When it comes to evaluating the quality of a musical composition, I perceive there to be two schools of thought: those who believe the composition must take a radical new direction to be of any worth, and those who believe that a solid foundation in the classics is the true indicator of a composer's skill. The second group of people would likely take notice of Mr. Yuuji Nomi's compositions. His are original compositions, for certain, but his mastery of the art is what makes his work special. Mr. Nomi's score for Neko no Ongaeshi (The Cat Returns) shows off his learned craftsmanship with a youthful flair.

Neko no Ongaeshi plays out somewhat like a Cinderella tale would, with protagonist Haru discovering her inner beauty through a little supernatural adventure. The soundtrack moves accordingly, focusing on the fun of the plot while providing ample support for the main character's personal journey. The album contains 25 tracks comprising the actual movie score - arranged according to their appearance in the movie - and 5 bonus/image tracks. It is fully orchestral - an unusual occurrence these days, given the prevalence of electronic music in entertainment.

The first thing to notice about this soundtrack is that it is ever-changing; never drab. Nomi explores each theme just long enough for it to make an impression, and then moves on. "Neko Juggler no Rumba" is a perfect example of this, clocking in at only 19 seconds but containing in that short span a complete musical expression. The album's generous variety also accounts for its freshness throughout the listening experience. The use of recurring themes is very light; the majority of the album is reserved for standalone pieces that are done in numerous styles. Of the recurring themes, there are really only two in the soundtrack proper: one that belongs to Haru, the film's main character, and one that captures the rivalry between the King of Cats and the Baron Humbert von Jikkingen.

Haru's theme music builds off her affinity for cats.

Haru's theme first appears as a dainty little waltz carried by flute and clarinet, titled "Neko to Ohanashi." The song expresses kindness, but in a reserved manner. The next appearance is in an elegant processional titled "Lune and Yuki." The melody is the same, but this time it is given backing by the low- and mid-ranged horns, and further embellished by the percussion and strings. "Kaereta, Watashi Kaeretanda!" is the final appearance of the theme in the movie score, and it carries an air of triumph as Haru's transformation completes. This time the remainder of the orchestra jumps in and gives Haru a grand ovation while she reflects on her adventure. The last place the theme shows up is in the image song, "Haru no Omoide." The song largely reverts back to its soft beginnings as might be expected, but is more full-bodied. Of all the songs in the album, Haru's theme holds the most substance.

The Baron's theme is a hero's theme, carried mostly by trumpet and showing the same grace of form and motion as the Baron himself. The ladies will swoon. Unlike Haru's theme, this theme stays consistent throughout the film - aside from a gradual increase in intensity. It first appears in "Koukyuu heno Yuukai," coupled with the film's main theme of danger, which is also carried chiefly by the brass. The other appearances of these themes are "I am Humbert von Jikkengen!," "Dassou," and "Baron" (an image song).

Even the heavier music in this soundtrack is pretty light on its feet.

(The 12th and 24th tracks briefly pay homage to the film's spiritual predecessor, Whisper of the Heart, which was also scored by Mr. Nomi. Neko no Ongaeshi also alludes visually to the earlier film.)

The rest of the background music is comprised of one-shots, designed to fit the mood of the movie at certain points. While most of the enjoyment to be had from this album is found in the main themes and the one vocal track ("Kaze ni Naru," performed by well-known vocalist Ayano Tsuji), these one-shots help keep the album fresh. A few of them are darn good, too - for example, "Haru, Okiteru?," a parade of percussion and trombone that follows the tardy Haru on her way to school. There's also "Katzen Blut" (Cats' Blood), a fantastic ballroom waltz that would sweep anyone off their feet. The background and image songs range from lightfooted woodwind numbers to rigid processionals - each having its own unique flavor and appeal.

I must say, however, that the most interesting song on the album is "Kaze ni Naru," the film's ending piece. The song is performed by Ms. Ayano Tsuji, who keeps her voice at a constant level during the performance. What makes this song interesting is that its progression is driven by the background instruments instead of the singer. The song begins with just a ukelele, adding acoustic guitar by the first chorus. More instruments are added as the song goes on, beginning with the second verse - first drums, then bass, flutes, and violin. This additive progression of the background music contrasts beautifully with Tsuji's unchanging voice. This is a feel-great song, not to mention addictive. I love it!

Neko no Ongaeshi is without a doubt one of the best soundtracks I've come across. Not only does it sound great while watching the movie, but it also sounds great when listening to the CD. I've often come across soundtracks that follow the movie chronology faithfully but are a stale listening experience because of it. Not so with this soundtrack - in fact, it actually seemed to help the listening experience with the tracks arranged in accordance with the movie. I can't get enough of the ending tune, and the image tracks are a nice addition to the movie score. You really can't go wrong with this album. It's been in my CD player more often than any other soundtrack.