![]() The sense of joy and excitement doesn’t appear until you reach the middle section, and even then, the fun is muted compared to the original as the piece aims towards an epic experience rather than a fun one. And of course, the arrangement of “Hare Hare Yukai” deserves a mention for taking a different approach from the original. Other tracks to note include “Sunao na Kimochi ~ Aru Ame no Hi ~ Haruhi no Omoi” which relies on the piano to touch upon a wide range of emotions, from contentment, to introspection, to hope, as the piece reassures the listener that the future has never looked brighter. Kouchou Kouchou ~ Mikuru no Kokoro ~ Chiisaku demo Shiawase ~ Oioi ~ Comical Hustle ![]() By capturing both the exciting and relaxing moments of day to day life so well, this medley succeeds in being enjoyable and engaging. Although it starts off softly, the mischief grows in scope and excitement before going into the final section where it draws upon its storehouse of energy to bring about a rousing finish. Around the 4:40 mark, the orchestra builds up bombastically towards a sillier air as it depicts Haruhi while she’s executing one of her hare-brained schemes. The bustling, energetic theme meanders about before settling into the next two sections which offer a mellow, heartfelt atmosphere, leaving the listener feeling calm and at ease. Take, for example, “Kouchou Kouchou ~ Mikuru no Kokoro ~ Chiisaku demo Shiawase ~ Oioi ~ Comical Hustle,” which explores many aspects of day to day life. Even though my memory of Haruhi’s music is spotty at best, I still found most of the medleys to be enjoyable since the transitions from one theme to another are handled quite well. As we go further into the album, we’ll find that most of the pieces are the result of combining various themes from Haruhi’s BGM into a cohesive medley. While it focuses more on the serious side, a lighthearted moment pops up in the “Come on let’s dance, baby” segment, which helps keeps the listener engaged all the way up to its glorious conclusion.īy starting out so commendably, Hamaguchi sets a high bar for his arrangements and the succession of pieces manages to meet these lofty expectations. I enjoyed how it provides a different spin on the original by upping the tempo, giving the track a sense of urgency that, when combined with the orchestra, yields a piece that is absolutely epic. ![]() At first glance, this off-tune variant of a cheesy magical girl OP doesn’t seem to be a particularly viable candidate for serious orchestration, but the arrangement manages to prove these initial thoughts wrong. ![]() Right off the bat, Hamaguchi’s arrangement of “Koi no Mikuru Densetsu” is impressive. With his solid track record in arranging Final Fantasy music to piano and orchestra, there is reason to hope that he can work his magic with Haruhi. The second related to the fact that much of Haruhi’s BGM wasn’t exactly memorable because after looking through this album’s track list, I couldn’t say I was able to recall any of the melodies beyond Shostakovich’s “Leningrad” Symphony and the songs like “God Knows,” “Bouken Desho Desho?,” and “Hare Hare Yukai.” The latter issue isn’t as much a problem since context, while helpful, isn’t a necessary component in making this album enjoyable and thankfully, the former concern doesn’t raise its ugly head when you have Shiro Hamaguchi doing the orchestral arrangements. The first had to do with TAMUSIC’s colossal failure in The Recital of Haruhi Suzumiya, which raised the question as to whether an orchestrated Haruhi album could actually be done competently. Review: Suzumiya Haruhi no Gensou’s release was met with some skepticism from two fronts. Pinchppoi! ~ Mikuru Henshin! Soshite Sentou! ~ Daidanen ![]() The Mysterious ~ Asakura Ryouko no Shinjitsu Higeki no Heroine ~ Hi Nichijou he no Sasoi ~ĩ. Tokyo Philharmonic Orchestra, Shiro Hamaguchi, Dimitri Shostakovich,Ĥ. The String Concert of Haruhi Suzumiya or Suzumiya Haruhi no Gensou ![]()
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