【Jun Miyake】One Year After the "Completion" of His Masterpiece, "I Think I'll Enjoy Being in a Neutral State for Now"

Jun Miyake, a musician active on a global scale based in Paris. In November 2017, he released "Lost Memory Theatre act-3," the final installment of the album trilogy "Lost Memory Theatre," which he calls his life's work. At the same time, he performed at the "Montreux Jazz Festival Japan 2017." Since then, with his first performance in Japan in a year just around the corner, and busy with music for a talked-about film and stage production, we interviewed him. We asked about his recent activities.

Interview by Jun Harada, Photography by Naoki Yamashita

Beethoven's Passion

—First, could you tell us about your recent work?

"I've been involved with a French film since last August. It was supposed to finish by the end of last year, but it was extended to February, then to June, then to September... the editing is still not finished. I've put that aside for now and returned to Japan."

—What will you be doing during this visit to Japan?

"First, I will be the music director for a stage production called 'No.9 -Immortal Melody-,' which depicts the half-life of Beethoven. It premiered three years ago, and this is a revival. The director is Akira Shirai, the lead role is played by Goro Inagaki, and the co-star is Ayame Goriki. After that, I have my own concert scheduled."

—Given the nature of that work, you'll be engaging with "Beethoven's music," won't you? I imagine there must have been some struggles.

"Yes. I've always turned my back on the music taught in compulsory education, so it felt quite distant. However, as I felt during the premiere, when you immerse yourself in it for a certain period, you do get influenced. I found myself thinking, 'This has its merits' (laughs)."

—You were hesitant, but found it surprisingly good (laughs).

"Naturally, as it's classical music, the harmony is somewhat archaic, not what we consider modern harmony. I always struggle with that, but he was at the forefront of his time. The sheer intensity, the boundless nobility and romanticism, then suddenly, the explosive eruption of raw passion. It truly has a power to overwhelm."

—Indeed, Beethoven's music seems to be the antithesis of your own work. Director Akira Shirai must have understood this as well. Did you discuss what Shirai was looking for from you?

"We did. Actually, it wasn't Shirai who specifically requested me this time. The producer conceived the project with Shirai and me in mind. Perhaps because we've collaborated on other works like 'Joan of Arc,' '9 Days Queen,' 'Woyzeck,' 'The Little Trumpeter,' and 'The Threepenny Opera,' Shirai and I seemed to be a set. During our first meeting, Shirai asked, 'Mr. Miyake, you're not angry, are you?' That was..."

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