Theme Building
L.A. Historic-Cultural Monument  #570
The illuminated exterior of the Theme Building at night
Location:	201 World Way, Westchester, Los Angeles, California
Coordinates:	33°56′38.76″N 118°24′8.64″W / 33.9441°N 118.4024°W / 33.9441; -118.4024
Built/Founded:	1961
Architect:	Pereira and Luckman
Architectural style(s):	Mid-Century modern, Googie
Designated as LAHCM:	December 18, 1992[1]
Governing body:	Los Angeles World Airports

The Theme Building during daylight

The Theme Building decorated with light displays for the holidays

The Theme Building is a landmark structure at the Los Angeles International Airport within the Westchester neighborhood of the city of Los Angeles. It opened in 1961, and is an example of the Mid-Century modern influenced design school known as "Googie" or "Populuxe."

The distinctive white building resembles a flying saucer that has landed on its four legs.^[2] It was designed by a team of architects and engineers headed by William Pereira and Charles Luckman, that also included Paul Williams and Welton Becket. The initial design of the building was created by James Langenheim, of the Pereira-Luckman firm.

The Los Angeles City Council designated the building a cultural and historical monument (no.570) in 1992.^[3][1] A $4 million renovation, with retro-futuristic interior and electric lighting designed by Walt Disney Imagineering, was completed before the "Encounter Restaurant" opened there in 1997. Tourists and passengers are able to take an elevator up to the Observation Level of the "Theme Building", located on the roof of the Encounter restaurant. After the September 11 attacks, the Observation Level was closed for security reasons. Following a $12.3 million restoration of the building completed in 2010, the observation level re-opened to the public on weekends starting July 10.^[4]

The original design for the airport created by Pereira & Luckman in 1959 had all the terminal buildings and parking structures connected to a huge glass dome, which would serve as a central hub for traffic circulation. The plan was eventually scaled down considerably and the terminals were constructed elsewhere on the property. The Theme Building was subsequently built to mark the spot intended for the dome structure, as a reminder of the original plan. Initially, the restaurant on top rotated slowly giving the visitors a 360-degree dining experience, however, it is now stationary.

The appearance of the building as a single homogenous structure is a cleverly constructed illusion. The building's two crossed arches actually consist of four steel-reinforced concrete legs that extend approximately 15' above the ground, and a hollow, stucco-covered steel truss constituting the remaining lower arches and entire upper arches. To avoid changing the appearance of the structure with overt reinforcement, the Theme Building was retrofitted with a tuned mass damper to counteract earthquake movements.^[5]

The Encounter Restaurant was closed in March 2007 for repairs after a half-ton piece of the stucco skin on the upper arches crashed onto the roof of the restaurant, and reopened on November 12, 2007.^[6] Delaware North Companies Travel Hospitality Services operates the restaurant. It is in a pre-security area of the airport.[1]

References[link]

External links[link]

Media related to Theme Building at Wikimedia Commons

• Theme Building - via USC.
• Encounter Restaurant website
• Theme Building via Emporis

Coordinates: 33°56′39″N 118°24′09″W / 33.9441°N 118.4024°W / 33.9441; -118.4024

Ryuichi Sakamoto 坂本龍一
Ryuichi Sakamoto in June 2007
Background information
Born	(1952-01-17) January 17, 1952 (age 60) Tokyo, Japan
Genres	Classical, electronic, experimental, J‑pop, new wave, world
Occupations	musician, composer, record producer, pianist, actor
Instruments	Keyboard, piano
Years active	1977–present
Labels	Columbia Music Entertainment (1978–1979) Alfa Records (1979–1983) MIDI (1984–1986) Sony Music Entertainment Japan (1986–1987) EMI (1989–1991,1993) For Life Records (1994–1997) Warner Music (1998–2006) commmons (2006–present) A&M Records Restless Records
Associated acts	Yellow Magic Orchestra, Akiko Yano, Chris Mosdell, Sandii, Japan, David Sylvian, Kiyoshiro Imawano, Michael Jackson, Mari Iijima, David Bowie, Youssou N'Dour, Madonna, Talvin Singh, Sketch Show

Ryuichi Sakamoto (坂本 龍一, Sakamoto Ryūichi^?, born January 17, 1952) is a Japanese musician, composer, record producer, writer, singer, pianist, and actor, based in Tokyo and New York. He began his career in 1978 as a member of the pioneering electronic music group Yellow Magic Orchestra (YMO),^[1][2] where he played keyboards and was an occasional vocalist. The band was an international success, with worldwide hits such as "Computer Game / Firecracker" (1978) and "Behind the Mask" (1978),^[3] the latter written and sung by Sakamoto. He concurrently began pursuing a solo career, debuting with the experimental electronic fusion album The Thousand Knives of Ryūichi Sakamoto (1978), and later released the pioneering album B-2 Unit (1980), which included the electro classic "Riot in Lagos".^[4][5][6] After YMO disbanded in 1983, he produced more solo records, including collaborations with various international artists, through to the 1990s.

He began acting and composing for film with Merry Christmas Mr. Lawrence (1983), which he starred in and composed the score for; the song "Forbidden Colours" which he composed for it became a worldwide hit and he won a BAFTA Award for the film's score.^[7] He later won an Academy Award and Grammy Award for scoring The Last Emperor (1987),^[8] and has also won two Golden Globe Awards for his work as a film composer.^[7] In addition, he also composed music for the 1992 Barcelona Olympics opening ceremony. In the early 1990s, he briefly reunited with YMO, playing an instrumental role in the techno and acid house movements of the era, before parting ways again shortly afterwards.^[9] His 1999 musical composition "Energy Flow", also known as the alternative title of the single disc Ura BTTB, was the first number-one instrumental single in Japan's Oricon charts history.^[10] He has also occasionally worked on anime and video games, as a composer as well as a scenario writer. In the late 2000s, he reunited once again with YMO, while continuing to compose film music. In 2009, he was awarded the Ordre des Arts et des Lettres from France's Ministry of Culture for his musical contributions.^[3]

Biography[link]

Early years and Yellow Magic Orchestra[link]

Sakamoto entered the Tokyo National University of Fine Arts and Music in 1970,^[11] earning a B.A. in music composition and an M.A. with special emphasis on both electronic and ethnic music. He studied ethnomusicology there with the intention of becoming a researcher in the field, due to his interest in various world music traditions, particularly the Japanese (especially Okinawan), Indian and African musical traditions.^[12] He was also trained in classical music and began experimenting with the electronic music equipment available at the university, including synthesizers such as the Buchla, Moog, and ARP.^[11] One of Sakamoto's classical influences was Claude Debussy, who he described as his "hero" and stated that “Asian music heavily influenced Debussy, and Debussy heavily influenced me. So, the music goes around the world and comes full circle.”^[13]

	"Behind the Mask" noicon A sample of "Behind the Mask", a synthpop song first written by Sakamoto and performed with Yellow Magic Orchestra in 1978, and then released on the 1979 album Solid State Survivor. Later cover versions were performed by artists such as Michael Jackson and Eric Clapton.
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After working as a session musician with Haruomi Hosono and Yukihiro Takahashi in 1977,^[14] the trio formed the internationally successful electronic music band Yellow Magic Orchestra (YMO) in 1978. Known for their seminal influence on electronic music, the group helped pioneer electronic genres such as electropop/technopop,^[1][2] synthpop,^[15] cyberpunk music,^[16] ambient house,^[1] and electronica.^[2] The group's work has had a lasting influence across genres ranging from hip hop^[2] and techno^[9][17] to acid house^[9] and general melodic music.^[15]

Sakamoto was the songwriter and composer for a number of the band's hit songs, including "Yellow Magic (Tong Poo)" (1978), "Technopolis" (1979), "Nice Age" (1980), "Ongaku" (1983), and "You've Got to Help Yourself" (1983), while playing the keyboards for many of their other songs, including international hits such as "Computer Game / Firecracker" (1978) and "Rydeen" (1979), and singing in several songs such as "Kimi ni Mune Kyun" (1983). He also wrote "Technopolis" (1979), which contributed to the development of techno,^[18] and the international hit "Behind the Mask" (1978), a synthpop song for which he sang the vocals through a vocoder and which would later be covered by a number of international artists, including Michael Jackson and Eric Clapton.

Solo career[link]

Sakamoto released his first solo album in mid-1978, Thousand Knives of Ryūichi Sakamoto, with the help of Hideki Matsutake, who would later be the "fourth member" of Yellow Magic Orchestra, and with the band's founding member Haruomi Hosono also contributing to the song "Thousand Knives". The album experimented with different styles, such as "Thousand Knives" and "The End of Asia" fusing electronic music with traditional Japanese music, while "Grasshoppers" was a more minimalistic piano song. The album was recorded from April to July in 1978 using a variety of electronic equipment, including various synthesizers such as the KORG PS-3100 polyphonic synthesizer, Oberheim Eight-Voice, Moog III-C, Polymoog, Minimoog, and Micromoog, as well as the Korg VC-10 vocoder, KORG SQ-10 analog sequencer, and Syn-Drums electronic drum kit. It was also the earliest known record to utilize the microprocessor-based Roland MC-8 Microcomposer music sequencer, which was programmed by Matsutake.^[19][20] Sakamoto would later remix his song "Thousand Knives" using the Roland TR-808 drum machine as "1000 Knives" for his band's album BGM (1981). His song "Grasshoppers" would also later be sampled in Ghostface Killah's "Baby" (2009).

	"Riot in Lagos" noicon A sample of "Riot in Lagos" from Ryuichi Sakamoto's 1980 album B-2 Unit. This song is credited for having anticipated the beats and sounds of electro music.
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In 1980, he released the solo album B-2 Unit, which is considered to be his "edgiest" record.^[21] It is known for the electronic classic "Riot in Lagos",^[21] which is considered an early example of electro music (electro-funk),^[4][5] for having anticipated the beats and sounds of electro.^[6] Ryuichi Sakamoto, particularly his song "Riot in Lagos", had an influence on early electro and hip hop artists such as Afrika Bambaata,^[6] and was cited by Kurtis Mantronik as a major influence on his electro hip hop group Mantronix.^[5] The song was later included in Playgroup's compilation album Kings of Electro (2007), alongside later electro classics such as Hashim's "Al-Nafyish" (1983).^[22] According to Dusted Magazine, Sakamoto's use of squelching bounce sounds and mechanical beats was later incorporated in early electro and hip hop music productions such as “Message II (Survival)” (1982) by Melle Mel and Duke Bootee, “Magic’s Wand” (1982) by Whodini and Thomas Dolby, Twilight 22’s “Electric Kingdom” (1983), and Kurt Mantronik's Mantronix: The Album (1985).^[23] The 1980 release of "Riot in Lagos" was listed by The Guardian in 2011 as one of the 50 key events in the history of dance music.^[24]

Also in 1980, Sakamoto released the single "War Head / Lexington Queen", an experimental synthpop and electro record.^[25] That same year, Sakamoto began a long-standing collaboration with David Sylvian when he co-wrote and performed on the Japan track "Taking Islands In Africa". In 1982, Sakamoto worked on another collaboration with Sylvian, a single entitled "Bamboo Houses/Bamboo Music". That same year, his collaboration with Kiyoshiro Imawano, "Ikenai Rouge Magic", topped the Oricon singles chart.^[26] In 1983, he produced Mari Iijima's debut album Rose.

Following the disbanding of Yellow Magic Orchestra in 1983, Sakamoto released a number of solo albums during the 1980s. While primarily focused on the piano and synthesizer, this series of albums boasted a roster of collaborators that included David Sylvian, David Byrne, Thomas Dolby, Nam June Paik, and Iggy Pop, among others. Sakamoto would alternate between exploring a variety of musical styles, ideas, and genres – captured most notably in his groundbreaking 1983 album Illustrated Musical Encyclopedia – and focusing on a specific subject or theme, such as the Italian Futurism movement in Futurista (1986). At times, Sakamoto would also present varying interpretations of technology's intersection with music: He would present some pieces, such as "Replica", with Kraftwerkian rigidity and order, while he would infuse humanity and humor into others – "Broadway Boogie Woogie", for example, liberally lifts samples from Ridley Scott's film Blade Runner and pairs them with a raucous, sax-driven techno-pop backdrop.

As his solo career began to extend outside Japan in the late 1980s, Sakamoto's explorations, influences, and collaborators followed suit. Beauty (1989) boasted a tracklist that combined pop and traditional Japanese and Okinawan songs, yet featured guest appearances by Jill Jones, Brian Wilson, and Robbie Robertson. Heartbeat (1991) and Sweet Revenge (1994), meanwhile, looked to international horizons and worked with a global range of artists such as Roddy Frame, Dee Dee Brave, Marco Prince, Arto Lindsay, Youssou N'Dour, David Sylvian, and Ingrid Chavez. 1996 saw the appearance of two notable albums: Smoochy, which fused pop and electronica with bossa nova and other South American forms, and 1996, which featured a number of previously released pieces arranged for solo piano, accompanied with violin and cello.

Following 1996, Sakamoto simultaneously delved into the classical and "post-techno" genres with Discord (1998), an hour-long orchestral work in four parts. Here he evoked the melodic qualities of his film score work, imbued with the influence of 20th century classical composers and spoken word. The Sony Classical release also featured an interactive CD-ROM component and website that complemented the work. Shortly thereafter, the Ninja Tune record label released a series of remixes of various sections, produced by a number of prominent electronica artists, including Amon Tobin, Talvin Singh and DJ Spooky.

The next album, BTTB (1998) – an acronym for "Back to the Basics" – was a fairly opaque reaction to the prior year's multilayered, lushly orchestrated Discord. The album comprised a series of original pieces on solo piano, including "Energy Flow" (a major hit in Japan) and a frenetic, four-hand arrangement of the Yellow Magic Orchestra classic "Tong Poo." On the BTTB U.S. tour, he opened the show performing a brief avant-garde DJ set under the stage name DJ Lovegroove.

1999 saw the long-awaited release of Sakamoto's "opera" LIFE. It premiered with seven sold-out performances in Tokyo and Osaka. This ambitious multi-genre multi-media project featured contributions by over 100 performers, including Pina Bausch, Bernardo Bertolucci, Josep Carreras, His Holiness The Dalai Lama and Salman Rushdie.

Sakamoto later teamed with cellist Jaques Morelenbaum (a member of his 1996 trio), and Morelenbaum's wife, Paula, on a pair of albums celebrating the work of bossa nova pioneer Antonio Carlos Jobim. They recorded their first album, Casa (2001), mostly in Jobim's home studio in Rio de Janeiro, with Sakamoto performing on the late Jobim's grand piano. The album was well received, having been included in the list of New York Times's top albums of 2002.

Sakamoto collaborated with Alva Noto (an alias of Carsten Nicolai) to release Vrioon, an album of Sakamoto's piano clusters treated by Nicolai's unique style of digital manipulation, involving the creation of "micro-loops" and minimal percussion. The two produced this work by passing the pieces back and forth until both were satisfied with the result. This debut, released on German label Raster-Noton, was voted record of the year 2004 in the electronica category by British magazine The Wire. They later released Insen (2005) – while produced in a similar manner to Vrioon, this album is somewhat more restrained and minimalist.

Meanwhile, Sakamoto continues to craft music to suit any context: In 2005, Finnish mobile phone manufacturer Nokia hired Sakamoto to compose ring and alert tones for their high-end phone, the Nokia 8800. A recent reunion with YMO pals Hosono and Takahashi also caused a stir in the Japanese press. They released a single "Rescue" in 2007 and a DVD "HAS/YMO" in 2008. Sakamoto's latest album, Out Of Noise, was released on March 4, 2009 in Japan. In July 2009 Sakamoto was honored as Officier of Ordre des Arts et des Lettres at the French Embassy in Tokyo.

Film composer and actor[link]

	"Merry Christmas, Mr Lawrence" noicon A sample of "Merry Christmas, Mr. Lawrence" from the 1983 film of the same name. It won him a BAFTA, was the basis for his hit song "Forbidden Colours", and has had a number of cover versions produced by other artists.
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Moviegoers may recognize Sakamoto primarily through his score work on two films: Nagisa Oshima's Merry Christmas Mr. Lawrence (1983), including the title theme and the duet "Forbidden Colours" with David Sylvian, and Bernardo Bertolucci's The Last Emperor (1987), the latter of which earned him the Academy Award with fellow composers David Byrne and Cong Su. In that same year he composed the score to the cult-classic anime film Royal Space Force: The Wings of Honnêamise.

Frequent collaborator David Sylvian contributed lead vocals to "Forbidden Colours" – the main theme to Merry Christmas Mr. Lawrence – which became a minor hit. Sixteen years later, the piece resurfaced as a popular dance track called "Heart of Asia" (by the group Watergate).

Other films scored by Sakamoto include Pedro Almodóvar's Tacones lejanos (High Heels) (1991), Bertolucci's The Little Buddha (1993), Oliver Stone's Wild Palms (1993), John Maybury's Love Is the Devil: Study for a Portrait of Francis Bacon (1998), Brian De Palma's Snake Eyes (1998) and Femme Fatale (2002), Oshima's Gohatto (1999), and Kiran Rao's Dhobi Ghat (2011).^[3] He also composed the score of the opening ceremony for the 1992 Summer Olympics in Barcelona, Spain, telecast live to an audience of over a billion viewers.

Several tracks from Sakamoto's earlier solo albums have also appeared in film soundtracks. In particular, variations of "Chinsagu No Hana" (from Beauty) and "Bibo No Aozora" (from 1996) provide the poignant closing pieces for Sue Brooks's Japanese Story (2003) and Alejandro González Iñárritu's Babel (2006), respectively.

Sakamoto has also acted in several films: perhaps his most notable performance was as the conflicted Captain Yonoi in Merry Christmas Mr Lawrence, alongside Takeshi Kitano and British rock singer David Bowie. He also played roles in The Last Emperor ( as Masahiko Amakasu) and Madonna's "Rain" music video.

Personal life[link]

Sakamoto has been married twice. His first marriage took place in 1972 but ended in divorce two years later. Sakamoto has a daughter from this relationship. Sakamoto then married popular Japanese pianist and singer Akiko Yano in 1982, having collaborated with her on some of her recordings. Yano was also a regular touring member of Yellow Magic Orchestra. They finally divorced in August 2006, 14 years after a mutual decision to live separately. They had one daughter, J-pop singer Miu Sakamoto.^[27]

In 1998, Italian ethnomusicologist Massimo Milano published Ryuichi Sakamoto. Conversazioni, a collection of essays and conversations.

He is also known as a critic of copyright law, arguing that it is antiquated in the information age. He argued that in "the last 100 years, only a few organisations have dominated the music world and ripped off both fans and creators" and that "with the internet we are going back to having tribal attitudes towards music."^[28] He is a member of anti-nuclear organization Stop Rokkasho and demand the abolition of Hamaoka Nuclear Power Plant.^[29]

Awards[link]

Ryuichi Sakamoto has won a number of awards for his work as a film composer, beginning with his score for Merry Christmas, Mr. Lawrence (1983) winning him the BAFTA Award for Best Film Music.^[7] His greatest award success was for scoring The Last Emperor (1987), which won him the Academy Award for Best Original Score, Golden Globe Award for Best Original Score, and Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media,^[8] as well as a BAFTA nomination.^[7]

His score for The Sheltering Sky (1990) later won him his second Golden Globe Award, and his score for Little Buddha (1993) received another Grammy Award nomination. In 1997, his collaboration with Toshio Iwai, Music Plays Images X Images Play Music, was awarded the Golden Nica, the grand prize of the Prix Ars Electronica competition.^[30] He also contributed to the Academy Award winning soundtrack for Babel (2006) with several pieces of music,^[31] including the "Bibo no Aozora" closing theme. In 2009, he was awarded the Ordre des Arts et des Lettres from France's Ministry of Culture for his musical contributions.^[3]

The music video for "Risky", written and directed by Meiert Avis, also won the first ever MTV "Breakthrough Video Award". The ground breaking video explores transhumanist philosopher FM-2030's (Persian: فریدون اسفندیاری) ideas of "Nostalgia for the Future", in the form of an imagined love affair between a robot and one of Man Ray's models in Paris in the late 1930s. Additional inspiration was drawn from Jean Baudrillard, Edvard Munch's 1894 painting "Puberty", and Roland Barthes "Death of the Author". The surrealist black and white video uses stop motion, light painting, and other retro in-camera effects techniques. Meiert Avis shot Sakamoto while at work on the score for "The Last Emperor" in London. Sakamoto also appears in the video painting words and messages to an open shutter camera. Iggy Pop, who performs the vocals on "Risky", chose not to appear in the video, allowing his performance space to be occupied by the surrealist era robot.

Discography[link]

Studio albums[link]

Several albums exist in 2 versions, the original Japanese version and the international version, each having differences in tracklistings.

• Thousand Knives (1978)
• Tokyo Joe (1978, with Kazumi Watanabe, more a compilation than a proper album, featuring an odd mix of tracks from Thousand Knives and from the eponymous album by Watanabe's short lived Kylyn band)
• Summer Nerves (1979, with The Kakutogi Session)
• B2-Unit (1980)
• Left-Handed Dream (1981) (Tracklistings differ between Japanese and international issues)
• The Arrangement (1981, with Robin Scott) (originally released as an EP, later expended into a full album containing the complete sessions)
• The End of Asia (1982, with Danceries)
• Ongakuzukan (1984) with the single Replica (the international release from 1986 is titled Illustrated Musical Encyclopedia, and has a different tracklisting)
• Esperanto (1985)
• Futurista (1986)
• Coda (1986)
• Neo Geo (1987)
• Playing the Orchestra (1989)
• Undo #1 (1989)
• Beauty (1989)
• Heartbeat (1991)
• Benedict Beauty (1992)
• Soundbytes (1994, compilation of tracks recorded 1981–1986)
• Sweet Revenge (1994)
• Smoochy (1995)
• 1996 (1996)
• Discord (1997)
• BTTB (1999)
• Cinemage (1999)
• Intimate (1999, with Keizo Inoue)
• L I F E (2000)
• In The Lobby
• Comica (2002)
• Elephantism (2002)
• Moto.tronic (2003, Compilation of tracks recorded between 1983 & 2003)
• Love (2003)
• Chasm (2004)
• /04 (2004)
• /05 (2005)
• Cantus omnibus unus; for mixed or equal choir (2005)
• Bricolages (2006)
• Out of Noise (2009)
• Playing the Piano (2009)

Original soundtracks and event scores[link]

• Merry Christmas Mr. Lawrence (1983) (Won BAFTA)
• Works I – CM (released in 2002, featuring commissioned works from 1981–1984)
• Koneko Monogatari (A Kitten's Story) (1986)
• Royal Space Force: The Wings of Honnêamise (Ôritsu uchûgun Oneamisu no tsubasa) (1987)
• The Last Emperor (1987) (Won Oscar, Grammy, Golden Globe)
• Fantasy of Light and Life (1989)
• Black Rain (1989) – featuring his song "Laserman"
• Tengai Makyo Ziria (1989)^[32] – video game
• The Sheltering Sky (1990) (Won Golden Globe)
• The Handmaid's Tale (1990)
• Peachboy (Momotaro)
• High Heels (1992)
• Wuthering Heights (1992)
• "El Mar Mediterrani" (composition for Barcelona Olympics opening ceremony) (1992)
• Topazu / Tokyo Decadence (1992)
• Wild Palms (1993)
• Little Buddha (1993)
• Music for Yohji Yamamoto Collection 1995
• Stalker (1997)
• Snake Eyes (1998)
• Love is the devil (1998)
• DreamCast (1998) – start-up sound for video game console^[33]
• Gohatto (1999)
• Poppoya (Main theme) (1999)
• L.O.L.: Lack of Love – Dreamcast video game (2000), for which he was also the scenario writer
• Zero Landmine (2001)
• Minha Vida Como Un Filme (2002)
• Femme Fatale (2002)
• Century Of Reform (2002)
• Derrida (2002)
• Japanese Story (2003) – featuring "Chinsagu No Hana" (from Beauty)
• Seven Samurai 20XX – PlayStation 2 video game (2004)
• Shining Boy & Little Randy (2005)
• Tony Takitani (2005)
• Babel (2006) – featuring "Bibo No Aozora" (from 1996)
• Dawn of Mana (2006) – PlayStation 2 video game
• Silk (2007)
• Indigo (Short-Film) (2008)
• Women Without Men (2009)
• Dhobi Ghat (India) (2011)
• Hara-Kiri: Death of a Samurai (2011)

With Morelenbaum²[link]

• Casa (2001)
• A Day in New York (2003)

With Carsten Nicolai, as alva noto + ryuichi sakamoto[link]

• Vrioon (CD, 2002)
• Insen (CD, 2005)
• Revep (CD EP, 2006)
• Insen Live (DVD, 2006)
• Utp_ (CD+DVD, 2008, with Ensemble Modern)
• Summvs (CD, 2011)

With Fennesz[link]

• Sala Santa Cecilia (2005, live EP)
• Cendre (2007)
• Flumina (2011)

Other collaborations[link]

• Geisha Girls
• Japan: Gentlemen Take Polaroids (1980, features Ryuichi Sakamoto as co-writer of the track Taking Islands In Africa)
• Mari Iijima: Rose (1983, produced by Ryuichi Sakamoto)
• David Sylvian: Brilliant Trees (1984, features Ryuichi Sakamoto on piano/synthesizers on 3 tracks)
• David Sylvian: Alchemy: An Index of Possibilities (1985, features Ryuichi Sakamoto on piano and strings on 1 track)
• Thomas Dolby: Fieldwork (1985, written by Ryuichi Sakamoto and Thomas Dolby, featuring Thomas Dolby on vocals)
• David Sylvian: Secrets of the Beehive (1987, featuring Ryuichi Sakamoto on all 10 tracks)
• David van Tieghem: Safety in Numbers (1989, features Ryuichi Sakamoto on keyboards on 2 tracks)
• Hector Zazou: Sahara Blue (1992, features Ryuichi Sakamoto on piano on 4 tracks)
• Hector Zazou: Strong Currents (2003, features Ryuichi Sakamoto on piano)
• Aztec Camera: Dreamland (1993, produced with Roddy Frame)
• Holly Johnson: Love And Hate (1994), features Johnson on vocals
• Arto Lindsay: O Corpo Sutil (1996, features Ryuichi Sakamoto on 4 tracks)
• Red Hot + Rio, produced by the Red Hot Organization: É Preciso Perdoar (1996, Ryuichi Sakamoto performs keyboards for the duet sung by Cesária Évora and Caetano Veloso)
• David Sylvian: Dead Bees on a Cake (1999, features Ryuichi Sakamoto on 7 tracks)
• David Sylvian: Everything and Nothing (2000, features Ryuichi Sakamoto on 9 tracks)
• M-Flo: Astromantic (2004, features Ryuichi Sakamoto on 1 track)
• Senor Coconut: Yellow Fever! (2006, features Ryuichi Sakamoto on 1 track)
• Willits + Sakamoto: Ocean Fire (2007, with Christopher Willits)
• Les Nouvelles Polyphonies Corses: Les Nouvelles Polyphonies Corses (features Ryuichi Sakamoto on piano and backing vocals)
• Ayuo: Memory Theatre (features Ryuichi Sakamoto on two tracks)
• Rodrigo Leão: "Cinema" (features Ryuichi Sakamoto on 1 track)

Commmons[link]

In 2006, Sakamoto, with avex Group's help, founded Commmons (コモンズ, Komonzu^?), a record label promising change in the way music should be. For him, Commmons is not his label, but is a platform for all aspiring artists to join as equal collaborators and share for benefits of the music industry. The word Commmons has three M's because the 3rd M stands for music.

References[link]

External links[link]

• The official Ryūichi Sakamoto web site
• Commmons – Sakamoto's record label
• Ryuichi Sakamoto at Allmusic
• Raster-Noton site
• Fan Website
• Ustream – Live Channel for RYUICHI SAKAMOTO NORTH AMERICAN TOUR 2010
• Classical Archives Interview
• interview for Lexnews magazine

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José Manuel Joly Braga Santos, ComSE (Portuguese pronunciation: [ʒɔˈli ˈbɾaɡɐ ˈsɐ̃tuʃ]; May 14, 1924-July 18, 1988) was a Portuguese composer and conductor, who was born and died in Lisbon. He wrote six symphonies.

Biography[link]

José Manuel Joly Braga Santos was born in Lisbon in 1924 and died in this city in 1988, at the peak of his musical creativity.^{[citation needed]} Having studied violin and composition at the National Conservatoire of Lisbon, he became a disciple of Luís de Freitas Branco (1890–1955), the leading Portuguese composer of the preceding generation.

After the Second World War, he was able to go abroad, having studied conducting with Hermann Scherchen and Antonino Votto, and composition with Virgilio Mortari. He was undoubtedly the leading Portuguese symphonist of the 20th century, and perhaps of all time. Apart from an innate sense of orchestration, his musical language is based on a strong musical architecture as well as drama, with long melodic phrases and a natural instinct for structural development. In his own words, he wanted “to contribute toward a Latin symphonism and to react against the predominant tendency, of the generation that preceded me, to reject monumentalism in music”.

In his first works, the composer showed a modal tendency motivated by the desire to establish a connection between contemporary music and the golden age of Portuguese music: the Renaissance. We also find a melodic outline of the oldest folk songs of his country. Although he was not particularly interested in the Portuguese folklore, studying and composing at the country home of his mentor, in the rural south of Portugal - the Alentejo - he naturally accepted the influence of the very old local folklore that he considered "of mesmerizing originality and grandeur".

The first four symphonies, which followed each other quite rapidly (between the ages of 22 and 27), were immediately performed by the Portuguese Radio Symphony Orchestra in Lisbon, and met with great success. The conductor and founder of the Portuguese Radio Symphony Orchestra was the great Portuguese conductor Pedro de Freitas Branco, a friend of Maurice Ravel, Manuel de Falla, and former director of the Orchestre Lamoureux. Pedro de Freitas Branco early recognised his brother’s pupil’s talent and launched Joly Braga Santos's international career during the fifties, conducting several international premieres of his works around Europe. Other works of this period are the Concerto for Strings, Variations on an Alentejo Theme, and three Symphonic Overtures. Most of the works were recorded, from the seventies onwards, by the Portuguese label Strauss SP, and more recently, by the Naxos / Marco Polo label.

Following closely the works of post-war European composers, his style became, from 1960 onwards, more chromatic. The period of travel and the time he devoted to conducting provided him with what he described as a useful period of rest, decisive for the evolution of his musical style toward increased chromaticism and less traditional form. To this period belong the works Three Symphonic Sketches, Sinfonietta, the Requiem, his 5th and 6th Symphonies, and Divertimento no. 2.

Joly Braga Santos also wrote three operas, chamber music for a wide variety of instruments and ensembles, film scores, and several choral works based on poems from the great classical and modern Portuguese and Spanish poets such as Camões, Antero de Quental, Teixeira de Pascoaes, Fernando Pessoa, Garcilaso de la Vega, Antonio Machado and Rosalía de Castro.

Joly Braga Santos lectured on composition at the National Conservatoire of Lisbon, where he introduced the chair of Musical Analysis. He was also director of the Oporto Symphony Orchestra and one of the founders of the Juventude Musical Portuguesa (Portuguese Musical Youth). As a critic and journalist he produced a vast range of work for several Portuguese and foreign newspapers and journals.

He died in Lisbon, of a stroke.

Awards[link]

The Three Symphonic Sketches (1962) were distinguished by Donemus in 1963, and the 5th Symphony, by the «Tribune Internationale des Compositeurs» (UNESCO) in 1966.

In 2004, the recording of the Symphony No. 4 by Naxos/Marco Polo, performed by the National Symphony Orchestra of Ireland and conducted by Álvaro Cassuto received the Cannes Classical Award for the CD Premier category.

Honors[link]

In 1977, Joly Braga Santos was distinguished with the Order of Santiago de Espada by President of the Republic of Portugal.

Selected works[link]

1942 – Nocturne (in E) Violin and Piano 4' Premiere: Lisbon, 1942 Soloists: Silva Pereira (violin) and João de Freitas Branco (piano).

1943 – Four Songs on poems by Fernando Pessoa Soprano voice and piano Premiere: Lisbon 1946. International premiere: Dublin 2004.

1943 – Aria I Cello and Piano 4' Premiere: Oporto, 1943 Soloists: Madalena Sá e Costa and Helena Sá e Costa.

1944 – Siciliana Piano 2' Premiere: Lisbon, 1944 Published by Valentim de Carvalho S.A.R.L. (out of print).

1945 – Three Sonnets by Camões - "To Carmélia Âmbar" Original score for Mezzo-Soprano or Baritone and Piano Score for Mezzo-Soprano or Baritone and Orchestra Premiere: Lisbon, 1970, Lisbon Phylarmonic Orchestra, Helena Cláudio, soloist, Joly Braga Santos, conductor.

1945 – String Quartet I (in D m) - "To Luís de Freitas Branco" 2 violins, viola e cello, 30' Premiere: Lisbon, 1945. Soloists: l. Gomes, J. Nogueira, F. Caldeira, C. Figueiredo Recordings: Strauss SP 4356 1990.

1945 – Acordando Sonnet by Antero de Quental - “To Carmélia Âmbar” Mezzo soprano and Orchestra Premiere: (with piano) Lisbon, 1953.

1946 – Symphonic Overture No. 1 "To Pedro de Freitas Branco" 3,3,3,3 4,3,3,3, Tp. Perc. 2, strings 7' Premiere: Lisbon 1946, National Radio Symphony Orchestra, Pedro de Freitas Branco, conductor.

1947 – Symphony No. 1 (in D) - "To the Heroes and Martyrs of the last World War"^[1] 3,3,3,3 4,3,3,1 – Tp., Perc. 2, strings 40' Premiere: Lisbon 1947, National Radio Symphony Orchestra, Pedro Freitas Branco, conductor Recordings: Strauss SP 4112 of live concerto 1960 - CD issue 1996 Strauss SP4048 1989 Marco Polo 8.223879 1997.

1947 – Symphonic Overture No. 2 (in E) 3,3,3,3 4,4,3,1 Tp. Perc.3, strings 15' Premiere: Lisbon 1947, National Radio Symphony Orchestra, Pedro de Freitas Branco, conductor.

1947 – Nocturne for Strings (in B minor) - Strings Orchestra and viola 7' Premiere: Lisbon 1947, National Radio Strings Orchestra Pedro de Freitas Branco, conductor Recordings: Marco Polo 8.225271, 2004.

1948 – Symphony No. 2 (in B minor)^[2] 3,3,2,2 4,3,3,1 Tp. 2, Perc. 1, strings. 60' Premiere: Lisbon, 1948, National Radio Symphony Orchestra, Pedro de Freitas Branco International Premieres: Paris, 1948, Orch. Radiodifusion Française, Pedro de Freitas Branco conductor. Rome, 1959 Orchestra della R.A.I., Frederico de Freitas, conductor Recordings: Marco Polo 8.225216, 2001.

1948 – Elegy to Vianna da Motta 3,3,3,3 - 4,3,3,1 Tp., Drum, strings 9' Premiere: Lisbon, 1949, National Radio Symphony Orchestra, Pedro de Freitas Branco, conductor Recordings: Strauss SP4053, 1989 Koch-Shwaan 3-1510-2, 1994.

1949 – Symphony No. 3 (in C M) "To Luis de Freitas Branco"^[3] 2,2,2,2 4,3,3,1 Tp., Perc.4, H. 2, strings 37' Premiere: Lisbon, 1949, National Radio Symphony Orchestra, Pedro de Freitas Branco, conductor Recordings: Strauss SP8770022 1986 Marco Polo 8.225087 1997.

1950 – Symphony No. 4 (in E m) " To the Portuguese Musical Youth"^[4] 3,3,3,3 - 4,4,3,1 Tp., Perc.4, H., strings - 50' Premiere: Lisbon 1951, National Radio Symphony Orchestra, Joly Braga Santos, conductor Score for Orchestra and Choir, 1968 Premiere: National Radio Symphony Orchestra, Gulbenkian Choir, Silva Pereira conductor, 1968 Recordings: Strauss SP4059, 1989 Marco Polo 8.225233, 2003.

1951 – Concerto for Strings in D - "To the Chamber Music Academy"^[5] Strings Orchestra 18' Premiere: Lisbon, 1951, Chamber Music Academy Recordings: Strauss SP 870017/PS, 1986 Koch Schwann 3-1510-2, 1994 Marco Polo 8.225186, 2002.

1951 – Variations on an Alentejo Theme "To Pedro de Freitas Branco"^[6] 3,3,3,3 4,4,3,1 Tp., Perc. 4, H.2, strings - 14' Premiere: Bordeaux 1953, Orchestre Phylarmonique de Bordeaux Pedro de Freitas Branco conductor Recordings: Strauss SP4053, 1989 Marco Polo 8.225233, 2003.

1954 – Symphonic Overture No. 3 "To Elisa de Sousa Pedroso" 2,2,2,2 4,2,3,1, Tp., Perc.3, H., strings 13' Premiere: Lisbon, 1954, National Radio Symphony Orchestra, Pedro de Freitas Branco, conductor Recordings: Strauss SP4048, 1989.

1957 – Quartet with piano piano, violin, viola and cello 18' "To the Lisbon Quartet" Premiere: Würtzburg 1957, Residenz Hall, by the Lisbon Quartet.

1957 – String Quartet II 2 violins, viola and cello 30' Premiere: 1989, S. Carlos Theater, Capela Quartet Recordings: Strauss SP 4356 1990.

1958 – Mérope Opera in 3 Acts, on a play by Almeida Garrett Soprano, Tenor, Bass, 3 Baritons, Choir and Orchestra - 95' Premiere: Lisbon, 1959, S. Carlos Theater, conducted by the author.

1960 – Viola Concerto "To François Broos" 2,2,2,2 4,3,3,1 Tp. Perc. 3, H., strings - 28' 30" Premiere: Lisbon 1960, National Radio Symphony Orchestra; François Broos, viola; conducted by the author. Recordings: Strauss SP870008/PS, 1989.

1960 – Divertimento I "To Virgilio Mortari" 2,2,2,2 2,2 Tp. Perc. 2, strings, 24' Premiere: Naples 1961, Orchestra Scarlatti della R.A.I., conducted by the author Recordings: Strauss 870017/PS, 1989 Marco Polo 8.225271, 2004.

1962 – Three Symphonic Sketches "To Silva Pereira" 3,2,2,2 4,3,3,1-Tp. Perc. 4, Celesta, strings - 11' Premiere: Lisbon, 1962, National Radio Symphony Orchestra, Silva Pereira conductor Donemus Prize 1963 Recordings: Strauss SP4053/PS, 1989.

1963 – Sinfonietta for Strings Orchestra, 18' "To Álvaro Cassuto and the Gulbenkian Orchestra" Premiere: Lisbon 1963, Gulbenkian Orchestra, Álvaro Cassuto conductor Recordings: Strauss CD870017/PS, 1986 Koch - Shwaan 3-1510-2, 1994 Marco Polo 8.225186, 2002.

1964 – Requiem "In memoriam of Pedro de Freitas Branco" 3 Sopranos, 1 Mezzo, Tenor, Bariton, Bass, Choir 4,4,5,4 4,4,3,1 Tp., Perc. Sistro, celesta, H.3, strings - 35' Premiere: Lisbon, 1964, Gulbenkian Festival, Gulbenkian Orchestra and Choir, António de Almeida, conductor.

1966 – Symphony No. 5 op.39 -"virtus lusitaniae"^[7] 4,4,5,4 6,4,3,1 Tp. 2, Perc. 9, Piano, Celesta, H. 2, strings - 31' Premiere: Lisbon 1966, National Radio Orchestra, conducted by the author Distinguished by the Tribune International des Compositeurs (UNESCO) -1968. Recordings: Strauss SP4043 1968; CD issue 1989 Marco Polo 8.223879, 1997.

1967 – Variations for Orchestra "To Adrian Sunshine" Strings Orchestra, Harp, 2 Violins, Viola, Cello 16' Premiere: Lisbon, 1967, Gulbenkian Festival. Gulbenkian Orchestra Adrian Sunshine conductor.

1967 – Encruzilhada (Crossings) - Ballet 2,2,2,2 2,2, Tp. Perc. 2, M., strings 30' Premiere: Lisbon 1968, Gulbenkian Ballet Recordings: Marco Polo 8.225216, 2001.

1968 – Violin and Cello Concerto Strings Orchestra and Harp - 18' Premiere: Lisbon, 1970, National Radio Symphony Orchestra Fritz Rieger, conductor Soloists: Leonor Prado (violin), Madalena Sá e Costa (cello) Recordings: Marco Polo 8.225186, 2002.

1970 – Trilogia das Barcas Opera based on three plays by Gil Vicente “To my Daughters” 20 parts (singers and actors) double choir, orchestra and sound recording 120' Premiere: Lisbon, 1970, Gulbenkian Festival Nicola Rossi-Lemeni, Maria Oran, Carmen Gonzales, Hugo Casais, Alvaro Malta, Ana Lagoa. Gulbenkian Orchestra and Choir, conducted by Gianfranco Rivoli.

1972 – Symphony No. 6 “To my Daughter Maria da Piedade” Soprano solo, Choir 3,3,4,3 4,4,3,1-Tp. Perc. 4, Celesta, H. 2, strings 28' Premiere: Lisbon, 1972, Tivoli Theatre, National Radio Symphony Orchestra, S. Carlos Theatre Choir, soloist soprano Elsa Saque, Álvaro Cassuto conductor. Recordings: Marco Polo 8.225087, 1997.

1973 – Piano Concerto 3,3,2,2 4,3,3,1 Tp. Perc.3, cordas 24' Premiere: Lisbon 1974, National Radio Symphony Orchestra; soloist, Helena de Sá e Costa, Silva Pereira conductor.

1974 – Choral compositions on Classic Castilian Poems – "A Capella" Choir Premiere: Avila Festival, Spain 1974. Iglesia del Salvador, Gulbenkian Choir.

1975 – 2 Motets – “A Capella” Choir 6' 30" Premiere: Cuenca Festival 1976. Iglesia de San Miguel, Gulbenkian Choir.

1977 – Aria II – Cello and Piano 6' “To Luisa de Vasconcelos" Premiere: Madrid 1977, Luísa de Vasconcelos, soloist.

1978 – Divertimento II – String Orchestra 14'^[8] Premiere: Lisbon 1978, Gulbenkian Orchestra, Gustav Kuhn conductor Recordings: Koch Shwann 3-1510-2, 1994 Marco Polo 8.225271, 2004.

1982 – Cantares Gallegos for Soprano e Orchestra on poems by Rosalía de Castro “To Maria Oran”.

1984 – Aria a Tre con variazioni for Clarinet, Viola and Piano Premiere: Lisbon 1984, Goethe Institut, Diogo Pais (clarinet), Leonor Braga Santos (viola) and António Chagas Rosa (piano).

1984 – Dance Suite Piano, Viola, Oboé and Bass Premiere: Lisbon 1986, Opus Ensemble Recordings: EMI Valentim de Carvalho – EMI 7496622, 1988, Opus Ensemble.

1985 – Trio for Piano, Violin e Cello - “To the Mirecourt Trio” Premiere: Lisbon 1986, by the Mirecourt Trio.

1985 – Suite for wind instruments Premiere: Lisbon, 1985, Lisbon Wind Ensemble. Recordings: Numérica, Lisbon, 1997. Lisbon Soloists. Deux Elles Limited, 2003 DXL 1084, The Galliard Ensemble.

1986 – Sextet - To Alberto Lysy 2 Violins, 2 Violas, 2 Cellos Premiere (original score): Lisbon, 1989 Strings Orchestra score,1986. Premiere: 1986, Algarve Festival, Gulbenkian Orchestra.

1987 – Cello Concerto - 2,2,2,2 - 2,2 - 1,2 - strings Premiere: Lisbon 1987, Gulbenkian Orchestra, Clélia Vital soloist Recordings: Marco Polo 8.225271, 2004.

1988 – Aquella Tarde on a dramatic poem by António Machado. Soprano or tenor and orchestral ensemble. Premiere: Lisbon, 1988 - Gulbenkian Encounters of Contemporary Music, by the Contemporary Music Group, conducted by Jorge Peixinho.

1988 – Staccato Brilhante – “To The New Phylarmonic Orchestra”^[9] Premiere: Lisbon 1988, The New Phylarmonic Orchestra, conducted by Álvaro Cassuto.

1988 – Improviso for clarinet and piano. Premiere: Naples, Italy 1988; António Saiote, clarinet Last composition.

References[link]

• Latino, Adriana. "Santos, Joly Bragg", Grove Music Online, ed. L. Macy (Accessed July 8, 2007), (subscription access)

• Who’s Who in Music,
• Marquis Who’s Who,
• Dictionnaire de La Musique (Marc Honnegger)
• The World of Twentieth-Century Music.
• Delgado,Alexandre "A Sinfonia Em Portugal" ed.Caminho Da Musica (ISBN 972-21-1472-7)

Discography[link]

• Symphony 3
• Concerto for Strings, Sinfonietta, Variationes Concertantes, Concerto for violin, cello, strings and harp
• Symphony 4

References[link]