crystal-clear orchestrations and fluid, watery melodic undulations, but also the richness and variety of the thematic material. Indeed, themes abound in Ponyo, and their numerous variations are so cunning and attractive that nearly every cue is a magnificent highlight on the generous 67-minute album.
Wide Array of Themes in Ponyo
The album begins with the absolutely captivating “Deep Sea Ranch,” a shimmering, extremely fluid piece for full orchestra and choir, which introduces the Ocean Theme with astonishing affability, developing a sense of wonder and awe before settling down to light-hearted, whimsical introductions of Ponyo’s Theme.
Ponyo’s Theme, a whimsical, energetic melody, receives ample appearances, from simple harp and chimes arrangements (“Encounter”) to fully-orchestral statements (“Flight of Ponyo,” which shamelessly borrows more than a few ideas from Wagner’s famous “Ride of the Valkyries”). A tender lullaby theme is explored fully in “Ponyo’s Lullaby,” and it is as moving and innocent as any of Hisaishi’s other beloved melodies.
“Mother of the Sea” features a gorgeous solo soprano arrangement of the most poignant theme in the score, the Mother of the Sea Theme, later reprised in cues such as “Underwater Town” and on solo violin in “Night of the Meteor,” as well as in the sweepingly romantic finale, “Song of Praise for Mother and the Sea.”
Energetic Diversions
There are plenty of moments of racing strings and fast-paced action to counter the softer, more tender moments: “Little Sisters” is a delightful scherzo which builds layer upon layer of orchestral elements until it climaxes, and “Fleet March” introduces a pompous figure for fife and drum which is not unlike a colonial marching tune. “Toki” and “Ponyo and Sosuke” contain blaring brass chords and chopping high-end violins, and “Ponyo of the Fish of the Wave” reprises the Wagner references with soaring heroics.
The album closes with a heartfelt piano solo of Ponyo’s Theme performed by Hisaishi himself, and then a delightfully catchy vocal-pop version of the same tune, performed in adorable fashion by Fujioka Fujimaka and Nozomi Ohashi.
Summary
The album is on the whole a magnificent composition, and also features Hisaihi’s typically flawless recording quality: every note performed by every instrument shines forth with absolute clarity, making it possible to discover new aspects and facets of the work with every new listen. The entire disc is a lovely, incredibly engrossing work of art which demands respect and admiration.
The album has not yet been released in the United States: buying it will involve importing unless it is eventually distributed domestically to coincide with the American release of the film. But even so, it is a small concern when so little music reaches such lofty, superlative heights, as Hisaishi’s music seems to do so easily.
Ponyo on the Cliff by the Sea is a strong contender for the finest score released anywhere in 2008, and comes extremely highly recommended. Seek with confidence.
 |
 |
