Hizuru Tokoro no Shoujo

Studio Ghibli 25 Years Concert - Theme of Marco and Gina (Joe Hisaishi)

マルコとジーナのテーマ

[Hyouka] Gray And Energy Saving

Joe Hisaishi - The Legend Of Ashitaka Theme - End Credit (Princess Mononoke OST)

Porco Rosso - The Bygone Days

Recorded at One on One Recording Studio in North Hollywood, by the Instrumental Casting Orchestra, with Ruslan Biryukov (cello soloist) and Dustin McKinney (trumpet soloist).

Certain musical patterns are shared among all of humanity, transcending geographical and temporal boundaries. This selection of early spiritual songs originating from the North American continent exemplifies this remarkable unity. Whether it be the music of indigenous peoples displaced by European colonists, the religious songs adapted from folk songs of European origins, the poignant spirituals of the enslaved forcibly brought to America’s shores, or the hymns sung by impoverished rural Southerners, humanity expresses hope through their shared language of music.
This orchestral suite opens with a rendition of a Lakota lullaby titled, “Čhaŋté Wašté Hokšíla (My Kind-Hearted Boy)”. This then transitions into a New England colonial rendition of the traditional song “Wayfaring Stranger”. The song’s sentiment of constant journeying, being a stranger in a strange land yet lifting the eyes in hope toward the promise of a better home, links the stories of all who reside on this continent: European immigrants fleeing oppression, indigenous communities forced upon trails of tears, and African people enslaved against their will.
From this wayfaring song that links them all, a lone trumpet introduces the melody, “I Wade the Water to My Knees”, a traditional ring shout song that recalls the historic 1803 rebellion and subsequent mass suicide at Dunbar Creek on St. Simons Island, Georgia. The lyrics of this call-and-response shout song bring this powerful imagery to life:

I wade the water to my knees.
I’m gonna pray, gonna pray.
I wade the water to my knees.
I’m gonna pray til I die.

Lord, the water’s so cold…
Til my body but not my soul…
I’m gonna sink and never rise…
Won’t rise now but don’t know when…
With my faith I’ll rise again…

Following a brief harmonic transition, a faithful orchestration of “Wondrous Love” is presented. The harmonies are accurately reproduced from those found in the Sacred Harp tunebook of 1844. This distinctly American tradition of harmony and singing-style originated in New England during the late 18th century and was subsequently codified in the aforementioned tunebook, published in the American South.
After this rugged rendition of “Wondrous Love” comes “Idumea”. The melody was initially composed by Ananias Davisson in 1816. Subsequently, it was paired with Methodist lyrics (authored by Charles Wesley in 1753) and included in the shape-note hymnal Southern Harmony in 1835. The hymn was further incorporated into the Sacred Harp collection in 1844.
At long last, our journey culminates in a seamless fusion of the melodies from “Idumea” and the Lakota Lullaby that began this musical narrative — once more, illustrating the striking commonalities shared in the music of our diverse heritages.

Porco Rosso - The Bygone Days

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