Symphony No. 3 (Metaphysica) & Harp Concerto

The nature of existence looms large in Hisaishi’s Symphony No. 3, while his Harp Concerto proves a brilliant vehicle for soloist Emmanuel Ceysson. Joe Hisaishi isn’t afraid to ask the big questions in his Symphony No. 3 “Metaphysica”. “Why are we here?” is the theme that runs through this monumental three-movement work, premiered in 2021. And the music’s unrelenting pulse, in places reminiscent of Steve Reich, seems to demand answers. Throughout, there are John Adams-like splashes of orchestral colour, passages of skittish nervousness and calmer, darker harmonies that give the work its overall ominous existential angst. Hisaishi clearly digs deep into his repertoire of orchestral effects that have so defined his arresting soundtracks for Studio Ghibli animations. Hisaishi’s Harp Concerto, composed with the great harpist Emmanuel Ceysson in mind, has a similar drive, its opening movement showcasing the harp with dramatic displays of cascading arpeggios set against throbbing accompaniment. The lilting “Movement 2” blends a folk and Baroque sensibility with the expansive feel of a movie soundtrack, and a central cadenza gives free rein to the soloist’s technical and expressive skills. An explosive finale drives almost unrelenting to an abrupt but joyous close.