Takeo Watanabe - The Music of Dreams
Although he was the musical mastermind behind the score of over sixty productions, among them some of the most successful anime series ever, very little is known about him, one of the most recognisable modern Japanese composers to audiences worldwide.
Takeo Watanabe was born in Tokyo in 1933. The eldest son of the musician and composer Urahito Watanabe, Takeo went on to earn a degree in Economy at the Musashino University in Tokyo.
However, shortly after his graduation, he travelled to Paris, to study at the Schola Cantorum, where he specialised in Classical Music.
Upon his return to Japan in the late 1950's, he worked briefly in Radio Tokyo before turning himself to composing full time. His first commission came in 1960 to create the music for the drama "Tomei Tengu", which was followed by several other action and historical films.
Upon his return to Japan in the late 1950's, he worked briefly in Radio Tokyo before turning himself to composing full time. His first commission came in 1960 to create the music for the drama "Tomei Tengu", which was followed by several other action and historical films.
But it was at Toei Animation studios, where he entered in the late 1960's, where Watanabe would know his greatest success.
From the beginning, his particular musical style appealed to the target audience and seemed to complement perfectly the images on the screen. His first anime commission, the baseball series "The Star of the Giants"(1968), was soon followed by the volleyball-themed anime, "Attack #1" (1969).
"Cutie Honey" (1973) followed by "Heidi" (1974), "Candy Candy" (1976) and "Remi" (1977) helped to establish his fame as a composer for anime. At the time, Japanese anime was experiencing a golden era, breaking the boundaries of Japan and being exported worldwide, and it’s not too daring to say that Watanabe’s appealing music contributed to the success of each of these series.
In most of his compositions, Watanabe favoured a strong strings section (composed by mandolins, violins, harp, acoustic and electric guitar), a winds section ( flutes, trumpets, oboes and clarinets), percussion (a complete drum set, chimes, xylophone, etc.), piano, electric organ and sometimes celesta.
He also used ‘guest instruments’, in order to better reflect the particular environment and character of the story. For instance, in "Heidi" he used the accordion and yodelling to evoke the Swiss Alps, while in "Candy Candy" he used the harpsichord to provide a classical mood, and the bagpipes and harmonica to identify the characters of ‘the Prince of the Hill’ and ‘Terry’, respectively.
Although Watanabe used mostly traditional instruments in his orchestrations, he often included modern instruments (such as electric guitars and synthetisers) and pop rhythms - probably in an attempt to appeal to the young public consumer of anime - , which in turn have come to encapsulate the particular time of its composition.
Although he created scores for a variety of subjects (action stories, detective stories, historical Japanese dramas, etc.) Watanabe’s real gift was for creating sweet, sentimental melodies. While some of them may sound maudlin and saccharine, others are charged with such genuine emotion that they never fail to touch the heart of its listeners.
"Splendid Nature", from the "Candy Candy" soundtrack, is another good example of Watanabe’s gift for painting musical landscapes with amazing economy of resources, and to create atmospheres through masterful orchestration.
While the overall feeling of Watanabe’s music is western, attentive listeners will be able to notice the traditional Japanese roots of his compositions, particularly in his use of the mandolin and flutes, the preponderance of the xylophone, and the use of atonal harmonies.
From the beginning, his particular musical style appealed to the target audience and seemed to complement perfectly the images on the screen. His first anime commission, the baseball series "The Star of the Giants"(1968), was soon followed by the volleyball-themed anime, "Attack #1" (1969).
"Cutie Honey" (1973) followed by "Heidi" (1974), "Candy Candy" (1976) and "Remi" (1977) helped to establish his fame as a composer for anime. At the time, Japanese anime was experiencing a golden era, breaking the boundaries of Japan and being exported worldwide, and it’s not too daring to say that Watanabe’s appealing music contributed to the success of each of these series.
In most of his compositions, Watanabe favoured a strong strings section (composed by mandolins, violins, harp, acoustic and electric guitar), a winds section ( flutes, trumpets, oboes and clarinets), percussion (a complete drum set, chimes, xylophone, etc.), piano, electric organ and sometimes celesta.
He also used ‘guest instruments’, in order to better reflect the particular environment and character of the story. For instance, in "Heidi" he used the accordion and yodelling to evoke the Swiss Alps, while in "Candy Candy" he used the harpsichord to provide a classical mood, and the bagpipes and harmonica to identify the characters of ‘the Prince of the Hill’ and ‘Terry’, respectively.
Oshiete (Heidi's Theme) (2:35")
Although he created scores for a variety of subjects (action stories, detective stories, historical Japanese dramas, etc.) Watanabe’s real gift was for creating sweet, sentimental melodies. While some of them may sound maudlin and saccharine, others are charged with such genuine emotion that they never fail to touch the heart of its listeners.
Theme from Heidi (1:19")
"Splendid Nature", from the "Candy Candy" soundtrack, is another good example of Watanabe’s gift for painting musical landscapes with amazing economy of resources, and to create atmospheres through masterful orchestration.
Splendid Nature (1:24")
And yet, his music remains universal.
With a few simple chords, Watanabe could paint a wide array of emotions at all levels of depth: fear, surprise, embarrassment, longing, heartbreak, hope, joy, etc.
However, even when his forte was the portrayal of deep and subtle emotions, Watanabe could also colour the screen with darker hues of intense mystery and action. His score for "Licence of Ruthless", for instance, is charged with dark and intense tones, and perfectly captures the essence of a spy story set in the 1970's.
In the same note, his scores for "Mobile Suit Gundam" are pure Japanese Robot anime at its best, juxtaposing strong drums and imposing brass sections, underscored by strings charged with tension and foreboding.
Among many other anime series, Watanabe composed the soundtracks for "Mako The Siren", "Witch Girl Meg", "A Dog of Flanders", "Little Women", "Lady Georgie", "Daitan" and "Serendipity".
In the early 1980's, Joe Hisaishi (Mamoru Fujisawa) collaborated with him for the soundtracks of "Mobile Suit Gundam" films 2 and 3, and "Sandybell". Although strongly influenced by jazz, Hisaishi is widely considered to be Watanabe's musical heir due to the emotional reach of his compositions, and the particular inclusion of western harmonies and instruments into his scores.
Takeo Watanabe worked tirelessly nearly up to his untimely death in 1989, at the age of 56, due to cancer.
With a few simple chords, Watanabe could paint a wide array of emotions at all levels of depth: fear, surprise, embarrassment, longing, heartbreak, hope, joy, etc.
Musical Bridges from "Candy Candy" (1:44")
However, even when his forte was the portrayal of deep and subtle emotions, Watanabe could also colour the screen with darker hues of intense mystery and action. His score for "Licence of Ruthless", for instance, is charged with dark and intense tones, and perfectly captures the essence of a spy story set in the 1970's.
License of Ruthless (3:03")
In the same note, his scores for "Mobile Suit Gundam" are pure Japanese Robot anime at its best, juxtaposing strong drums and imposing brass sections, underscored by strings charged with tension and foreboding.
Among many other anime series, Watanabe composed the soundtracks for "Mako The Siren", "Witch Girl Meg", "A Dog of Flanders", "Little Women", "Lady Georgie", "Daitan" and "Serendipity".
In the early 1980's, Joe Hisaishi (Mamoru Fujisawa) collaborated with him for the soundtracks of "Mobile Suit Gundam" films 2 and 3, and "Sandybell". Although strongly influenced by jazz, Hisaishi is widely considered to be Watanabe's musical heir due to the emotional reach of his compositions, and the particular inclusion of western harmonies and instruments into his scores.
Takeo Watanabe worked tirelessly nearly up to his untimely death in 1989, at the age of 56, due to cancer.
In his nearly 30 years of composing career, he left an impressive legacy of soundtrack scores that included films, dramas and anime, consolidating his importance in a highly competitive terrain and influencing newer generations of composers, both in Japan and abroad.
In 2003, his music was featured briefly in the film "Lost in Translation", thus exposing his talent to new audiences not yet familiar with his work.
In 2008 he was awarded a Medal of Merit from the Tokyo International Anime Fair. A well-deserved honour for a composer who helped to put music to our dreams.
In 2003, his music was featured briefly in the film "Lost in Translation", thus exposing his talent to new audiences not yet familiar with his work.
In 2008 he was awarded a Medal of Merit from the Tokyo International Anime Fair. A well-deserved honour for a composer who helped to put music to our dreams.
His unforgettable tunes remain in the minds and hearts of an entire generation of children who grew up with the animes he helped to score, and has remained over time as the canon of music for anime.
Aside from composing, Takeo Watanabe also dabbled in acting, making brief appearances in the films "Hakuja Komachi" (1958) and "Yokogami - Yaburino Zenkamono" (1968). He also lent his voice to one of the male characters in "Little Women" (1981) and created a choreography for the film "The Girls From Takarazuka" (1966).
Sources: Wikipedia, IMDB, Animeillusion
Did You Know...?
Aside from composing, Takeo Watanabe also dabbled in acting, making brief appearances in the films "Hakuja Komachi" (1958) and "Yokogami - Yaburino Zenkamono" (1968). He also lent his voice to one of the male characters in "Little Women" (1981) and created a choreography for the film "The Girls From Takarazuka" (1966).
Sources: Wikipedia, IMDB, Animeillusion
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