#Harumi Fuuki

[musicinanime]

Tea Time - Harumi Fuuki

Anime: Kagami no Kojou

[graphicpolicy]

Harumi Fuuki will be an Otakon 2023 Guest

Harumi Fuuki will be an Otakon 2023 Guest #otakon #otakon2023 #otakon23

Composer and pianist Harumi Fuuki will be a guest at Otakon 2023, according to Otakorp Inc. She is the composer for the animated film, “The Tunnel to Summer, the Exit of Goodbyes.” The subtitled version of the film will premiere at Otakon. Fuuki was born in Osaka, Japan. She completed graduate school after graduating at the top of her class with a major in music composition from the Kunitachi…

[mono-frog]

list 5 songs you actually listen to & then tag 10 people

tag meme in this economy indeed... (happy flashbacks to my early LJ/tumblr days with all the tag memes going around...) also, I have questionable/predictable tastes in music.

《芒种》

清空

Onegai Muscle

你的答案

風のソルフェ

#1 has my brain in a death grip even now.

I have no explanation for #3. Enjoy.

I have a longer version for #5 on CD but I guess the YT version is good enough. Also, everything Harumi Fuuki composed for Tsurune S1 went straight into my little heart (it's never leaving).

Also I'm going to cheat because it's been literal years since I watched this show but Kono Oto Tomare's Tenkyuu has also never left my brain.

Have your tags: @mon-qi @shigezane @stirdrawsandreblaws @admiral-adequate @garden-of-mythology-and-fate-go

Thanks Manna for the tag!

[johnnyraine]

Top 10 Films I saw in 2022 (not of):

Perhaps Spoilers?

10. Bullet Train - 7/10

9. Princess Mononoke (Dub) - 7/10

8. Doctor Strange in the Multiverse of Madness - 9/10

I feel like I can't put this higher simply because I know why I loved this movie. Spectacle. That's it. It's the rule of cool turned up to eleven and I fucking loved it for it.

But literally, any video review could poke holes in this movie enough to sink a godsdamn ship.

7. Seven Days (BL Movies) - 6/10

6. THE DEER KING - 7/10

Despite my willingness to defend this movie, I genuinely can't recall how exactly I felt for this movie. I know I liked it, I like the music, there are some funny moments. Hohsalle is hot as fuck. There was a flashback scene that I fucking loved.

I do love when the theme soars.

5. His (2020) - 7/10

I enjoyed this movie. I certainly liked it more than the show, but that could very well just be me.

I would've put the song, "his" by Takashi Watanabe here, but it didn’t show up, so I guess I fucking won't. It's on spotify, it's 1:03 long.

4. Blade of the Immortal - 7/10

If you saw my thirst post, you know I find Anotsu Kagehisa hot as fuck. I just wanted to say that.

The fight scenes are exquisite, I love em. Especially the first and last fights.

3. The Night Is Short, Walk on Girl - 8/10

I've already done a review on this movie, so I'll say this much.

Dr. Strange M.o.M. can get fucked, I love this fucking movie. Watch it.

2. Inu-Oh - 8/10

Fuck Me Running, I love this movie's soundtrack without a doubt. And this isn't a BELLE situation where the soundtrack is what I basically only love, no, I love the movie as well. I sincerely can't wait to buy this movie when it comes out physical, and I'm already planning to buy the vinyl.

I had to go an hour or so out of town to see this in theaters, so fucking worth it.

1. Everything Everywhere All at Once - 8/10

Fuck. I only had one problem with the movie, and everyone who's seen it likely already knows what it is. I won't say because of spoilers, but yeah. Everything else, I fucking loved beyond any other movie this year.

When "Opera Fight" played, I seriously teared up and almost cried, just because of how beautiful it is.

The final part of the movie tore me apart, and while I went about grabbing the pieces, I fucking wept.

It's so fucking great.

Honorable Mentions:

Black Panther: Wakanda Forever - 7/10

Bones and All - 7/10

The Batman - 7/10

The Kiyosu Conference - 7/10

THE NORTHMAN - 7/10

BELLE - 6/10

[lemonme9]

[ljaesch]

Otakon to Screen the English-Subtitled Premiere of The Tunnel to Summer, the Exit of Goodbyes Anime Film

The staff of Otakon 2023 has announced that it will host the following guests, associated with The Tunnel to Summer, the Exit of Goodbyes anime film: writer Hachimoku, composer Harumi Fuuki, setting producer Shingou Nishikawa, and producer Naoki Koyama. The convention will screen the premiere for the English-subtitled version of the film. The film is described as: Urashima Tunnel – Once you enter…

[kazarinn]

Digimon Adventure LAST EVOLUTION Kizuna movie pamphlet interviews

I’ve finally translated all of the cast and staff interviews from the official LAST EVOLUTION Kizuna movie pamphlet! I highly recommend them as a read for anyone interested in the creative background and process behind the movie, so please do check it out if you’re interested!

Since these were sold directly at the theatrical screenings, do be warned that there are major spoilers!

Mayu Matsuoka (Voice actress for Menoa Belllucci)

Natsuki Hanae and Chika Sakamoto (Voice actors for Taichi Yagami and Agumon)

Other voice cast members

Creator group talk (Director Tomohisa Taguchi, chief animation director Seiji Tachikawa, unit directors Kazuki Oohashi and Shinichirou Ueda, and key animator Takuya Miyahara)

Akatsuki Yamatoya (Scriptwriter)

Harumi Fuuki (BGM composer)

Ayumi Miyazaki and AiM (Music artists)

Yousuke Kinoshita (Producer)

[sarahalainn]

サラ・オレインプロデュース「 Symphonic Concert 2019」

令和初のソロコンサートはイタリアにて。そして日本ではサントリーホールにて豪華なオーケストラ、それも東京フィルハーモニー交響楽団の皆様との夢のコラボでした！

ただ、オーケストラコンサートだけにプレッシャーでした！！今までで一番悩んだプログラムと演出でしたね。どんなに美味しいロッシーニーのステーキでも、コースの全皿に出て来ちゃうとその良さが分からなくなっちゃう～そんなオーケストラという贅沢な素材をどう調理するかが今回の一番苦労した点でした。

そして今回はあまり話してはいけない！とスタッフさんから釘を刺されていました。なるべく音楽重視のコンサートということで、話さないでどうすれば物語を作れるか悩みました。結局（少し）話しちゃったけどね。さだまさしさんのお気持ち、よーく分かりました。

一番難しい一曲目のアレンジは、大好きで信頼できるアレンジャーの佐藤彰信さんにお願いしました！🤲 壮大だけど歌とヴァイオリンが埋もれることなく、オケの魅力がたっぷりスタートから感じられる素晴らしいアレンジでスタート！

東京フィルハーモニーのアレンジャーさんの辻峰拓さんに感謝です。本当に一瞬で自分の思いをすぐオケ譜にして下さりました！Breathe In Meは特にこだわりがあり、エルガーのオリジナルを取り入れたオケアレンジを実現して下さりありがとうございました！初めて手がけたクロスオーバーの曲。大好きなエルガーのチェロコンチェルトのテーマをベースに作曲。亡くなった父の思いを歌詞にした大事な歌をやっとオーケストラでお届けでき幸せです。パパ、聞こえていたかな？＾＾このアレンジでぜひレコーディングしたいですね。

今回のセットリストです！

Sarah Àlainn  Symphonic Concert 2019

東京 サントリーホール 大ホール

1部

Nella Fantasia

Riverdance / Drowsy Maggie

Animus

Breathe in Me

Mi Mancherai（映画『イル・ポスティーノ』より）

君をのせて（映画『天空の城ラピュタ』より）

大いなる世界 Canto Della Terra

2部

Ai ～Dedicated to 片岡愛之助

我が故郷（NHK大河ドラマ『西郷どん』より）

メインテーマ～イザベラの唄（アニメ『約束のネバーランド』より）

Beyond the Sky（『ゼノブレイド』より）

告別（ハイドン：交響曲 第45番《告別》より）

Rock Medley ( AC/DC (Thunderstruck), Queen (Who Wants To Live Forever, Bohemian Rhapsody, Don’t Stop Me Now, We Will Rock You, We Are The Champions))

My Way

糸

Czardas 

Time To Say Goodbye 

自己プロデュースのコンサートでは、プログラムは最後に配るようにお願いしてます！今回はクラシックホールということもあり、クラシックコンサートのように最初からプログラムをお席においた方がという相談もありましたが、やはり演出のサプライズ、物語に集中してもらいたいという思いから、今回も最後にお配りしました（みなさん記念にプログラムお持ち帰れましたか？）

二部の頭には今回のシークレットゲストが登場！歌舞伎役者の片岡愛之助さんでした！会場の驚き、大成功！愛之助さんとは一緒にNHK WORLDの番組KABUKI KOOLをナビゲートさせて頂き、番組で短い曲をヴァイオリンで愛之助さんの為に作曲し、それに愛之助さんが舞って下さいました。コンサートでもいつかやりたいですねと話が盛り上がり、駄目元でサントリーホールでオーケストラコンサートのお話をしたら、愛之助さんがOK して下さいました！長いバージョンの作曲とオーケストラアレンジをさせて頂き、タイトルは情熱と愛之助さんご本人をイメージした「Ai」にしました！テレビ番組の衣装は基本自分でスタイリングしていて、テーマに合わせて選んでいるのですが、それも気にして下さった愛之助さんが「何色をイメージされています？」と聞いて下さいました。当日は情熱の赤とダークなブラックのコンビネーションのお着物で出演して下さり、足袋のお色も赤と黒で何とおしゃれ！私も炎の色に含まれているという意味で、ブルーの着物風の衣装を着させて頂きました。Miimoさん、素晴らしい衣装をいつもありがとうございます！振袖はとても楽器が弾きにくいため、工夫されて作られているのでとっても動きやすく演奏しやす��ったです。Aiの出だしは歌舞伎をイメージしたアレンジにしてみました。ケルト音楽の曲でも「本物」の世界観を作って下さった野口明生さんはここでは篠笛風のアドリブで歌舞伎の幕開けの世界を作って下さいました！

私は映画、物語が好きだからか、ラジオ番組やコンサート、アルバムの曲順でも、ストーリーを感じられる演出に拘りがあります。第二部はなので私にとって大切なルーツ、「日本」を音楽だけで表現していきたいと思いました。歌舞伎のような伝統的な日本にも魅了されていますし、モダーンな日本にもインスパイアされています。初の大河ドラマで歌で関わらせて頂いた「西郷どん」、初アニメ「約束のネバーランド」の挿入歌（小畑貴裕さん、壮大な曲とアレンジをありがとうございました！！）、そして初ゲーム音楽でヴォーカリストとしてのデビュー曲「Beyond the Sky」、日本と深い関係がある３つのオリジナル曲を歌わせて頂きました。トークゲストには西郷どんとBeyond the Skyの作曲家の富貴どん（富貴晴美さん）、みっちゃん（光田泰典さん）��いらして下さいました！ここでやっと私も普通に喋りが許されるタイムに入りました～笑　天才作曲家たちの人柄、優しさがトークでも皆さんに知ってもらえて嬉しいです。そんなとっても大好きで尊敬するお二人に最後に（事前打ち合わせなし～マネージャーさん達も、困らせていいなじゃないですか？とのことでした笑）共通な質問をしました。「サラ・オレインの嫌い・悪いところを教えて下さい」。自分は何となくファンだったらそういうところも聞きたいんじゃないかと迷ってたどり着いた質問でした。でも全く答えに困らなかったお二人に逆にびっくりしました、笑　

次は以前書いたブログに詳しい一コマ漫画チックで具体的の出来事を説明しているのでよかったら見てみて下さい～

🎻サラヤン🎻

https://bit.ly/2Y4AG21

オケといえば…やはり指揮者！でも何を指揮しよう。指揮は無経験でもちろん物凄い訓練も必要。大好きな映画音楽？でも日本であまり知られていない、映像も今回使わないというと厳しい… クラシック音楽… でもどうせなら変わったクラシックをお届けしたい。クラシックが詳しい方でも、初めての方でもユニークと思えるもの！！そして降りて来た。

指揮の初心者で東フィルさんに迷惑をかけられない…いや。なら、本当に皆さんが呆れて怒って自分の指揮について来なければいいのでは⁈ そこからこの曲しかないと思い、ハイドン交響曲第４５番「告別」を選曲にしました！やっぱり演じることか楽しすぎて大好きですね！チャンスがあれば演技の方面でも頑張りたいです。でも何といっても、東フィルさんの皆さんの演技！！自然でテンポ感、間といい、演出と忘れてしまうくらい素晴らしいパフォーマンスでしたね！色々無理を聞いて下さり本当にありがとうございました🙏 ���木マエストロもお付き合いありがとうございました！

無理というと、次の選曲達… 

ロックをオーケストラでサントリーホールで披露。ちょっとタブーかもとは分かっていましたが、名曲は名曲。ジャンルを超えるものがあります。私のルーツであるオーストラリアといえばやはりロックなので、初めてこのAC/DCのヒットを演奏させて頂きました！客席にはオーストラリアの大使と大使夫人もいらして下さり、オージーの友人がわざわざオーストラリアから旗を持って来て下さりました！Cheers xxx このアレンジーはクールな宮本貴奈さんにお願いしました！Cheers Takana! 

ユニバーサルミュージックがライブレポートを載せているので、よかったらこちらも読んでみて下さいね！

https://www.universal-music.co.jp/sarah-alainn/news/2019-07-23-report/

真面目だけどユーモアがある、そんなコメディースタイルがとても好き^ ^ 

他では見れないそんなサラを、よかったらコンサートで（いずれは映画で？！）見てみて下さい🎼

「サラ・オレイン コンサート 2019」

■福岡公演

【会場】アクロス福岡シンフォニーホール

【日程】2019年11月4日(月・休)

【開場/開演】16：15/17：00

【一般発売】2019年8月17日（土）

【チケット取扱い】主要プレイガイド

【ご予約・お問合せ】BEA 092-712-4221（平日11:00～18:00）第2・4土～15:00

■東京公演

【会場】Bunkamura オーチャードホール

【日程】2019年12月7日(土)

【開場/開演】16：15/17：00

【一般発売】2019年8月17日（土）

【チケット取扱い】主要プレイガイド

【ご予約・お問合せ】チケットポート　03-5561-9001（平日10：00～18：00）

Official HP www.sarahalain.net

Official FANCLUB https://sarahalainn-fc.com

次はどうしよう。。コンサートが終わった瞬間次の作戦へと。毎回そうやって自分へプレッシャーを与える、ドMです～　（Sはみっちゃんの前くらいかな？いつもすみません＞＜）

一夜限りに意味���あるけれど、オーケストラシリーズで色々な場所で開きたい気持ちもありますね。同じ内容でも皆さん大丈夫なのかな？ネタばらしすぎちゃってないかな？！

プレッシャーの旅が続く。頑張ります！！

Photos by Studio Ren

[arrghigiveup]

Just got my hands on Tsurune’s OST! Whatever else you might think of the anime adaptation of Tsurune (and I know there’s been a lot of conflicting opinion), you can’t deny that the music is gorgeous. This track in particular always makes me Full of Feels every time it comes on.

[Source: Tsurune Kazemai Koukou Kyuudoubu Original Soundtrack, CD1, Track 15 湊と静弥 (Minato and Seiya)]

[adscinema]

Miss Hokusai - Keiichi Hara (2015)

Poster

[digitalgate02]

OK so how can Menoa Bellucci be so pretty and have a very cool and sad theme that its reprise is much much more twisted reflecting how deeply lost she was feeling?

Like!?

This... this song. It's so pretty and mysterious but also gives me the vibes of a sad sad melody.

And then...

... you get this the moment she reveals to be the actual mastermind of the entire movie. The whole "Welcome to the Neverland" line give me chills. And then this music goes on high levels of discomfort and wow how twisted Menoa Bellucci is actually!

I love this character and her theme song a lot (the first track, not the latter) -- because i never had felt like this before for a long long time until now.

I'm no musician to talk about those technically-wise so i'm describing how i feel about those two tracks. I guess this counts, right?

Bless Fuuki Harumi for this wonderful movie score!!

Kizuna is a masterpiece of modern Digimon art and i'm not sorry about this statement.

[musicinanime]

Cookie to Ureshino - Harumi Fuuki

Anime: Kagami no Kojou

[shihalyfie]

Hi Shiha, been a big fan of your blog while I've been going through my own rewatch of the franchise, so thanks for all the work you put in! I'm really curious-- I know Bolero is a big part of Digimon when it comes to inclusions of classical music, and I know Concierto de Aranjuez was used for the sub's digivolution scene for MagnaAngemon, but are there many/any other examples of classical music in the show?

Hello! Thank you so much for your kind words!

I'm unfortunately not a classical music expert so I can't say much on this topic, but those are the only two that I'm personally aware of! There are a lot of obvious classical influences in the Our War Game! soundtrack, and the composer for Kizuna (Fuuki Harumi) was classically trained and her background pretty obviously shows, but other than the above I think they're all original compositions. If anyone more musically talented or aware than me has any input, I'd love to hear it as well!

[thefinalcinderella]

Tsurune Fanbook Interview w/ Music Composer Fuuki Harumi

Please tell us your first impressions when you heard about the anime production for Tsurune.

Tsurune was the first offer for a TV anime series I received. I’ve always loved anime, so it was a moment where my dream came true. I was overjoyed and thrilled. I read the original work first, and I was left with the impression that it was a story of human growth based on the motif of kyudo, which I love, that each character was charming and the world was fascinating.

Did you have any concepts in mind when creating the music?

I think there are few people who live without feeling frustration. Everyone goes through hard times, so how do you overcome them? People who overcome various hardships become stronger and move forward, and I want to be the delicate music that gently supports them. This is the concept for the music of Tsurune.

After you received the order for ��Tsurune -Main Theme-”, what was the process that went into making it?

The music composition for Tsurune was done delicately, so that you are listening carefully and gathering the fragments of the sounds.

When I close my eyes, I can hear the beautiful sound of tsurune.

When the condition for shooting an arrow is good, the tsurune naturally turns into music.

When I opened my eyes, the music is already written.

Were there any memorable moments in the meetings with the anime staff?

Director Yamamura told me that “I think delicate and beautiful music centered around live instruments fits the world of Tsurune”. What left an impression in my mind was the talk about “wanting to express  the feeling of leaves dancing in the wind in the music”. I struggled to compose music that was like wrapping them up warmly in leaves.

Regarding the motif used in “Tsurune -Main Theme-,” the same motif was used in other pieces, and a storyline could be felt in the music. How were pieces other than the main theme produced?

The sound director Tsuruoka Yota-san and music producer Saito Shigeru-san wrote a detailed music program about which scenes needed which kind of music. When I thoroughly read that and then read the scenario, the images come into my head and music plays. I composed the music according to the pictures in my mind, just like making a film.

Please tell us the parts you worried or struggled over during production.

I didn’t have any. I was truly happy composing for Tsurune note by note. To the extent that I wished this time wouldn’t end. I think I fell in love with the world of Tsurune.

Please tell us your favorite scene in the show.

I love all the scenes, but the last episode in particular was so beautiful that my heart stopped and I forgot to breathe. I entered the world of Tsurune and became one of the people cheering them on at the edge of the kyudojo. It was like a simulation right before my eyes.

Please give a final message to the readers.

From the bottom of my heart, I thank you for loving Tsurune and even listening to the music.

I have received much feedback from the people who listened to the Tsurune Original Soundtrack.

There are many who listened to the music as a part of their daily life, whether it be on the way to school, commuting to work, or before going to sleep, and I am so happy that I am in tears.

I want Tsurune to continue on more! I love this work!!

[midiariodecine]

Birthday Woderland (2019) [The Wonderland]

¡Atención, esta crítica contiene spoilers!

Dirección: Keiichi Hara

Guion: Sachiko Kashiwaba, Miho Maruo

Fotografía: Kôji Tanaka

Música: Harumi Fuuki

Montaje: Shigeru Nishiyama

Productora: Aniplex, Dentsu, Fuji Animation Studio, Fuji TV, Signal MD, Warner Bros.

Año: 2019

Elenco: Mayu Matsuoka, Anne Watanabe, Masachika Ichimura, Nao Tôyama

País: Japón

Cuando se anunció este proyecto, salté de alegría porque he seguido el arte de Kuvshinov Ilya por bastante tiempo. No fue sino hasta ahora que pude ver Birthday Wonderland (2019) y aunque disfruté mucho la animación, encuentro errores de guion que restan a la película.

Un día antes de su cumpleaños, la introvertida Akane, conoce al misterioso alquimista Hippocrates y a su aprendiz Pippo, quienes le aseguran que es la Diosa del Viento y persona clave para salvar el mundo de donde provienen.

Esta película es un ejemplo del clásico viaje que llevará al autodescubrimiento de la protagonista. El trabajo de animación es hermoso, el diseño de personajes es atractivo, los efectos especiales son bastante eficientes y la música toma riesgos al mostrar variedad de géneros en lugar de encasillarse en un solo sonido. Estos elementos junto con el manejo de la comedia hicieron cobrar vida algunos momentos, sin embargo, la historia resulta muy básica.

No se toman riesgos que destaquen esta historia de otras películas similares. La protagonista insegura es un tropo común en el anime, pero Akane carece de personalidad por completo, los demás personajes se roban la atención del espectador. El ritmo se hace lento debido a que no hay mucha acción en esta aventura. Los obstáculos tampoco representan un riesgo o costo evidente para los protagonistas. No es sino hasta el final que podemos ver sus acciones y mucha de esa información pudo servir para nutrir los actos anteriores, por lo que las motivaciones carecen de impacto.

Algo que me llamó mucho la atención fue la escena que da inicio a toda la aventura. No es sorpresa que Akane tenga cierto rechazo a participar, esa es la manifestación del conflicto interno que el viaje le ayudará a resolver. No obstante, aquí la situación se presenta muy forzada, si se va a recurrir al secuestro, personalmente prefiero que sea por parte del villano y no del hombre que se supone será su mentor. 

Hay buenas intenciones, con temas importantes sobre el cuidado del medio ambiente y las inseguridades que pueden surgir de la presión social o la carga que pueden ser las expectativas impuestas en nosotros. Sin embargo, es la tolerancia ante lo predecible lo que determinará el disfrute de la audiencia.

Póster: Kuvshinov-Ilya Deviandtart

Ficha Técnica: Imdb

[x0401x]

Chou Animedia Interview with ChouCho

“I made this song with care, so that it would not lose to the anime’s sensible portrayal.”

ChouCho is the one in charge of the ED theme of “Tsurune”. It was released in her single “Orange-iro”. An interview asking about the unknown story of its production was published in Animedia. Here, in Chou! Animedia, we are introducing the whole interview, including the parts that could not make into the article.

Raw || Index || My Ko-fi  ( ╹◡╹)っ’･*

Depicting the delicate and simplistic worldview that the anime has.

——“Tsurune —Kazemai Koukou Kyuudou-bu—”, of which the ending theme you are responsible for, has an archery club as its setting. ChouCho-san, it seems you were also part of an archery club in high school.

Yes. Which is why I was extremely happy to be the one singing this ending theme. The anime’s staff apparently did not know about it, so they were very surprised when I said, “I actually used to be in an archery club” (laughs).

——What was your impression from reading the original work?

The descriptions of Japanese archery were quite real, so the feelings from back when I myself was engrossed in it were revived. For example, while the atmosphere of the tournaments was stiff, there was something awe-inspiring to it, which I believe to be a peculiarity of Japanese archery, and I could feel even that air from the original novel. It was written that realistically, so it had me very touched.

——That sense of tension is surely a comfortable thing, right?

There is something I cannot describe with words at all about the nervousness and mood from the instant when you release an arrow after everyone silently goes dead-still, so I would like people to feel them from the novel and the anime.

——What was the cue for you to join the archery club, to begin with?

In a club introduction that happened soon after I enrolled into high school, I saw a demonstration of drawing a bow by an upperclassman dressed in hakama, and I joined the club because I looked up to that hakama look. Our school was not very strong, so we did not leave behind any particularly great records, but I have memories of it being extremely fun, including that peculiar sense of mental strain. While remembering myself from back then as I read the original novel, I felt like doing archery again for the first in a long time. After doing a research, I found that there were countless archery dojos in the metropolitan area and that experienced people can rent a space, so I want to try it when I have the time.

——“Tsurune” is about club activities and also a story about friendships of youth, so what did you feel sympathy for?

There are scenes where team competitions happen, and I was able to read them while overlapping with my own tournament experiences. The shooting of each person is very important in team competitions, so just one misstep ends up greatly affecting the team. But on the other hand, if your companions hit, you can take over that feeling and hit too. It is your own fight, but there is an aspect of it where you receive support from the core of the team. I read the novel while recalling this kind of teamwork so unique to Japanese archery.

——Does any character pique your interest amongst the ones that appear in it?

Takehaya Seiya-kun, I guess. He takes care of the protagonist, Narumiya Minato-kun, in an almost motherly way, and I thought that was delightful. In the anime, characters who had not yet been written about in detail in the original work show up in early stages, and I think that is also one of the highlights. There are three female club members as well, but there still has been no illustration of them in the novel, so I was looking forward to seeing their appearances, as well as more of their personalities and what kind of girls they are, in the anime.

——Additionally, it is also a hot topic that Fuuki Harumi-san, the person who composed the soundtrack of NHK’s Taiga Drama “Segodon”, was the one in charge of this anime’s soundtrack.

I also watched the drama “Segodon” every week and thought its music was wonderful. “Tsurune” is a series with a particular, warm mood to it that is similar to “Segodon”, so I was wondering just what kind of music it would turn out to have, and although the same goes for the animation, I was looking forward to the soundtrack too.

——I thought that the ending theme of “Tsurune”, “Orange-iro”, is a song where one can picture a scene with the five main boys walking back home from club activities side by side. How was your impression when you first listened to it?

The one who made the lyrics and musical composition was Fujii Mariko-san, and it was the first time I worked on a production with her. There is a tranquility to the composition that fits perfectly with the worldview of “Tsurune”, and you can feel warmth from the song. The tune is also easy to listen, and I thought it was a simple melody that can calm you down. Kyoto Animation-san’s works all have a characteristic sensibility to them, so I felt that I wanted to make this song with care, in order not to lose to the anime’s sensible portrayal.

——It is a very simple and idyllic song, right?

Right. That is the kind of melody it is, so rather than singing it clearly, I thought it was more suitable to value the simplicity that this song has. I sang it being conscious of its simplistic warmth, bearing an image that I was not singing it, but instead leaving the words there one by one while observing a distant view.

——But it is not as if the song is just simple; there is a feeling that the song structure strikes the rhythm, right?

Agreed. It was a tune with a pattern that I had never sung before until now. When I was only aware of the rhythm that has a melody to it, I would feel like singing it no matter what, so it took me a bit of time to be able to change my feelings so that I could speak the words without being conscious of the rhythm. As a result of myself fumbling around in order to correspond to what the song demanded with all my might like this, it became a song that bears an image of me purposely erasing the quirks of my usual way of singing.

——But ChouCho-san, it solidly expressed the sense of transparency and carefreeness in your voice that are so typical of you.

I am happy if that is the case.

——About the title, what do you think “Orange-iro” (“The Color Orange”) represents?

Orange is a color with an image of warmth rather than heat. I believe the orange hues of sunset represent the passion inside one’s heart and the radiance of youth. I think people imagine red when they talk about passion, but I believe that, rather than this primary color, having an unclear side to it is more youth-like. Shouldn’t it be a color that is neither red nor yellow, which burns while bearing complicated emotions?

——Lastly, this is something that will happen a little farther into the future, but next February, Tokyo Hakuju Hall will hold your fifth acoustic live, “ChouCho Acoustic Live ‘Naked Garden’ Vol.5”. “Orange-iro” seems like it would be a good match for an acoustic version.

I think it definitely is. I want to try this song out playing the acoustic guitar by all means, so I will do my best at practicing it.

——The last live was in June, and you uploaded a photo of yourself with your acoustic guitar on social media back then, right?

That guitar is something my father, who plays guitar as a hobby, passed down to me, and its model is called Gibson Hummingbird. It is a very good guitar, and I look like I am good at it thanks to its sense of presence, but the truth is that I do not play very well (laughs). The guests watch over me warmly, telling me, “Do your best!”. I will work hard at practice to be able to play more until the next live, so to the people who will have the time, please feel free to come have some fun.