I feel bad for any human being who doesn't get to experience this very beautiful song. every change , every pause, every note ... this is for those with hearts for melodic music.
Can't agree more. This tune, I think, is an epitome which allows us a glimpse of the composer's pleasantly-idiosyncratically nuanced and delicate genius as melody maker, at that specific point Sakamoto couldn't match him and that's exactly why he picked up this tune for the occasion in Hosono's tribute I guess.
Technically yeah, this song could be called "ghibli" with one qualification that its location is as marginal as possible in the domain of Ghibli, which musically equates as the realm of Joe Hisaishi, against whom Sakamoto seems to have something, interestingly enough.
@@B4StudioJP It’s such an interesting song in that respect, Hosono writing a song in his classic mid-80s style for a film that we now associate with Ghibli (which was yet to be founded at the time). I’m curious about your comment about something between Hisaishi and Sakamoto - they are quite different musically now but I’m curious if there is a negative aspect?
@@sultanvoices As for Sakamoto's reference to Hisaishi, the oldest one I remember is around 1986 in an interview for some music magazine wherein he said he'd traveled to Bali island on vacation and been inspired by Gamelan and pondered sth to the effect that "what if, as a composer, there be no electronic equipments that surrounds me?" Along the line, he also mentioned he'd been fascinated by and keeping an eye on Hisaishi's works, which I assume are mainly the soundtracks of Nausicaa and Laputa considering the period. And way later on, I have occasionally been coming across an article in which he critisized Hisaishi's work for being good at reference but not as original, or sth to that effect. Such estimation of Hisaishi seems to be also shared by Akira Asada, critic and Sakamoto's long-term sidekick. That's all I know about their relationship, both of them I admire for their musicianship. Speaking of Hosono, there's an anecdote that Miyazaki (and his co-producers) initially commissioned Hosono an entire soundtrack of Nausicaa and not contented with his preproduction if I remember correctly… the rest is history and this song remains as vestige of the backstage at the dawn of the film production. IYAM, I think their exchange to Hisaishi is not a bad decision considering his background such that he'd received an authentic classical education at college of music and capable of literally "writing scores" of orchestration in rigid structure, that, including his inclination into contemporary music like minimalism, eventually fitted in accomodating the expansive universe of the anime production later known as Ghibli with the soundscape of proportionate grandeur that could constitute the hallmark of the brand's quality. Hosono, albeit with his idiosyncratic genius in writing highly catchy and voluptuous melody like the links below, seems not cut for such enterprise. ua-cam.com/video/fW7j44obuEQ/v-deo.html Narumi Yasuda - Nausicaä of the Valley of the Wind (Hosono's idiosyncratic genius is conspicuous in chorus, at 1:29 neither-Oriental-nor-Occidental phrasing, and at 1:45 additional developmental twist with rich chord progression into grand finale) ua-cam.com/video/Lumt37Fz0ok/v-deo.html Seiko Matsuda - Heavenly Kiss (He's playing keaboard behind her at the award ceremony that granted him "the best composer of the year") ua-cam.com/video/ZB0qwcGFYIM/v-deo.html Seiko Matsuda - An Apple of Glass (embodies one of his aspect in accordance with girlish sentimentality) ua-cam.com/video/pF0qZHELj-w/v-deo.html Imo-kin Trio - High School Lullaby (In self-pastiche of "techno pop" commissioned for three regular male performers (not singers) of then-super-popular TV variety show) I guess Sakamoto, whom I deem as a composer more on the chord side rather than melody, is jealous of him.
@@B4StudioJP Thank you so much for the rich and thoughtful reply. I agree with your sentiments regarding Sakamoto and Hisaishi and admire and respect them both equally albeit in different ways. I suppose with film, the ability to reference and develop accessible themes that somehow stand behind and reinforce the visual storytelling (rather than compete it), essentially an application of programmatic music, was in Hisaishi’s favour. There is great consistency among his work, which in a way mirrors what I feel is Miyazaki’s ‘iterative’ approach, with characters and ideas being developed again and again over years - one’s own work becomes the reference in a way after a time. Hosono is unashamedly a pop composer. He revels in it and his playful appropriation of the history of popular music from around the world is a big strength for him. The original “Kaze No Tani No Nausicaa” from 1984 is a favourite of mine - I actually quite like Yasuda’s vocals as they have an earnest quality that lends itself to the arrangement and lyrics, and certainly the Nausicaa character herself. The other songs I am excited to listen to - thank you for your generosity in sharing them! And I agree with your final assessment of Sakamoto. Beside both Hosono and Hisaishi, Sakamoto also seems to value texture and overall approach over melodic invention, which I feel sometimes works, sometimes does not - something the other two seem to do very well. Hosono and Hisaishi have produced, I feel, genuinely memorable songs, melodic works, and motifs that - especially with the former’s encyclopaedic knowledge of pop - seem to linger in the mind and can be adapted to various arrangements, whereas what is memorable for me in Sakamoto is more timbral, and the overall tendency towards experimentation and concept. (I appreciate the chance to respond to such a great comment with someone who appreciates & values an overlapping world of music.)
すごい曲ですばらしい演奏。難しい曲なのに昔のオリジナルはなぜ素人というかデビューしたばかりの女の子に歌わせたんだろう it's a great work and performance. i wonder why the original recording of this one, which seems to be difficult to sing, was performed around 30 years ago by a girl with little musical experience.
Simply magical. It's tragic that's she's no longer active musically. But it seems from some search I made once of her kanji that she's now heavily involved in promoting breast cancer awareness, which is also something great for humanity.
Imagine seeing the scene from Nausicaa’s perspective, in the Sea of Decay, under the shell of the Ohmu’s eye, looking up into the canopy while the spores slowly drift down past her view.
Just to let u know, BGM was indeed made by Joe Hisaishi But this particular song was made by Haruomi Hosono, who is one of YMO. Moreover, this was tribute consert to his work So Sakamoto-san was entitled to play. (^_^)
金曜ロードショーで人生何十回目かのナウシカを見て、今日初めてこの歌の作曲が細野さんということを知りました。先月からYMOにハマっているアラサーです。
このアレンジとても素敵です！
まるで映画の腐海の中にいるように映像が広がって聞こえます。s教授ありがとう。
こんなに素敵な演奏聞いたことありません。
貴子ちゃんが教授の演奏で歌ったこと、知りませんでした！ カバーしたこの曲が収録された初ソロアルバム、chatchatは今でも大好きです。
なんて素敵な、アレンジ、ボーカル、そしてもちろん原曲。
最後の LaLaLaLa…がたまらん。
I love the breathless, ethereal sound that Takako can produce. This song is a thing of beauty.
いま目覚めて聞いております。なんて心地良いんだろうと思いながら聴いております。
細野さんも教授からこんな素敵なアレンジでやってもらったら嬉しいだろうな
嶺川さんもこのアレンジだと歌うの難しいだろうにさすがだ
有り難うございます。
今では大切な記念曲ですね‼️
良い思い出になりましたね🎵
最高の音源ですね！細部まで耳が気持ち良い感じです！坂本さんすげー！嶺川貴子さんってすげーんだ！
初期L⇔Rに居た方ですよね。すばらしい。小山田繋がりでの参加かな。
I feel bad for any human being who doesn't get to experience this very beautiful song.
every change , every pause, every note ... this is for those with hearts for melodic music.
Can't agree more. This tune, I think, is an epitome which allows us a glimpse of the composer's pleasantly-idiosyncratically nuanced and delicate genius as melody maker, at that specific point Sakamoto couldn't match him and that's exactly why he picked up this tune for the occasion in Hosono's tribute I guess.
イヤホンで聴いたら全方位から音が聴こえてきてパンニングの嵐。
子供の頃、映画館で観た「風の谷のナウシカ」の感動が甦って来るようです。
これはヘッドホン必須！！あるのとないのとでは重厚感が違う…！！
この編曲のバランス感覚すごいよね
beautiful delicate melodica sound singing in the background. what a perfect track
やっぱり名曲だった。
素晴らしい。日本のマスコミもこういう音楽をもっと取り上げておくれよ。
あの細野さんとは確執もあったサカモトがやるとは思わなんだ。で。結構好きです。
Wow powerful. Thank you!
sakamoto play ghibli.. is really something
love this!
Technically yeah, this song could be called "ghibli" with one qualification that its location is as marginal as possible in the domain of Ghibli, which musically equates as the realm of Joe Hisaishi, against whom Sakamoto seems to have something, interestingly enough.
@@B4StudioJP It’s such an interesting song in that respect, Hosono writing a song in his classic mid-80s style for a film that we now associate with Ghibli (which was yet to be founded at the time).
I’m curious about your comment about something between Hisaishi and Sakamoto - they are quite different musically now but I’m curious if there is a negative aspect?
@@sultanvoices As for Sakamoto's reference to Hisaishi, the oldest one I remember is around 1986 in an interview for some music magazine wherein he said he'd traveled to Bali island on vacation and been inspired by Gamelan and pondered sth to the effect that "what if, as a composer, there be no electronic equipments that surrounds me?" Along the line, he also mentioned he'd been fascinated by and keeping an eye on Hisaishi's works, which I assume are mainly the soundtracks of Nausicaa and Laputa considering the period. And way later on, I have occasionally been coming across an article in which he critisized Hisaishi's work for being good at reference but not as original, or sth to that effect. Such estimation of Hisaishi seems to be also shared by Akira Asada, critic and Sakamoto's long-term sidekick. That's all I know about their relationship, both of them I admire for their musicianship.
Speaking of Hosono, there's an anecdote that Miyazaki (and his co-producers) initially commissioned Hosono an entire soundtrack of Nausicaa and not contented with his preproduction if I remember correctly… the rest is history and this song remains as vestige of the backstage at the dawn of the film production. IYAM, I think their exchange to Hisaishi is not a bad decision considering his background such that he'd received an authentic classical education at college of music and capable of literally "writing scores" of orchestration in rigid structure, that, including his inclination into contemporary music like minimalism, eventually fitted in accomodating the expansive universe of the anime production later known as Ghibli with the soundscape of proportionate grandeur that could constitute the hallmark of the brand's quality. Hosono, albeit with his idiosyncratic genius in writing highly catchy and voluptuous melody like the links below, seems not cut for such enterprise.
ua-cam.com/video/fW7j44obuEQ/v-deo.html
Narumi Yasuda - Nausicaä of the Valley of the Wind
(Hosono's idiosyncratic genius is conspicuous in chorus, at 1:29 neither-Oriental-nor-Occidental phrasing, and at 1:45 additional developmental twist with rich chord progression into grand finale)
ua-cam.com/video/Lumt37Fz0ok/v-deo.html
Seiko Matsuda - Heavenly Kiss
(He's playing keaboard behind her at the award ceremony that granted him "the best composer of the year")
ua-cam.com/video/ZB0qwcGFYIM/v-deo.html
Seiko Matsuda - An Apple of Glass
(embodies one of his aspect in accordance with girlish sentimentality)
ua-cam.com/video/pF0qZHELj-w/v-deo.html
Imo-kin Trio - High School Lullaby
(In self-pastiche of "techno pop" commissioned for three regular male performers (not singers) of then-super-popular TV variety show)
I guess Sakamoto, whom I deem as a composer more on the chord side rather than melody, is jealous of him.
@@B4StudioJP Thank you so much for the rich and thoughtful reply. I agree with your sentiments regarding Sakamoto and Hisaishi and admire and respect them both equally albeit in different ways.
I suppose with film, the ability to reference and develop accessible themes that somehow stand behind and reinforce the visual storytelling (rather than compete it), essentially an application of programmatic music, was in Hisaishi’s favour. There is great consistency among his work, which in a way mirrors what I feel is Miyazaki’s ‘iterative’ approach, with characters and ideas being developed again and again over years - one’s own work becomes the reference in a way after a time.
Hosono is unashamedly a pop composer. He revels in it and his playful appropriation of the history of popular music from around the world is a big strength for him. The original “Kaze No Tani No Nausicaa” from 1984 is a favourite of mine - I actually quite like Yasuda’s vocals as they have an earnest quality that lends itself to the arrangement and lyrics, and certainly the Nausicaa character herself. The other songs I am excited to listen to - thank you for your generosity in sharing them!
And I agree with your final assessment of Sakamoto. Beside both Hosono and Hisaishi, Sakamoto also seems to value texture and overall approach over melodic invention, which I feel sometimes works, sometimes does not - something the other two seem to do very well. Hosono and Hisaishi have produced, I feel, genuinely memorable songs, melodic works, and motifs that - especially with the former’s encyclopaedic knowledge of pop - seem to linger in the mind and can be adapted to various arrangements, whereas what is memorable for me in Sakamoto is more timbral, and the overall tendency towards experimentation and concept.
(I appreciate the chance to respond to such a great comment with someone who appreciates & values an overlapping world of music.)
坂本龍一さんの御冥福をお祈りいたします❗️
やっぱりこの感じ好き…
神アレンジ以外の何物でもない！
platina jazzもいいけど、こっちのテンポ感も好きだな〜
Beautiful, wonderful, amazing beyond words.
so dreamy
心地良くて...今更ながら「細野晴臣トリビュート・アルバム」を買い求めてしまった周回遅れです♪
Immense amounts of talent in this song, the tribute, and everyone involved.
とても可愛いです
it’s incredibly sweet
すごい曲ですばらしい演奏。難しい曲なのに昔のオリジナルはなぜ素人というかデビューしたばかりの女の子に歌わせたんだろう
it's a great work and performance. i wonder why the original recording of this one, which seems to be difficult to sing, was performed around 30 years ago by a girl with little musical experience.
it is a song from the heart
安田成美がナウシカのイメージガールだったからでしょ。
The only Japanese song I have ever tried to teach myself to sing; heartachingly perfect.
Simply magical. It's tragic that's she's no longer active musically. But it seems from some search I made once of her kanji that she's now heavily involved in promoting breast cancer awareness, which is also something great for humanity.
神アレンジすぎる。
映画公開当時、小学生だった自分はこのナウシカのテーマを聞いて心を打たれた。
本当に心を震わせるメロディで、間違いなく名曲なのに、その後映画本編で使用されていない事を知り、「なぜ？」という思いだった。
大人になりインターネットを使うようになり、宮崎監督がこの曲をイメージにそぐわないとして、主題歌どころか劇伴担当からも細野晴臣氏を降板させた事を知り、ショックを受けた。
今、この歌を改めて聴いてみて思うこと。風の谷のナウシカのイメージを見事なまでに表現したメロディだと確信する。
なぜこの曲を没にしたのか。いつか宮崎監督の口からその詳細を聴いてみたいものだが、おそらく叶わぬ願いだろう…
いやぁー素晴らしいの一言です
Very fascinating moment of music - it starts in a restaurant and ends in heaven...
Simply the best anime song i have heard
Takako Minekawa is so beautiful
FANTASTIC CAT
The word that comes to mind is, ethereal.
I can't stop crying. Nice.
どうしても涙が出てくるのが止まらない。素敵。
beautiful,,thankyou
Imagine seeing the scene from Nausicaa’s perspective, in the Sea of Decay, under the shell of the Ohmu’s eye, looking up into the canopy while the spores slowly drift down past her view.
大好き
Best thing ever
凄い良いアレンジだけど、ヘッドフォンで聴いたら別世界にトリップしたわ。
que bella!!!
how sweet
minekawa-san came back from shibuya-kei hell to perform this song for us
no such thing as shibuya-kei hell
i wish i was THERE
bo en happy to see you weigh in on this calum
すばらしい！
Hisaishi não escreveu a música. Foi escrito por Haruomi Hosono. Entretanto, contente você gosta! Sorry about the bad language, I used a machine.
awww sweet
一番前で観てる方たち、うらやましい
What an amazing women
love
She will be 50 next year already
Just to let u know, BGM was indeed made by Joe Hisaishi
But this particular song was made by Haruomi Hosono, who is one of YMO.
Moreover, this was tribute consert to his work
So Sakamoto-san was entitled to play.
(^_^)
YMOは奇跡的な3人って事だな
Adorável!
日本語の美しさ
金色の花びら散らして
振り向けば まばゆい草原
雲間から光が射せば
身体ごと宙に浮かぶの
やさしさは見えない翼ね
遠くからあなたが呼んでる
愛しあう人は誰でも
飛び方を知ってるものよ
風の谷のナウシカ 髪を軽くなびかせ
風の谷のナウシカ 眠る樹海を飛び超え
青空から舞い降りたら
やさしくつかまえて
花や木や小鳥の言葉を
あなたにも教えてあげたい
何故人は傷つけあうの
しあわせに小石を投げて
風の谷のナウシカ 白い霧が晴れたら
風の谷のナウシカ 手と手固く握って
大地けって翔び立つのよ
はるかな地平線
風の谷のナウシカ 眠る樹海を飛び超え
青空から舞い降りたら
やさしく抱きしめて
That was nice. Thank you very much.
nice music,,very soft..
Leonardo Layusajr i enjoyed it too!
ELECTRO＋ORGANIC
I LOVE IT!!!!
😄 Even though i still prefer the energy of the original version, this is truly wonderful! ✨😉A lot of nice "friends" here… ☺
so sweet
wonderful voice and music... speechless :D
泣けるの一言
genius!
やっぱり安田なるみんのウブなアレンジが神なのだ。
一番好きな声
久々の涙と鳥肌の同時攻撃 参った 勿論ヘッドフォンにて視聴
いいね
cathy claret´s influence is clear....
cathy claret Yes.TAKAKOwas at my concert in Tockyo early 80 and she told me she was a fan of my music and i can hear it and i am proud o this!
+Cathy Claret thank you for the music cathy claret
たまらん。
此乐只应天上有。
教授若い
一開口就起雞皮疙瘩
Is it possible to find the full show somewhere?
風邪の谷を治すか〜って歌いたくなる😂
上品です。
とても芸術的です。
でも
あの音程が外れたオリジナルが一番好きです。
どうしてもあちらのナウシカの方が耳に、脳に残っています。
インパクト、破壊力が桁違いに違います。。。
比べてはイカンｗ
これまだ小山田と離婚する前ですね。
あまり長い結婚生活ではなかったよね。でも息子産まれて良かった。
生の笙の演奏が入ってたらもっと素敵だったかも〜🎶
これは細野さんの曲を劇中で全く使わなかった音楽センス皆無の宮崎駿や高畑勲に対する坂本龍一の嫌味なのかな。
お前つまんないこと考えて生きてんね
菅野美穂初めて見た時、
嶺川貴子かと思った。
ムチムチ エチ
会場どんだけ暑いの
みんなうちわパタパタw
やっぱりオリジナルの超棒読み歌唱には及ばないね
いきなり歌詞間違ってるｗ
こうやって凡庸に（さも作為的に）歌ってもらえると、安田成美の個性と魅力が際立つ！
閉じている。
安田成美のより良い。ナウシカ原作を再映画化してエンディングに使ってもらいたい。
Very poignant.
安田成美の下手さが際立つな。
ナウシカさんは、人を5~6人殺しておいて、挙げ句の果てに、真実への、覚醒なんて、不条理も、いいとこだ🧚
この豪華メンバーでこんな没曲をやるなんてｗ
高野寛なんてコーラスすらせず得意のギターも封印してあの楽器だけに専念してますからね。