Joe Hisaishi and Steve Reich

Joe Hisaishi and Steve Reich
Royal Albert Hall

What starts as apprehension, turns to delight. Allow me to explain...

Earlier in the day, I see briefly on the Proms website that tonight it's going to be a Japanese composer - one I haven't heard of. Does film scores apparently.

Now, I am not a stranger to Japanese culture. I have visited the county three times (2011, 2014, and 2016), and made many friends on my jaunts to see Eric Clapton play there. Before the first time I went (back in 2011) I decided to watch fifty Japanese films, in a cultural endeavor not too far removed from this Proms one. That was my introduction to Japanese cinema, so I am aware that the themes can range anywhere from the quietly cerebral, to the most violent extreme. I'm really hoping for the former.

During the introduction of the programme I discover - not only that it's another 'capacity crowd' at the RAH - but that I do know the music of Joe Hisaishi after all...I just didn't realise I did. We're told that he's a Studio Ghibli legend. Aha! Studio Ghibli! Now I can make an educated guess on what is coming. I am familiar with Ponyo from my aforementioned film marathon in 2011. And I saw a special screening of My Neighbour Totoro at the Fact cinema in Liverpool a few years ago. So the music itself is likely to fall somewhere between Spyro the Dragon on Playstation, and Indiana Jones at the Odeon. That's exactly what we get, and that's all right with me!

It starts with some nice Piano - Hisaishi is playing the piano himself, I learn - and it's got that sort of inspirational-moment sound to it. Hard to put it into precise words.

I haven't looked up any of the background of the second piece, but this is where the orchestra at large becomes more involved. Maybe it's just me but I’m imagining exotic animals; snake charmers, swinging on ropes through the jungle, and rafting water rapids on a garden gate… all that jazz. There comes some lovely plucks on the double bass which my new Bluetooth speaker (did I tell you about it?!) enables me to pick out. The solo vocal brings it back down to earth, and the vocal ensemble later lifts it back off the ground. We go up and down like this a few times, with the lyrics proclaiming ‘it’s the end of the world'. This piece - I learn after it finishes - is actually called The End of the World, and was inspired by Hisaishi's visit to Ground Zero. With regards the music, all I can say is this: if that's apocalypse, bring it on.

The interval kicks in, and I take some time to listen to the chat. I'm happy to learn that I wasn't the only one thinking of John Williams scores. Tonight I have not done much in the way of cooking. Overdid it a bit with the cakes and sweets in the office this afternoon. So I spread some butter-spreadable on a slice of Lidl's Malted Bloomer (I highly recommend this bread). Pair it with a protein yoghurt. Tonight I've opted to sit out in my back yard and watch the daylight disappear as the programme progresses.

We get played a sample of Steve Reich as the interval reaches its conclusion. The repeating whirls remind me of Philip Glass, who has become another favourite of mine after Alistair McGowan told me about him after his [Alistair's] piano show in Liverpool in April 2022.

And so, the final piece we hear follows in this Glassesque style, but with a more sinister inflections to my ear. 

[Side note: Never heard of Steve Reich before, and I hear the name as Steve Wright to start with, who was a Radio 2 hero of mine, but that's another story...]