The Last Emperor is the soundtrack album for the movie of the same name. It features nine songs composed by Ryuichi Sakamoto, five by David Byrne, one from Cong Su, and a few incidental pieces of source music. The album won the Best Music, Original Score award at the 1987 Academy Awards.
"First Coronation" – 1:46
"Open the Door" – 2:54
"Where Is Armo?" – 2:26
"Picking Up Brides" – 2:39
"The Last Emperor – Theme Variation 1" – 2:19
"Rain (I Want a Divorce)" – 1:49
"The Baby (Was Born Dead)" – 0:55
"The Last Emperor – Theme Variation 2" – 4:28
"The Last Emperor – Theme" – 5:54
"Main Title Theme" (The Last Emperor) (Byrne) – 4:01
"Picking a Bride" (Byrne) – 2:00
"Bed" (Byrne) – 5:00
"Wind, Rain, and Water" (Byrne) – 2:18
"Paper Emperor" (Byrne) – 1:49
"Lunch" (Cong Su) 4:54
"Red Guard" (Performed by the Red Guard Accordion Band) – 1:20
"The Emperor's Waltz" (Performed by the Ball Orchestra of Vienna) – 3:06
"The Red Guard Dance (The Girls Red Guard Dancers)" – 0:39

Cinemage.是一个迷人的组合词和一个理想的专辑名称，一个坂本龙一为了视觉事件所谱写的听觉的伴奏，但是他们仍然作为纯粹的音乐而存在，在没有任何外部的因素影响之下被唤起而引人注目。《末代皇帝》《小活佛》《呼啸山庄》和《禁色》 (Merry Christmas,Mr.Lawrence) 是坂本最为著名的电影原声，每一部都表明他是当今最值得一提的仍在创作的作曲家。这些作品连同宏伟的“El Mar Mediterrani”(为1992年的巴塞罗那奥运会开幕式而作)以及难得一见的“Replica”(来源于 Musical Encyclopedia，坂本的反类型的独奏专辑)——一起构成了对一个作曲家艺术的完美介绍。
接受古典教育却是一个技术流行乐的先锋，在电影原声的录制中得心应手却是一个即兴演奏的行家里手，坂本追随不同寻常又彼此相异的缪斯，一面为时代调音却又和历史之弦紧密相连。在他的管弦乐、室内乐和钢琴独奏的乐章中，人们可以听到Debussy和 Satie还有Stravinsky以及Messiaen的回响。也可以直接听到坂本作品的特性中所反映的对于大师Brian Wilson，Bill Evans and Joao Gilberto的崇拜，如同和他对太平洋岛国和日本民间音乐的热爱。
1952年生于东京,坂本很早就就学于TaminosukeMatsumoto(一个 Hindemith的热爱者)，毕业于东京大学美术音乐系电子和民乐专业。受Kraftwerk的原创电声乐（proto-electronica）启发，坂本在70年代末和人合作创建黄魔管弦乐队，卖出几百万张专辑并在亚洲很多国家举办过现场演奏会。从此，他就作为一个制作者和演奏者，在纽约和东京过着一种双重的生活。他的电影原声使他成为全世界最成功的不被好莱坞的商业机器所同化的电影配乐家。坂本为Bernardo Bertolucci的诗史电影《末代皇帝》所作配乐赢得了包括1987奥斯卡最佳电影配乐奖和格莱美奖在内的众多奖项，他最新的为Brian DePalma的《蛇眼》所作的配乐中尝试将Mahler和 Miles Davis的风格糅合起来。
坂本喜欢谈论和Bertolucci在录音棚指挥《末代皇帝》的管弦乐队时一再强调“多一点感情，多一点感情”。其实，情感就是和戏剧篇章的共鸣，就像在 “East meets West”中富于坂本特色的风格。那种剧烈的、经过亚洲式改变的旋律通过摈弃浪漫的管弦乐得以体现，汇成宏大的场景。这大胆的演奏在坂本1997年早些时候的亚洲之旅时录制，由小泽征尔（Yutaka Sado）指挥。同样是这一次旅行产生了创作《Untitled 01》的野心。一个55分钟的专辑，四个乐章分别为管弦乐、钢琴、吉他、电子乐以及人声而作——这就是在1998年由Sony Classical发行的《Discord》。
基于同样的情感，Bertolucci赋予《The Last Emperor》脉络般忧郁纠结的张力。“Little Buddha”以芬芳的柔板开始，尽管以颤抖的巨大的悲惨结局，坂本还是灌注了一种热切的充满希望的气息在这一段旋律中。尽管黑暗来临，太阳还要升起(曲中一个包含再生理念的曲调不断回旋）。在Replica里我们进入一个截然不同的声音的世界，一个循环节奏的王国，从坂本早期的键盘作品到Koichi Suzuki管弦乐化，Replica有一种简单的梦境般的优雅。
更为气势恢宏的是“El Mar Mediterrani”，以号角的鸣响和鼓声的搏动激起某种壮阔的场景。当他继续时，这个片断远离而去，取而代之的是那种典型的鼓舞人心的奥林匹克旋律，在一个由此激起的情感中飞升。坂本爱上巴塞罗那，从Gaudi的建筑和Mompou的音乐到Fura dels Baus在开幕式上演出的刚猛舞蹈。坂本写下一种印象主义式的音乐来制造宏伟的奇观，在加太罗西亚色彩的暗示下和坂本过去作品中的影子一起构成完整的能量和精神的组合。
最后，Cinemage充满情感的核心篇章是坂本最感人和最为人称道的作品 “Forbidden Colors”，Nagisa Oshima的1983电影《Merry Christmas,Mr. Lawrence》(坂本也在这部电影中担任角色)的配乐。作为最初的电子乐附加的配乐，坂本为录制这首主题曲演奏了钢琴独奏(收入专辑《Coda》) 和钢琴三重唱(收入1996年《On the superlative》专辑)两个版本。但这里这个充满诗意的版本是由英国前卫流行歌手David Sylvian作词并演唱的，现在已经广为人知。坂本令人心碎的旋律令这首歌在任何情景下都能催人泪下，其个人风格与日本民歌大气的结合，“Forbidden Colors”在的悠扬旋律下表达出电影中的悲凉。一种痛苦的情绪弥漫在二战的战俘营中，在英国俘虏和看守他们的日本人中。但和多数坂本的音乐相比，这首歌有一种超越它本来内含的力量，它为亘古长新的头脑和心灵的剧场伴奏。
Cinemage是一个迷人的组合词和一个理想的专辑名称，一个坂本龙一为了视觉事件所谱写的听觉的伴奏，但是他们仍然作为纯粹的音乐而存在，在没有任何外部的因素影响下被唤起而引人注目。《末代皇帝》、《小活佛》、《呼啸山庄》和《禁色》是坂本最为著名的电影原声，每一部都表明他是当今最值得一提的仍在创作的作曲家。
接受古典教育却是一个技术流行乐的先锋，在电影原声的录制中得心应手却是一个即兴演奏的行家里手。坂本龙一为诗史电影《末代皇帝》所作配乐赢得了包括1987 奥斯卡最佳电影配乐奖和格莱美奖在内的众多奖项。主题曲Little Buddha以脉络般非常忧郁的张力、芬芳的柔板开始，灌注了热切的希望气息。
这是一首动人的史诗，即使在今天听来，仍然会令人动容。

French only soundtrack for the 1983 film starring David Bowie as well as Ryuichi Sakamoto who also scored the film. Includes the track 'Forbidden Colours' with vocals from David Sylvian. The title is also known as Furyo. 2005.

坂本龍一是日本男性作曲家、演員，主要活躍於西方國家，一生獲獎無數。所創作的音樂曲風空靈脫俗、融合東西古今，是日本當代繼武滿徹之後，可稱為世界級音樂大師的代表人物，被譽為「新音樂教父」。

In the wet heat of a Japanese summer, legendary musician Ryuichi Sakamoto was joined on stage by Taylor Deupree and the duo of Corey Fuller and Tomoyoshi Date, known as Illuha. The Yamaguchi Center for Arts and Media hosted the event as part of their 10 year anniversary which also included a captivating installation by Sakamoto called Forest Symphony. The days surrounding the concert brought the artists together for food, talk and exploration. Informal but meaningful moods that prepared them for performing together.
The performance, an improvised set for piano, guitar, pump organ, and synthesizers, ended up affecting the artists in a deep way. The four, having never played all together before, were taken aback by the level of listening and restraint that flowed between them. The audience sat in a breathless silence, the music offering a respite from the thick July air. As the last hushed note faded into blackness the artists knew right away it had been a deep journey.
It is a fortunate event when a moment like this is captured, as this concert was ( recorded in high quality DSD). Perpetual, named for the eternal and ageless quality of the music, is presented in three movements that traverse from soft layers of synthesizer and processed guitar, to open, airy sections of prepared piano and silence, to finally coming to rest in a most hauntingly delicate lullaby of lonely piano, crackling found objects and field recordings and tones suspended like mists.
Perpetual not only surrounds us and stretches through time but collects that expanse into a single memory, a record of a brief moment where time stood still and four musicians merged into one.

"Glass" is an improvisational piece composed by Ryuichi Sakamoto and Carsten Nicolai, known by his stage name as Alva Noto, for Yayoi Kusama's installation Dots Obsession—Alive, Seeking for Eternal Hope, which ran in September 2016 at Philip Johnson's Glass House. A film of the performance was uploaded to the Glass House's official Vimeo account and website on November 11, 2016, and an audio recording of the 37-minute composition was released as an album on Nicolai's label NOTON on February 16, 2018. "Glass" is an unconventional ambient piece that uses sounds from a keyboard, glass-made singing bowls, and digital processing of the House's glass walls. The composition consists of developing layers of sounds performed over a single drone. It was praised by many professional reviewers as a display of Sakamoto and Nicolai's growing artistry. (Quoting from Wikipedia.)

Japanese release aka 'Changing Century'. Featuring eight versions of the opening/ending theme for NHK TV special of same name. 2002.

“Call Me by Your Name” filmmaker Luca Guadagnino and “The Revenant” composer Ryuichi Sakamoto have yet to collaborate on a feature-length film together, but a new short film project hints that such a union might not be too far off. For Guadagnino’s latest, the filmmaker tapped the Oscar-winning composer to build a score around a film that’s, well, built around fabric. The short, which was produced in collaboration with Valentino’s creative director Pierpaolo Piccioli and showcases the fashion house’s couture designs, debuted at Cannes last year and is gearing up for an exclusive run on MUBI later this week. Leave it to Sakamoto to find the finesse in all that finery.
Of the soundtrack, Sakamoto told IndieWire, “When approaching the score for ‘The Staggering Girl,’ I wanted to incorporate the tactile sound of Valentino’s fabrics. So I asked them to send me some samples and utilizing special sensitive microphones, I experimented ‘playing’ the fabrics. I love the sound and how it forces one’s attention to a sound all around us, yet almost entirely ignored.”
via IndieWire

坂本龍一是日本男性作曲家、演員，主要活躍於西方國家，一生獲獎無數。所創作的音樂曲風空靈脫俗、融合東西古今，是日本當代繼武滿徹之後，可稱為世界級音樂大師的代表人物，被譽為「新音樂教父」。

Japanese limited edition compilation with 15 tracks from his unique musical career, including the main theme from Little Bhudda, tracks from his collection 1996, Smoochy and Sweet Revenge. 2001.

坂本龍一是日本男性作曲家、演員，主要活躍於西方國家，一生獲獎無數。所創作的音樂曲風空靈脫俗、融合東西古今，是日本當代繼武滿徹之後，可稱為世界級音樂大師的代表人物，被譽為「新音樂教父」。

专辑介绍:
十分喜欢阪本龙一与莫瑞兰包姆二重奏所合作过的作品,除了2003年发行的一张[A Day In New York]之外.最近又收藏了这张由原班人马制作于2002年的[Casa]..欣赏游走于琴弦上那一个个带点伤感音符的大提琴手贾克..拥有丝绸般细致嗓音的宝拉则负责演唱,加上阪本龙一的钢琴,三人组合成《M2S》这个团体...
[Casa]整张专辑所表现的都是一种思念..纪念永远的“Bossa Nova之父”安东尼奥•卡洛•裘宾先生!
专辑中收录了Bossa Nova音乐之父安东尼•卡洛•裘宾(Antonio Carlos Jobim)作品首度录音，十八首曲目中大部分是裘宾未曾公开发表过的罕见创作，其中包括写给爱妻安娜的《Tema Para Ana》；献给法国爵士配乐大师Michel Legrand的《Chanson Pour Michelle》；以及裘宾之子Paulo Jobim参与演出的《Bonita》。
阪本龙一选择与裘宾晚期合作的伙伴Jacques & Paula Morelenbaum夫妇共同合作，默契上没话说，将裘宾的音乐精髓百分之百地表达出来。M2S经常在裘宾生前经常居住的里约热内卢别墅中合奏，也因此激汤出灌录一系列Antonio Carlos Jobim作品的芭莎诺瓦专辑的概念。由于是在Antonio Carlos Jobim的家中衍生的想法，所以他们的第一张专辑才名为“Casa”（也就是“家”的意思）。
“BOSSA NOVA之父”─安东尼卡洛裘宾(Antonio Carlos Jobim)是一位永不喊累的作曲大师〈A Tireless Songwriter〉，他把创作当成一种享受。就像唐代田园诗人王维一般，裘宾喜欢捕捉片刻的画面，聚焦为创作的灵感；在裘宾的作品中，我们总是能听到海浪、微风，与椰影婆娑，每一首裘宾的作品都是一幅画作，从海滩，从夜空，化为永远传唱的音符。位于里约热内卢海边的居所是裘宾创作灵感的泉源（注意到了吗？CD上的封面就是裘宾的故居），打开窗，飘进来的是海鸥与浪花的歌唱、阳光与海水的味道﹔俯拾皆是的浪漫，一砖一瓦地砌出了裘宾的音乐城堡。
阪本龙一的音乐作品包罗万象，从最为人所知的电影配乐、日本古乐、电子实验创作，到这次全新尝试的BOSSA NOVA，都令人感受到其勇于突破自我格局的期许。有了配乐大师阪本龙一的加入，让BOSSA NOVA音乐向性起了重大的化学变化。原本游走于慵懒与热情的BOSSA NOVA，披上了阪本特有的「冷静」与「思考性」外衣后，整张作品的深度层次感大幅提升﹔在阪本龙一的印象派触键下，空气间增加了一抹唯美忧郁的淡蓝，那是如梦似幻般的深沉存在感，有如在心底投入一颗石头般，一圈圈的涟漪随着水面波纹，向外漾出延伸不停的感动。
巴西音乐大师Vinicius de Moraes〈裘宾的最佳拍档〉之女Luciana表示这份录音《Casa》让她忆起儿时亲耳聆听裘宾在祖母家演奏，感受到当年在屋里裘宾与家人谈论爱情、音乐与诗的氛围。想象一下这幅画面：「夜凉如水，裘宾坐在窗边听浪，随手抓了张纸留下刚才的灵感，然后微笑地将之收起……」；认真听音乐的人会知道，这才是裘宾音乐里的精髓。

Ryuichi Sakamoto is a Japanese composer, pianist, singer, songwriter, record producer, activist, and actor who has pursued a diverse range of styles as a solo artist and as a member of Yellow Magic Orchestra.