Bibo no Aozora: A Sketch
a commentary
Babel (2006) alluded the heart of men with the lucidity of its music. Gustavo Santaolalla gave a fine stretch again with his deeply moving guitar orchestrations, instilling fear and conflict, surprise and atonement, light and dark which every human heart can feel. It punches you, note per note, jolting your senses and challenging your conspiring thought of interlacing emotions. Santaolalla further went by simplifying it into multitudes of poetic hymns. The texture of music is eminent, as if your heart is hopping into blades of grass, or sometimes is plunges into deep waters engulfed by the stream of sounds. No other film musicians can do that.
Gustavo Santaolalla at 79th Annual Academy Awards
winning his second award for
Best Original Score for Babel (2006).
Photo credit to this site(click here!)
winning his second award for
Best Original Score for Babel (2006).
Photo credit to this site(click here!)
However, I will not discuss further the eloquence of Santaolalla because I will be making my own deeper analysis of his film music. Instead i will be discussing the last and final song of Babel which is staggering indeed.
I start with the notion that Bibo no Aozora is fundamentally the one of the most complex postmodern music of the twenty-first century. Ryuichi Sakamoto petrified me with a stunt of a strings at the middle of the score and i was dumbfounded. The interweaving of violin and piano effectively withdraws certain images in my mind, as if there was a struggle to unite one another but considerably felt the presence on one another in the middle part and tried to annihilate each others existence, but in the end they unite one another.
A breathtaking conflict of sounds, if one could hear the YOUTUBE video, it happened at about 3:36 and 4:35 of the time. Each individual sounds connotes a universal concept of parallel inconsistency, a contradiction that defines us, humans. This is musical feat is very human indeed. The music overall an allusion of the human soul. We tried to annihilate each other, but end up saving each other existence to discontinue our extinction.
Ryuichi does not make an introduction in Bibo no Aozora. he plunges directly to the music, a direct and straightforward execution that fascinates me. it is inviting and invigorating to hear the melody transverse into the strands of the time like a dreamy saga. It melts so profoundly in the ears.
It is a significant magnificence drawn on a canvas of human stigma.
I start with the notion that Bibo no Aozora is fundamentally the one of the most complex postmodern music of the twenty-first century. Ryuichi Sakamoto petrified me with a stunt of a strings at the middle of the score and i was dumbfounded. The interweaving of violin and piano effectively withdraws certain images in my mind, as if there was a struggle to unite one another but considerably felt the presence on one another in the middle part and tried to annihilate each others existence, but in the end they unite one another.
A breathtaking conflict of sounds, if one could hear the YOUTUBE video, it happened at about 3:36 and 4:35 of the time. Each individual sounds connotes a universal concept of parallel inconsistency, a contradiction that defines us, humans. This is musical feat is very human indeed. The music overall an allusion of the human soul. We tried to annihilate each other, but end up saving each other existence to discontinue our extinction.
Ryuichi does not make an introduction in Bibo no Aozora. he plunges directly to the music, a direct and straightforward execution that fascinates me. it is inviting and invigorating to hear the melody transverse into the strands of the time like a dreamy saga. It melts so profoundly in the ears.
It is a significant magnificence drawn on a canvas of human stigma.
Ryuichi Sakamoto. A multi-awarded, internationallyacclaimed Japanese musician who created Bibo no Aozora.
