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Soundtrack Review

Ponyo on the Cliff has yet to receive a theatrical release, but based on what I've heard about its story, visuals, and characters, I am definitely anticipating this film's release. After listening to the soundtrack, my resolve to see it has become even more firm because of how beautiful its music is. As a bit of background, Ponyo on the Cliff is a Studio Ghibli film directed by Hayao Miyazaki and scored by Joe Hisaishi who, once again, demonstrates his ability to bring the film to life through his compositions which range from soft, soothing melodies to sweeping orchestral pieces that are utterly majestic and leave the listener in a state of awe. It's not an understatement to say that the soundtrack to Ponyo is Hisaishi's best effort since Spirited Away and it is easily one of the most enjoyable anime soundtracks from 2008.

The listener is treated to Ponyo's sheet majesty right off the bat through the very first track which grabs the listener's attention in its opening notes. "Sinkaibokujyou" starts with a flute trill that slowly crescendos as though it were depicting a beautiful sunrise. The imagery is heightened further by the soaring chorus section that welcomes the dawn through its grand delivery. As the piece continues, a spirit of optimism builds up, including a pizzicato section that combines with the xylophones to convey a sense of hope borne from limitless possibilities. The piece does encompass more than just sheer majesty and there are points during which the piece sounds a bit subdued. That particular section doesn't last too long however, and the melody gradually picks up to convey an image of life forms stirring as the sun finally makes its brilliant appearance. As it does so, the piece eases off and ends with the soon-to-be familiar theme from Ponyo and makes this piece an excellent starting point.

Next up is "Mother Sea" featuring Masako Hayashi, who delivers a memorable, soothing operatic performance. The violin introduction segues nicely into her part and the piece continues with its slow tempo backed by the orchestral background that delivers a sense of serenity when combined with Hayashi's performance. Her vocal work here is definitely powerful in the way it leaves you enraptured by her voice as she conveys that adventurous spirit that permeates the soundtrack.

At this point, the soundtrack begins to take on a more definite shape as the soundtrack utilizes the prominent themes from "Sinkaibokujyou," especially the motive that I refer to as Ponyo's theme. For example, "Kumiko's" variation on the Ponyo theme uses a bass clarinet and an oboe to play the theme at a slow tempo before going into a section in which some back and forth occurs between the woodwinds and the brass which creates a subtle sense of mischief. In a sharp contrast to "Kumiko's" subtlety is "Ponyo no hikou's" bombastic nature. This variation isn't shy in announcing itself through a brass fanfare backed by strings and a flute trill that brings out the theme's more regal side to inspire awe within the listener.

That said, Ponyo's theme strikes me as being a bit overused. As you listen further on, you'll find that the theme vacillates between being bombastic to being serene and tranquil. Although it is enjoyable the first few times you hear it, you may find yourself fast-forwarding past that section towards the end of the album because of the lack of variety in the way the theme is presented.

Lest you think that the Ponyo theme is all that this album consists of, rest assured that this album offers plenty of variety. "Ura no Machi" stands out as an energetic piece infused with an adventurous spirit through the way the violins convey the sense of wonder that lies out there, waiting to be explored. The trumpet part around 1:29 does create a sense of danger as though to represent the risks of adventuring before the piece returns to its inspirational melody. If you enjoy militaristic marches, then do keep an ear out for "Senndann marchi II" which is quite solemn as though it were depicting a regiment of soldiers going off to war. And as you get near to the end, choral fans will enjoy "Haha no ai's" sweeping, yet soothing vocals which would not feel out of place if it were to be sung as a hymn in church.

Also, Hisaishi also draws some influence from Western composers, but takes the themes and gives it a Japanese feel. For example, the section from 0:56 to 1:10 from "Risa no ie" has a similar compositional style to Beethoven's 6^th Symphony as it eases into a mischievous flute pitter patter as though it were depicting a person sneaking about. "Atarasii kazoku" has a section that brings Beethoven's 9^th Symphony to mind. Even the American composer Aaron Copland makes a few appearances like in "Arashi no himawarike" which starts out like a conventional symphonic piece before it transitions into a melody that sounds similar to "Appalachian Spring," albeit with a Japanese flair. As someone who's enjoyed both Beethoven and Copland, I definitely like the way Hisaishi incorporates their works and gives it a Japanese flavor such that one can still hear the original piece, but it's different enough that Hisaishi can call it his own.

Finally, the album closes out with "Ponyo on a Cliff (cinema Ver.)," a duet sung by Fujimaki Fujioka and Nozomi Ohashi that has an air of whimsy that makes it a fun listen. The piece sounds a lot like a traditional children's song, partly because of its repetitiveness and partly because of Ohashi Nozomi's ability to convey the innocence of childhood towards the listener. After going through that mix of heavy tracks interspersed with the more adventurous pieces, it's nice to just be able to use "Ponyo on a Cliff (cinema Ver.)" as a way to unwind from the seriousness.

Though the proliferation of Ponyo's main theme can be problematic for people who want to listen to more variety in their soundtracks, overall, Hisaishi pulls through with yet another excellent album. It's rare that I find myself completely won over by a soundtrack on the first listen, but Ponyo on the Cliff's soundtrack has been able to do just that. So with that in mind, Joe Hisaishi can add yet another wonderful soundtrack to his impressive body of work.

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