Joe Hisaishi performed two sold-out shows with the Philadelphia Orchestra on Nov. 13 and 14 at Marian Anderson Hall, delivering an evening that balanced straightforward orchestral precision with the familiar pull of his film scores.
The atmosphere settled in even before the concert began. During audio testing, scattered reactions in the audience showed how ready people were. Under a blue and pink backdrop, Hisaishi walked onstage, took his place on a small wooden platform, and began without any major introduction.
The program opened with a symphonic variation on “Merry-Go-Round of Life” from “Howl’s Moving Castle.” Hisaishi started at the piano, playing the theme in a quiet, steady way. He added slight changes to the melody, enough to make the familiar tune feel refreshed. Parts of the arrangement brought noticeable tension between the instrumental sections, especially during transitions that echoed the film’s softer garden theme. The piece eventually shifted back toward a lighter mood, ending the medley on a clean, upbeat note.
One of the strongest moments came during the gradual buildup of the waltz. The rhythm briefly broke into even quarter notes before returning to the lighter, more traditional swing of the violins. A key change came suddenly and earned immediate reactions from the audience. Hisaishi then shifted into a solo piano version close to the original recording, finishing the full piece with a firm, well-coordinated, orchestral ending.
The stage changed quickly for Benjamin Britten’s “Variations and Fugue on a Theme of Purcell,” Op. 34. The piano was moved offstage, and the lighting switched to blue and white. The set had a clean, whimsical quality with rolling arpeggios and standout flute work. Throughout the piece, different sections of the orchestra tossed ideas back and forth in a way that felt almost conversational. The harp added a soft brightness over low strings, and the percussion briefly mimicked a galloping rhythm that drew a few smiles. By the final stretch, the full ensemble came together, with brass taking on a melodic, almost formal, role against the fast-moving strings.
After intermission, the orchestra returned with “DA-MA-SHI-E.” The background shifted to a pale blue, and the piano was brought back. The piece carried a straightforward, bold sound. At one point, the two violin sections played a dissonant line that eventually settled as the flutes stepped in. Throughout the piece, violins, brass, and percussion traded short, sharp phrases before merging into a more unified ending.
The “Castle in the Sky” suite followed, now with a second piano added. The backdrop turned magenta. Compared with earlier pieces, this set leaned more into a cinematic tone. The music balanced emotional, clear melodies with fewer riffs, allowing the orchestra to move smoothly between sections. Midway through, the tempo increased into a fast-paced run that felt like a chase scene before slowing down for a focused flute solo.
The tone shifted several times. The orchestra dipped into darker minor sections before jumping back into lighter, more whimsical passages. Hisaishi sat at the piano again, playing closely with the ensemble. Near the end, a series of bell tones cut through the hall and drew a noticeable reaction from the audience.
After taking his bows, Hisaishi returned for his first encore: “One Summer Day” from “Spirited Away.” He played it simply and cleanly, and the hall stayed almost completely silent. A second encore followed, featuring pieces from “My Neighbor Totoro,” bringing a more energetic close to the night.
Across the two performances, Hisaishi and the Philadelphia Orchestra offered a clear, well-paced program that highlighted both craftsmanship and audience connection. The result was a concert that delivered exactly what fans came for: strong playing, memorable themes, and a direct, engaging experience.