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Music from Final Fantasy® V, Viii, Ix and Xiii

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Music from Final Fantasy® V, Viii, Ix and Xiii MUSIC FROM FINAL FANTASY® V, VIII, IX AND XIII London Symphony Orchestra SATURDAY · 12 SEPTEMBER 2015 important thematic element that becomes 7:00 PM subconsciously imprinted on the player BARBICAN CENTRE, LONDON throughout this long game.” The second half of the arrangement features MUSIC COMPOSED BY the dramatic battle refrains of Fang’s Theme, NOBUO UEMATSU Blinded by Light and Serah’s Promise. Hamauzu MASASHI HAMAUZU explains that he chose Fang’s Theme for the audience to have fun with as it contains both LONDON SYMPHONY ORCHESTRA heavy action and also lightness. Blinded by ECKEHARD STIER, CONDUCTOR Light and Serah’s Promise are both based ROMAN SIMOVIC, LEADER on previously incomplete arrangements by SLAVA SIDORENKO, PIANO Hamauzu. ARRANGEMENT: FINAL FANTASY IX JONNE VALTONEN, ROGER WANAMO, For the People of Gaia MASASHI HAMAUZU VIDEO GAME MUSIC WILL BE BACK IN CONCERT IN 2016 WITH In FINAL FANTASY IX (2000) Brahne, the Queen THE LONDON SYMPHONY ORCHESTRA. KEEP INFORMED AT of Alexandria, has begun using powerful WWW.GAMECONCERTS.COM magical weapons to terrorise neighbouring TO FIND OUT MORE ABOUT THE LONDON SYMPHONY kingdoms. Zidane, a skilled thief, teams with ORCHESTRA AND OUR FUTURE CONCERTS VISIT WWW.LSO.CO.UK the young mage Vivi and the beautiful Princess Garnet to save the world from the queen’s evil schemes. But a far more sinister adversary awaits in the nefarious sorcerer Kuja; who is he and why has he been supplying Brahne with her FINAL FANTASY XIII magical weapons? Utopia in the Sky This concerto for piano and orchestra is Roger Wanamo’s third FINAL FANTASY-related piano Jonne Valtonen’s orchestration and partial orchestration. “At first it felt hard. I wanted to arrangement of the FINAL FANTASY XIII (2009) avoid making this too similar to my previous score is based on an original arrangement concertos, as I don‘t like repeating myself. by composer Masashi Hamauzu. Hamauzu However, the music in FINAL FANTASY IX is very remarks that “there were no orchestral different to that of previous games, so I had versions of FINAL FANTASY XIII tracks that I was plenty of new material to work with.” When he really satisfied with and I wanted to create a began to familiarize himself with the source symphonic arrangement that would be truly material, the inspiration came very quickly: “I ground-breaking. Jonne Valtonen is a highly only got about five minutes into the game, to talented arranger who helped me complete the streets of Alexandria. I listened to the music this version. I think we are able to reach a for a few minutes and then I went to the piano perfected version of the music.” Valtonen adds, to play around with the melody. I realized that “Hamauzu’s jazzy and impressionistic style this Prokofiev-esque theme was just perfect for already gave the music its gentle softness to piano and orchestra – and this was, of course, which I added my own small imprint.” Vivi‘s Theme.” Hamauzu decided to create an easily While the concerto is in one, single movement, understood drama with the most popular the elements of a traditional four movement songs from the game. The first three songs in concerto are all featured. “After the inspiration this arrangement are Prelude, Vanille’s Theme I had from Vivi’s Theme, it soon became clear to and Nautilus, all of which are centered on the me that the whole arrangement would have a protagonist Vanille and express a truly beautiful strong focus on character motifs.” The opening and deep world. Masashi Hamauzu hopes of the piece focuses on Zidane’s Theme, which that with these orchestral versions people will is very classical in character. The playful Vivi’s pay more attention to the themes: “this is an Theme functions as a scherzo and it is followed by the slow movement that focuses on Princess FINAL FANTASY V Garnet. The final part represents the battle Library of Ancients refrains and the signature tune of Kuja. “I chose to do a darker representation of him. If you listen, he is represented in earlier parts of the Originally released in 1992, FINAL FANTASY V piece as a shadow in the background.” In the tells the story of four travellers – a pirate, an old final encounter,Kuja’s Theme becomes entwined soldier, an adventure hunter, and a young girl – with both the battle themes and fragments of as they embark on a quest to save the world the heroes’ melodies. from imminent destruction. Their only hope is to recover the four elemental Crystals that FINAL FANTASY VIII can combat an unstoppable, destructive force Mono no aware known as the Void. Jonne Valtonen’s arrangement starts with The story of FINAL FANTASY VIII (1999) follows Musica Machina, a theme first heard to Squall, a member of an elite combat team represent an ancient base used by the heroes. known as SeeD that become engaged in a This place is a source of transportation for the power struggle with menacing adversaries. The crew, featuring steamships and other vehicles key question for Squall and his friends is who that require no wind to operate – the wind to trust. This title includes many intriguing having disappeared from the world following characters such as the free-spirited Rinoa, the the destruction of the first elemental Crystal. sorceress Edea, and Squall’s arch-rival, Seifer. Valtonen expands on the importance of this theme: “I’m using this as the base for the whole One of the major themes in FINAL FANTASY VIII arrangement; the riff from Musica Machina is the conflict between childhood and is repeated at various stages throughout. adulthood; nostalgia for the past and fear of an It is the point from which the music jumps uncertain future. Mono no aware, a Japanese forward to other locations and battles. It term for the awareness of impermanence generates the wind for what is to follow. There and also the title of this arrangement, reflects are fast running scales that are built up in the these dimensions of the game: in effect, a background on various themes. This approach gentle sadness of the passing of things being enables the party to always move onward in my the reality of life. “It felt like there was more arrangement.” melancholy in this game compared to other FINAL FANTASY games I‘ve played. This is a Reina’s Theme is presented with the raising wind feeling I carried in to the arrangement, which behind it as she joins the protagonist Bartz and features lots of slow and contemplative parts,” the other heroes. Together they must travel Roger Wanamo explains. the world to find hidden, legendary weapons before facing X-Death, the villain of the piece, Key to this arrangement are songs that share the for the final confrontation. Seemingly defeated same melody, but are presented in very different at first, the fight with X-Death recommences ways, such as Tell Me with Ami and Eyes on Me as the music of Spreading Grand Wings starts with Waltz for the Moon. Wanamo continues, to generate momentum. The arrangement “This is a brilliant showcase of Uematsu’s skill in canters through the battle themes before finally creating unity within the soundtrack by deriving reaching the decisive conflict that seals the very distinct pieces from the same melodic fate of X-Death. “Things calm down and sorrow material. The piece of music that kept ringing in seeps in as the party reminisce the dead. The my head after playing the game was Tell Me/Ami, atmosphere soon turns to one of jubilation which also features in SeeD’s home base, Balamb though, with the group’s theme rising amid the Garden. A perfect example of how repetition grand and festive joy of a world saved from total strengthens the memory.” The arrangement annihilation.” Musica Machina, now in major key, doesn’t follow the game’s storyline slavishly, but closes the arrangement. the ending follows a similar pattern. “The ending is calm, with the character themes fading away, leaving it open to interpretations: what exactly happens to the protagonists? It is the same as in the game itself.” © Ranald Mackechnie / LSO 2015 / LSO Mackechnie © Ranald London Symphony Orchestra each year. The many projects that make up LSO Discovery, the Orchestra’s education and community programme, offer people of all The London Symphony Orchestra is London’s ages the opportunity to get involved in music- oldest surviving orchestra and is widely making. Its ongoing projects include LSO On regarded as one of the world’s leading Track, giving young musicians opportunities to orchestras. The LSO performs 120 concerts a perform in stand-out events such as BMW LSO year with an enviable family of artists including Open Air Classics, and LSO Sing – a programme Valery Gergiev, Sir Simon Rattle, Michael Tilson of singing activities designed to draw in singers Thomas, Daniel Harding, Bernard Haitink of all ages and abilities. LSO St Luke’s, the UBS and André Previn, and has long-standing and LSO Music Education Centre, is the home of relationships with some of the leading LSO Discovery; it also hosts chamber and solo musicians in the world – Sir John Eliot Gardiner, recitals, dance, folk music and more. Anne-Sophie Mutter, Mitsuko Uchida and Maria João Pires amongst others. The Orchestra is self- The Orchestra is a world-leader in recording governing and made up of nearly a hundred music for CD, film, television and events. LSO talented players who also perform regularly as Live is the most successful label of its kind soloists or in chamber concerts. and has over a hundred titles, all of which are available globally.
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