Fumio Hayasaka

Fumio Hayasaka (早坂文雄 Hayasaka Fumio; August 19, 1914 – October 15, 1955) was a Japanese composer of classical music and film scores.

Hayasaka was born in the city of Sendai on the main Japanese island of Honshū. In 1918, Hayasaka and his family moved to Sapporo on the northern island of Hokkaidō. In 1933, Hayasaka and Akira Ifukube organized the New Music League, which held a new music festival the year after.

Hayasaka won a number of prizes for his early concert works; in 1935, his piece Futatsu no sanka e no zensōkyoku won first prize in a radio competition, and another concert piece, Kodai no bukyoku, won the 1938 Weingartner Prize. Other early works include a Nocturne (1936) for piano and the orchestral Ancient Dance (1938). In 1939, Hayasaka moved to Tokyo to begin a career as film composer. By early 1940, Hayasaka was seen as "a major composer for Japanese Cinema".

After the war, Hayasaka continued working on films, quickly winning recognition for his abilities. In 1946, he received the film music award for An Enemy of the People (Minshū no Teki, 1946) at the first annual Mainichi Film Awards. The year after, 1947, Hayasaka received the Mainichi film music award for Teinosuke Kinugasa's Actress (Joyu).

In the late 1940s, Hayasaka invited his friend Akira Ifukube to write film music with him at Toho Studios. Ifukube's first film score for Toho was for Senkichi Taniguchi's Snow Trail (Ginrei no hate) in 1947.Toshirō Mifune, the famous actor who later starred in most of Kurosawa’s films, first met Kurosawa at a pre-screening of this movie.

Fumio Hayasaka had a celebrated association with the pre-eminent Japanese director Akira Kurosawa which was short-lived due to Hayasaka's early death. The 1948 film Drunken Angel (Yoidore tenshi) was the first film directed by Akira Kurosawa that Hayasaka composed music for. The director and composer collaborated to test “oppositional handling of music and performance”. Their collaboration turned into a very deep artistic relationship, with Hayasaka contributing ideas to the visual part of the film. In his autobiography, Kurosawa would say that working with Hayasaka changed his views on how film music should be used; from then on, he viewed music as “counterpoint” to the image and not just an “accompaniment”. This is also the first film that Kurosawa used Toshiro Mifune as an actor.

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