443:, so Masaru Sato completed the score. The depth of the relationship between Hayasaka and Kurosawa is shown in that this film was based on a conversation between the two friends. Hayasaka was very ill at the time, and pondering the fear of his own death. Weak and sickly from TB, he told Kurosawa that "with this illness threatening my life, I can't work." Kurosawa was deeply affected by his friend's death and "fell into a deep depression". The film
398:, a Kurosawa jidai-geki film, also features music by Hayasaka. At the time, it was the largest Japanese film production ever. This film featured strong directorial music choices that are closely related to Western symphonic concert music. Masaru Sato assisted with the orchestration of Hayasaka's score. This score utilized the leitmotif, which is a method of compositional organization borrowed from western operas.
31:
487:. Sato continued to use demonstrate deep western influences through the rest of his career, making his scores (and the films they accompany) "especially accessible to non-Oriental listeners". This was another film of Kurosawa's that indirectly alluded to the atomic bombs, being set in "a period after cataclysmic destruction to a center of Japanese life and political power".
343:, then a young composer, was so impressed with the music that he decided to study with Hayasaka. This film was also related to the atomic scar of the Japanese culture; although the American occupation forces forbade the Japanese media from "criticizing America's role in the tragedy" of Hiroshima and Nagasaki,
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Hayasaka's early musical style was late-Romantic with influences of traditional
Japanese music. In the years before his death his style drifted towards atonality and modernism. Keeping with tradition and the demands of film makers, while scoring for films his music was closely related to (and often
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was the first film directed by Akira
Kurosawa that Hayasaka composed music for. The director and composer collaborated to test "oppositional handling of music and performance". Their collaboration turned into a very deep artistic relationship, with Hayasaka contributing ideas to the visual part of
678:
Tsuzuki, Masaaki. "Working with Fumio
Hayasaka", from Kurosawa Akira: Sono Ningen no Kenkyu (Akira Kurosawa: A Study of the Man). Tokyo: Maruju Company/Internal Publishing, (1976), 1: 290-99, courtesy of the publisher. Translated by Michael Baskett for Perspectives on Akira Kurosawa, edited by
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Tsuzuki, Masaaki. "Working with Fumio
Hayasaka", from Kurosawa Akira: Sono Ningen no Kenkyu (Akira Kurosawa: A Study of the Man). Tokyo: Maruju Company/Internal Publishing, 1976), 1: 290-99, courtesy of the publisher. Translated by Michael Baskett for Perspectives on Akira Kurosawa, edited by
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was especially significant for
Hayasaka. This film won the 1951 Golden Lion from the Venice film festival, and is considered the first Japanese film to be widely seen in the West. In the Japanese film culture, directors normally wanted music that sounded like well-known Western works; Kurosawa
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the film. In his autobiography, Kurosawa would say that working with
Hayasaka changed his views on how film music should be used; from then on, he viewed music as "counterpoint" to the image and not just an "accompaniment". This is also the first film that Kurosawa used
892:
Larson, Randall. "The
Vintage Score: Seven Samurai", analysis in Cinemascore: The Film Music Journal. Vol. 15, Winter 1986/Summer 1987. 1987 Fandom Unlimited, Sunnyvale, California. Pgs. 121
762:(New York: Vintage, 1982), 191-198. Copyright 1982 by Akira Kurosawa. Printed in Perspectives on Akira Kurosawa, edited by James Goodwin, New York: G.K. Hall & Co., 1994 James Goodwin.
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Larson, Randall. The Film Music of Akira
Ifukube, article in Cinemascore: The Film Music Journal. Vol. 15, Winter 1986/Summer 1987. 1987 Fandom Unlimited, Sunnyvale, California. Pgs. 39
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476:, Masuro Sato went on to score seven more films by Kurosawa. Keeping with Hayasaka's western-orchestral influence, for Kurosawa's 1957 jidai-geki film,
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After the war, Hayasaka continued working on films, quickly winning recognition for his abilities. In 1946, he received the film music award for
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Chang, Chris. Ghost Tones, article from Film
Comment vol. 42 no. 2, March/April 2006, p. 16. Film Society of Lincoln Center, March/April 2006.
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Hayasaka was continually productive in the years leading up to his death. In 1950, he founded the
Association of Film Music. The 1953 film
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combined his depression and the Japanese atomic scar to create a film that illustrates the "human experience in the atomic age".
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300:(1954). During the 1950s, Hayasaka also composed the scores for some of the final works of another Japanese director,
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Mifune, Toshiro. "Mifune Toshiro wa Kataru: Satsuei Genba de Jitaku de Shaberu Akahige to iu Otoko no Hanashi",
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to begin a career as film composer. By early 1940, Hayasaka was seen as "a major composer for Japanese Cinema".
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465:. This movie was another of a series of postwar films that displayed a Japanese fear of the effects of
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Anderson, Joseph L. and Richie, Donald, The Japanese Film. Grove Press, Inc. New York, 1959. pg. 342
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depicts a historical era of Japan where her cities are in ruin and social chaos abounds.
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During his time in Tokyo, Hayasaka also wrote several notable concert works including
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Goodwin, James (1994). "Akira Kurosawa and the Atomic Age". In James Goodwin (ed.).
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Fumio Hayasaka had a celebrated association with the pre-eminent Japanese director
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Hayasaka won a number of prizes for his early concert works; in 1935, his piece
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organized the New Music League, which held a new music festival the year after.
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Akira Ifukube, influenced by Hayasaka to work with films, scored Toho Studio's
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James Goodwin, New York: G.K. Hall & Co., 1994 James Goodwin. pg. 81
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specifically had asked Hayasaka to compose music that sounded like
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which was short-lived due to Hayasaka's early death. The 1948 film
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won first prize in a radio competition, and another concert piece,
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358:. The year after, 1954, Hayasaka did another Mizoguchi film, the
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Four unaccompanied songs to poems by Haruo Sato for solo soprano
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On 22 June 1948 a concerto by Fumio Hayasaka was premiered in
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Hayasaka served as a musical mentor to both Masaru Satō and
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at the age of 41. He died while working on the score for
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Japanese Films: A Filmography and Commentary, 1921-1989
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Studios. Ifukube's first film score for Toho was for
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169:(1938). In 1939, Hayasaka moved to
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409:(1948) and the orchestral suite
363:Sansho the Bailiff (Sansho dayu)
255:Relationship with Akira Kurosawa
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151:Futatsu no sanka e no zensōkyoku
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490:In his memory, as an homage,
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16:Japanese composer (1914–1955)
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451:Influence on other composers
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251:) under Masashi Ueda.
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522:Prelude for Two Hymns
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319:The Crucified Lovers
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243:as soloist on the
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371:On the Waterfront
118:and film scores.
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1401:Takashi Kako
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1389:Joe Hisaishi
1341:Joe Hisaishi
1125:Ichirō Saitō
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1537:1914 births
1509:Ichiko Aoba
1347:Masaru Sato
1343:(1991-1992)
1284:Ryudo Uzaki
1272:Masaru Sato
1260:Masaru Sato
1203:Masaru Sato
1172:(1961-1962)
1164:Masaru Sato
1106:(1946-1949)
609:, for Piano
341:Masaru Satō
294:(1952) and
245:grand piano
161:(1936) for
1531:Categories
638:References
494:wrote his
405:(1941), a
385:Kurosawa's
360:jidai-geki
221:Snow Trail
122:Early life
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44:1914-08-19
1329:Kōji Ueno
1254:Yuji Ohno
758:, trans.
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498:in 1957.
380:La Strada
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278:Stray Dog
1491:Radwimps
1476:Kotringo
1048:Allmusic
780:. London
458:Godzilla
413:(1955).
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203:(Joyu).
159:Nocturne
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101:Composer
78:Setagaya
1046:at the
607:Romance
367:Kazan's
201:Actress
136:Sapporo
110:(早坂 文雄
84:, Japan
1517:(2023)
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383:, and
352:Ugetsu
336:Boléro
307:Ugetsu
280:(1949)
132:Honshū
128:Sendai
52:Sendai
784:9 May
485:Verdi
434:Tokyo
424:Death
291:Ikiru
239:with
237:Tokyo
171:Tokyo
163:piano
93:早坂 文雄
82:Tokyo
1057:IMDb
1012:help
786:2013
212:Toho
67:Died
38:Born
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