Masaru Sato

Masaru Sato (佐藤 勝, Satō Masaru, May 29, 1928 – December 5, 1999) was a Japanese composer of film scores.[1][2]

Masaru Sato
Born(1928-05-29)May 29, 1928
OriginRumoi, Hokkaidō, Japan
DiedDecember 5, 1999(1999-12-05) (aged 71)
GenresFilm score
Occupation(s)Composer

He was born in Rumoi, Hokkaidō, and raised in Sapporo. While studying at the National Music Academy, Sato came under the influence of Fumio Hayasaka, Akira Kurosawa's regular composer for his earlier films. He became a pupil of Hayasaka's, studying film scoring with him at Toho Studios, and working on the orchestration of Seven Samurai (1954). When the older composer died suddenly in 1955, leaving the scores to Kenji Mizoguchi's New Tales of the Taira Clan, and Kurosawa's Record of a Living Being incomplete, Toho assigned Sato to finish them. His first original score was for Godzilla Raids Again in 1955. He wrote the music to all of Kurosawa's movies for the next decade, including Throne of Blood, The Bad Sleep Well, Yojimbo, Sanjuro, and Red Beard. In addition to Mizoguchi and Kurosawa, Sato worked with Hideo Gosha.

His work in the realm of popular film continued throughout his career, composing the scores to Ishirō Honda's Half Human (1955) and The H-Man (1958), Senkichi Taniguchi's The Lost World of Sinbad (1963), and three Jun Fukuda-directed Godzilla films: Ebirah, Horror of the Deep (1966), Son of Godzilla (1967), and Godzilla vs. Mechagodzilla (1974). During his 44-year association with Toho Studios, he wrote more than 300 film scores. He also created the music for such Japanese television series as The Water Margin. He was nominated for Best Music at the 15th Japan Academy Prize.[3]

Musical style

Sato's style differs considerably from Akira Ifukube, the principal composer of the Godzilla films. Ifukube's scores show strong roots in European classical music, as well as influences from Japanese traditional and Ainu folk music. Sato, however, employed Western popular styles and light jazz in his film scores. Unlike Ifukube, Sato apparently never felt the need to compose for the concert stage, writing exclusively for film.

Selected film scores
gollark: There are weird visual quirks like this: https://en.wikipedia.org/wiki/McCollough_effect which persist for a while.
gollark: That's not actually guaranteed either.
gollark: Actually, you can, but only in bizarrely specific ways.
gollark: Well, consciousness/abstract reasoning/etc.
gollark: "You" are some specific brain modules which handle consciousness and language and whatever; it's hardly guaranteed that you have write access to everything else.

References
  1. Masaru Sato at The New York Times online
  2. Masaru Sato Archived 2007-03-11 at the Wayback Machine at MSN
  3. 第15回日本アカデミー賞優秀作品 (in Japanese). Japan Academy Prize. Retrieved 2010-04-09.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.