“Yuri!!! on ICE” Comments on Music by Music Production Team!


Introducing some pieces of music in SP & FS of Yuri Katsuki, Victor and Yuri Plisetsky♪

(C)はせつ町民会/ユーリ!!! on ICE 製作委員会

TV anime “Yuri!!! on ICE” is enhancing its wonderfulness with many pieces of music. We have interviewed music producer Keisuke Tominaga (PIANO), compositor Taro Umebayashi and Taku Matsushiba to hear about their music’s attractiveness and secret stories of producing them. We are now introducing some comments which could not be on PASH! for January on PASH! PLUS! Let’s start the first half!

 *comments below without names on them are by Mr. Tominaga
*comments with * are annotations by editorial staff
*SP means Short Program and FS means Free Skating


Keisuke Tominaga

Born in 1978, place of birth is Yokohama. Music producer.
Graduated from photography course, Nihon University College of art. After retiring music production GRANDFUNK, established PIANO inc. in 2012. Representative director. Interested in sea fishing.
Principal products are TV anime series “Terror in Resonance”, “Space☆Dandy” and “Kids on the Slope”.


Taro Umebayashi
Born in 1980, place of birth is Tokyo. Songwriter and music compositor.
Graduated from Faculty of Music, Tokyo University of the Arts and studied songwriting and orchestral music.
Released 1st album “greeting for the sleeping seeds” from Rallye Lable as an artist [milk].


Taku Matsushiba

Born in 1991, place of birth is Osaka. Songwriter and musician.
After graduating from The Music High School Attached to the Faculty of Music, Tokyo University of the Arts, studied at Faculty of Music, Tokyo University of the Arts and completed master’s course of songwriting.
Mainly analyzing and performing contemporary music, but widely committing to such as orchestration and commercial music by using his conduction skill.


・Victor Nikiforov FS
“Aria <Hanarezu ni Soba ni Ite>” (3:41)
Conducted by Taku Matsushiba, Ensemble FOVE (Tenor: Kazuma Kudo)

Q.What is ‘Ensemble FOVE’, which is precipitating in many pieces of music?

Ensemble FOVE is an up-and-coming ensemble by one of the most outstanding musicians of classics and contemporary music. We have asked them to perform some pieces of music which even are not credited in “Yuri!!! on Ice” (for example, orchestra part of “History Maker” is one of them). I think the most impressive parts of “Aria <Hanarezu ni Soba ni Ite>” are solo part of cor anglais by Kanami Araki and performance of harp by Rino Kageyama. Adding to that, upsurge of tutti in the middle part of the music might be one of the most attractive parts in this ensemble. (Matsushiba)

The wonderfulness of group composition in Ensemble FOVE can be seen in credits of soundtrack “Oh! Suketora!!!”. This classical song we made was recorded in big studio with conduction of Mr. Matsushiba with full orchestra to make it sound like real concert. We had to take a risk of not being able to retake the individual parts, but we could record the resonance and ambience of instruments, so I think the music became rich in sound. This music became such a good product by the work of Mr. Hiroaki Sato, who was the recording engineer for all the pieces of music. We have talked to make this piece of music ‘as if you are listening at special seats in concert hall’, so we used wide dynamic ranges of sounds.


Yuri Katsuki SP
“Ai ni Tsuite ~Eros~”
Taku Matsushiba featuring Jin Oki

Q.Tell us the episode about making 2 different arranged pieces of music, “Ai ni Tsuite ~Eros~” and “Ai ni Tsuite ~Agape~”.

I first finished demo tape for “Ai ni Tsuite ~Agape~”, which was the part Mr. Umebayashi in charge of, and I listened to its melody part to make the arrangement version of “Ai ni Tsuite ~Eros~” with Mr. Matsushiba.

In “Ai ni Tsuite ~Eros~”, we featured interplay and descarga (*plays in ad lib). To make this happen, I thought putting musicians together and recording at same time will make a hot and powerful music. Since I decided this at primary stage, the recording was in form. However, we couldn’t get agreement from producer Yamamoto. I think the reason was ‘the music was too powerful’ or something. First, I was worried to rearrange the music, but by listening to it again made me to feel that the tempo was too thrilling and it was ‘passive’ rather than ‘erotic’. So I slowed down the tempo and showed the music to Mr. Yamamoto, this time he has agreed to the arrangement. By re-recording the music with slower tempo, I could feel the plays between the sounds and palma of flamenco. This made the music really erotic. But even slowing it down will make the eroticism to be old age (laugh), so we stopped slowing down just before that to be able to feel the youngness and passion of Yuri.


Yuri Katsuki FS
“Yuri on ICE” (3:42)
Taro Umebayashi


From the characteristic of Yuri made by producer Yamamoto and Ms. Kubo Mitsurō, and examining the meaning of a line ‘I will call this feeling love’, I talked with Mr. Umebayashi to adjust the image of Yuri that “so many memories of ‘love’ came and went through in his life”. The sounds of piano circles around to develop the emotion of going through in his memory, the rhythm carries the atmosphere, and suddenly it breaks (*the music stops) in the middle part. The climax gains the groove and the hot emotion melts and flows towards finale.

The melody and phrases which Mr. Umebayashi came up with were great. When I was working on pre-pro (*some work to be done before recording) with an image of Yuri sliding on the ice with its rhythm, there were some moments that I strangely, but naturally, felt like I made this song. By the way, in episode4, there is a scene when Yuri was listening to demo music which his friend made, but actually the music played at that scene is the 1st demo we made. You can see that the code progression and rhythm were fairly completed at that time.


Yuri Plisetsky SP
“Ai ni Tsuite ~Agape~” (2:20)
Taro Umebayashi


After I finished making the melody part, I wrote the lyric in Japanese and sent it to Mr. Tokuya Miyagi (professor in Waseda University) to translate it into Latin. However, this work was extremely difficult. I was ignorant about Latin so I asked help to Mr. Matsushiba and visited Waseda University for several times, but it turned out that Latin was a language which we had to stick to its accent, which meant to us that we had to change the melody part of the music to make it sense. Then, the music team asked us that they have to consult the score division and the way of putting the word correctly to someone who has great knowledge of Latin. So, we visited Mr. Hidehiko Hinohara, who is a former teacher of Mr. Matsushiba and a songwriter with great knowledge of Italian. We asked him to correct the lines in both accent and musical ways, and went back to Waseda University to get re-checked with its lyric. We had to do this for several times to finish the work. Mr. Matsushiba helped me a lot during the progress, but when we were eating lunch at Waseda University after the meeting, he started to regret himself that ‘I can’t call myself a songwriter without knowing Latin!’ so I calmed him down by saying ‘I-I think you were doing great’ (laugh).


>>Comments on Yurio’s FS, music of Minami, Phichit and Guang-Hong will be on next page♪