【Click here for English translation of this page】
 

(C)Naoki Hashimoto

 

ドラゴンクエスト30周年 新しい伝説が始まる!

 1986年に第1作を発売して以来、ゲームソフト市場を牽引する人気シリーズとして今年30周年を迎えるスクウェア・エニックス社の「ドラゴンクエスト」。ゲームデザイナー(開発者)の堀井雄二、キャラクターデザイン担当の鳥山明と共に、音楽担当として製作陣に名を連ねるのは、歌謡番組の基礎を築いた「ザ・ヒットパレード」(昭和34~45年)の企画者、ディレクターであり、ザ・タイガースやザ・ピーナッツのヒット曲を始め、数多くのCM・アニメ・映画音楽を手掛けた日本を代表する作曲家のひとり、「すぎやまこういち」だ。

 

――ゲーム音楽の歴史を創られましたね。あのキャッチーな〈序曲〉を知らない人はいません。

「〈序曲〉はぱっとひらめいて生まれたものですが、確かにCMなどで最初の2拍だけ聴こえて、後はナレーションが被ったとしてもインパクトがあるなと自分でも思う(笑)。基本的に「ドラゴンクエストI」の時から、どの楽曲も最初に頭の中でオーケストラの音をイメージして書いています。繊細なものから厚みのある音まで、オーケストラはゲームのあらゆる場面に対応できる最強の楽器ですからね。ファミコン時代はオーケストラで発想した音をPSG音源で使える2トラック(※3つ目のトラックは効果音用に確保)にどうやって煮詰めてうまく落とし込むかが課題でした。今はゲーム機で再生できるサウンドのクオリティも格段に向上したので、最初からオーケストラのスコアを書いて、可能な限りそれを実際に演奏したものをゲームに使用することが可能になりました」

すぎやまこういち, 東京都交響楽団 ドラゴンクエストX いにしえの竜の伝承 オリジナルサウンドトラック キング(2016)

――3月に発売される「ドラゴンクエストX」の追加パッケージ〈いにしえの竜の伝承〉のサントラ盤には、過去のシリーズから名曲たちが大集合です。バレエ音楽の激しい踊りをイメージさせる“カタストロフ”(II)やハリウッド超大作映画のスペクタクルを思わせる“[戦いのとき](III)、西部劇っぽい哀愁の漂う“地平の彼方へ”(V)、交響詩のような“エーゲ海に船出して”(VI)……と楽曲ごとに違う表情を持っていますね

「ゲームの音楽は、オペラよりはバレエ音楽に近いものがあるかもしれません。特定の作曲家の影響を受けいているわけではないのですが、シーンの様子や筋書き、キャラクターの特徴などを考慮して、だいたい大きくわけて3つの手法で書いています。お城のような雰囲気のある建物が出てくる曲はバロック風、強い感情や意志を表す曲はロマン派で、ボスキャラとか強い悪者に関しては近現代の手法…といったかんじで。後はモチーフをしっかり決めて、例えば〈悪のモチーフ〉なら悪魔や魔王が出てきたときにそれをしっかり発展させて用います」

――2016年も、東京都交響楽団を始め、様々な名門オーケストラと全国のホールで23回を越える交響組曲“ドラゴンクエスト”のコンサートが予定されています。

「バレエやオペラのための音楽をオーケストラのコンサートでとりあげるのと同じ感覚です。しかもゲーム音楽を編曲して組曲を作るのではなく、本来の姿に戻す作業。指揮者としてはオーケストラをひとつの巨大な楽器に見立てて、それを演奏するような気持ちでいつもステージに立っています」

――今回の新譜は、トリオ・デ・クエスト(トランペット/トロンボーン/ピアノ)によるI~IIIの名曲選と、東京都交響楽団による「ドラゴンクエストX いにしえの竜の伝承」、ニンテンドー3DS版「ドラゴンクエストVIII 空と海と大地と呪われし姫君」のサントラが同時発売。30周年を記念するイヴェントなども続々と決定しています。ここまで成功して長く愛される秘密は何だと思いますか?

「ひとつには、開発者の堀井雄二さんにぶれがないことでしょうか。こうと決めた方針をとことん守り抜き、途中でデザインや音楽を変えたりすることがなかった。だからこそ僕も彼のやることに絶対的な信頼を置くことができる。今、最新作である《ドラゴンクエストXI》の音楽を作っているところです。堀井雄二さんの構想は、最初からすべてを新しく始めるつもりでやる、ということです。主要な街や村、フィールドとか全てを新曲でという注文。なので、今年は結構たいへんなのです(笑)」

 


LIVE INFORMATION

第5回東京メトロポリタン・ブラス・クインテット(京都)
~G.F.ヘンデルからドラゴンクエストVIIIまで~

○3/11(金)19:00開演
会場:京都コンサートホール アンサンブルムラタ
高橋敦(tp)中山隆崇(tp) 西條貴人(hr)小田桐寛之(tb)佐藤潔(tba)
/お話 すぎやまこういち
sugimania.com/


Koichi Sugiyama
  "Dragon Quest X  Inishie no Ryu no Densho
   (
eng."Lore of the Ancient Dragon") Original Soundtrack"

 
(C)Naoki Hashimoto


Dragon Quest celebrates its 30th anniversary.
The beginning of a new legend!

Ever since the very first release of the legendary series in 1986, [Dragon Quest] from Square Enix Co., Ltd. has reigned as one of the most popular game series in the business with every single release serving as a huge force of traction for the entire games industry. Named as member of the production team ―together with the game designer (developer) Yuji Horii and Akira Toriyama (manga writer and game artist best known for the Dragon Ball series) who acts as the character designer of the whole series― is one of the most prominent composers of Japan, Koichi Sugiyama. Sugiyama is famously known as the planner and director of the famous TV show, [The Hit Parade] (aired from 1959 to 1970)―the show that is said to have ultimately laid the foundation for pop music shows to follow― and also as the mastermind behind the hits from popular groups acts such as The Tigers or The Peanuts while also contributing to numerous TV commercial, animes and film scores. Sugiyama kindly game us some comments and answered some of the questions we had that probably many fans would have been eager to hear.

 

――You are known to have made history in the game music world. There probably isn’t anyone who doesn’t know that catchy ‘overture’.

“That ‘overture’ came to mind in a flash, and as you say, even if only the first 2 beats were heard in a commercial or something and the rest is overlapped by narration, it is a tune that leaves a very strong impression I must admit (laughs). From the very beginning when I started with [Dragon Quest I], I have been composing every single piece with the image of the melodies being played by an orchestra in my mind. From delicate tunes to deep and bodily sounds, the sound of an orchestra is the almighty musical instrument that has the versatility of accommodating any kind of situation within a game. In the days of the Nintendo consoles (NES), it was a challenge to boil down sounds that were created from the image of an orchestra into 2-tracks that were usable on PSG sound sources. (The 3rd track was reserved for sound effects purpose). Nowadays, the quality of sounds that are reproducible on game consoles have improved dramatically, so now I can write the scores for an orchestra from the very beginning, and, as much as possible, have the actual recordings that were played by the orchestra be used on the games.

すぎやまこういち,東京都交響楽団 ドラゴンクエストX いにしえの竜の伝承 オリジナルサウンドトラック キング(2016)

――The soundtrack of the “Lore of the Ancient Dragon" ―positioned as the additional release to the [Dragon Quest X]― to be released in March is a wonderful collection that compiles many classic tunes from past releases of the series. “Catastrophe” (from II) that is reminiscent of an intense dance piece in ballet dancing or “Tatakai no Toki (Gruelling Fight)” (from III) that sounds as if it were played in the background of a Hollywood spectacle, the Western-ish nostalgia-filled “Chihei no Kanata e (Toward the Horizon)” (from V) and “E-ge kai ni Funade shite (Ocean Waves)” (from VI)… all these pieces are filled with expressions so different to each other.

Game music may be more similar to music for ballet than to opera music. It’s not that I am influenced by any specific composer in particular. When I write, I take 3 separate methods, taking into consideration the situation or scenario behind the scene and the distinct features of each character. For instance, for a piece that is accompanied with a background of a building like a castle, I would make it baroque, or when I want to depict intense emotions or willpower, I would write it in romantic style. Or, if it were with the boss of the enemy or strong villain, I may take a more modernistic approach… Apart from those, I also would set a principal ‘motif’ for the situations, and would develop the pieces around them ―for example, if I had a motif for ‘evilness’, I would carefully build the music around the motif if it were scenarios with a devil or the archenemy.

――And this year 2016 again, you have more than 23 concerts scheduled in venues across the country to play the Symphonic Suite “Dragon Quest” with many prestigious orchestras including the Tokyo Metropolitan Symphony Orchestra. 

It’s not much different from performing music written for ballet or opera in orchestral concerts. And it’s not like putting together a suite by making arrangements to game music, but actually, it’s like putting the music back to its natural state. As a conductor, I always stand on the stage thinking that the orchestra in front of me is actually one big musical instrument, and I am there to play it.

――I understand the latest will be a joint release between several new works; an anthology of selected pieces from I~III by Trio De Quest (a trio of the trumpet, trombone and piano), the soundtrack of [Dragon Quest X: Lore of the Dragon] by Tokyo Metropolitan Symphony Orchestra and the soundtrack of the Nintendo 3DS version [Dragon Quest VIII: Journey of the Cursed King]. You also have a number of events related to the 30th anniversary of the game lined up. What do you think was the key for having this series loved so much and being successful over all these years? 

One thing must be the sound and unswayed stance of Yuji Horii, the developer of the game. Once he decides on something, he sticks to it, and there was never a time he would change a design or the music in the middle. That is precisely why I am able to lay my definite trust in whatever he decides to do. I am currently in the middle of working on the music for the newest of the series, [Dragon Quest XI]. Yuji Horii’s vision this time is to do everything from scratch as if starting completely anew. He’s requesting the music for everything starting from the major towns, villages to the sites and fields to be brand new. So to be honest, it’s a bit tough this time (smiles).