Joe Hisaishi, the renowned Japanese composer celebrated for his film scores, is increasingly focusing on his work as a classical composer and conductor. At 75, Hisaishi has shifted his artistic priorities toward concert music, seeking to broaden the appeal of classical music among diverse audiences.
Hisaishi rose to international prominence through his collaborations with filmmaker Hayao Miyazaki, scoring memorable soundtracks such as those for “Spirited Away” (2001), “Kiki’s Delivery Service” (1989), and “Princess Mononoke” (1997). These works blend diverse musical influences, from Western classical traditions to minimalism and jazz, culminating in a distinct, melodic style widely beloved by fans around the world. His music often features horizontal melodic lines that flow naturally, engaging listeners beyond typical film score conventions.
More recently, Hisaishi has undertaken a new phase in his career, focusing on classical repertoire. He has started composing concert works, recording with the prestigious Deutsche Grammophon label, and conducting leading orchestras globally. Notable recent engagements include appearances with the Chicago Symphony Orchestra, the Philadelphia Orchestra—where he serves as composer in residence—and performances at iconic venues such as Carnegie Hall. His concerts often pair his own compositions, such as his Concerto for Orchestra and Second Symphony, with works by minimalist composers like Philip Glass and Steve Reich, reflecting his longstanding interest in the genre.
Hisaishi’s approach to classical music emphasizes rhythm and accessibility, with a goal of attracting new and often younger listeners to symphonic concerts. Philadelphia Orchestra president Ryan Fleur noted that his events drew substantial numbers of first-time attendees, with some returning for subsequent performances. Hisaishi himself highlights the rhythmic drive in his music as a bridge, likening it at times to rock music in its immediate impact.
Despite his success with large-scale arena tours showcasing his film scores, Hisaishi and his management have sought to reposition him as a serious classical artist. Moema Parrott, CEO of his management firm HarrisonParrott, described this period as his “golden era,” aiming to balance his film music appearances with engagements in smaller, prestigious concert halls. Hisaishi remains active in both realms, continuing to conduct suites from his film work alongside new classical pieces.
Born Mamoru Fujisawa, Hisaishi adopted his stage name inspired by Japanese phonetics and a nod to jazz legend Quincy Jones. His early musical education included Suzuki violin and piano training, and he absorbed influences from classical giants such as Shostakovich as well as contemporary minimalists. This eclectic background informs his wide-ranging compositional style.
In public appearances, Hisaishi is noted for his approachable manner and hands-on rehearsal style, often encouraging musicians with gentle guidance and personal interaction. He emphasizes the intimate connection with listeners, regardless of venue size, maintaining that whether performing for thousands or hundreds, the experience remains individual and direct.
As Hisaishi continues to expand his concert repertoire and conducting presence worldwide, his effort to blend the worlds of popular film music and classical concert music reflects a unique artistic vision aiming to evolve the classical genre and attract a broader audience.