Overview

From the perspective of a Final Fantasy enthusiast, it is certainly both amusing and satisfying to reflect upon the impact that 8-bit video games have had on not just the variety of video game music on offer today, but also on the culture of video gaming itself. Considering that someone has actually bothered to create a comprehensive orchestral album based on the first two installments from the Final Fantasy series, with both games well over two decades old, I find it nothing short of fascinating that this genre of music we now call "Video Game Music" is still well and alive in the hearts of many die-hard fans. Indeed, the tracks originally composed by Nobuo Uematsu during the earliest stages of his career would set the tone for many more successes to come...

The Final Fantasy Symphonic Suite is a recording of a concert that occurred in 1989, featuring music from both Final Fantasy and Final Fantasy II No doubt, given that any album faces production costs and time constraints, the tracks chosen must have been decided rather selectively. However, considering the rather primitive gameplay and short plotlines of the first two Final Fantasies, and hence, a rather confined repertoire of music actually employed during the games themselves, it is arguable that the selection process would not have been an arduous task. So when I conclude that each individual track on this album qualifies as an accurate and just representation of the games themselves, this should not be a surprising result at all!

Body

At the crux of this album lies a simple, but effective desire to tell a story. Indeed, the opening theme of Final Fantasy II featured in "Scene 1" foreshadows the game's solemn events quite well; the ominous vocals of the choir coupled with the foreboding melody serve as a just reminder of the tragedies that engulf the main protagonists.

However, "Scene 1" is not without problems. Arguably an inevitable downside of the 'video game loop' is that arrangers seeking to create a decent length piece from a ridiculously short melody (often spanning 20 seconds long) often face a considerable challenge. The issue here is not the melodies themselves, which are often intrinsically sweet in nature, but rather the fact that the melody is repeated numerous occasions with little or no variation. This problem is certainly not unique to this album alone, but it is not hard to see why this is a major problem for some tracks; attention need only be drawn to Scenes I, IV and VII where solo tracks are featured, as opposed to the welcome variation that medleys have to offer.

One striking feature of this album is the ease by which several themes can combine seamlessly into one medley, as seen in Scenes III, V and VI. Perhaps it is the excitable rigour and ferocity of "Chaos Temple" emerging in the midst of a harmonic "Prelude" and "FFI Main Theme" that does the trick in "Scene V", in contrast with the light-hearted fanfare that began the scene. Or perhaps it is the irresistible and rather nostalgic tune offered by a full-flared "Matoya's Theme" that accompanies the long-standing "Final Fantasy Theme" and sentimental "Town Theme". Or maybe it is the climax of suspense offered by a superb combination of "Gurgu Volcano" and the "Dungeon" theme in FFII that seeks to hold the listener captive to the intense nature of Final Fantasy environments encountered during adventures.

Whatever the reason, Hattori has skilfully meshed the themes effectively, and from the scores that I have given above, one can clearly see that they are very much the highlight of the album. Reflecting on the discussion mentioned earlier with regards to the repetition of short melodies, it is not hard to understand why a mixture of melodies being incorporated one after the other would make musical and common sense.

By virtue of being the second oldest Final Fantasy game, Final Fantasy II is relatively unknown to the majority of mainstream fans. But things have changed somewhat with the release of the iTouch and/or iPhone applications. Both Hattoris should be commended for a superb and well-structured approach in bringing out the best of the game's music. A rather unconventional use of a drum machine in "Battle Scene 2" is rather unnerving at first, but complements the soothing, yet paradoxically upbeat melody. The resonating outbursts of noise could be a bit difficult to adjust to at first, but they serve the track well in some respects: namely, the true feeling, albeit an unorchestral one, that a battle is taking place.

In addition, the tranquility of "Love Will Grow" from "Scene IV" is equally as exciting for very different reasons. The touching onslaught of strings captures the restoration of peace to our protagonists' world. The expression of jubilation is subdued but beautiful at the same time, and provides a means for listeners to empathise with the characters in FFII. The patriotism of "Scene VII" is a fitting end to the album, in that it duly emphasises the Rebel Army's righteous struggle against the Emperor of Palamecia. The use of backup vocals are in my opinion invaluable as a tool in any piece; in this case they are utilized to accentuate the grim losses faced by the heroes of the game, similar to how they were implemented in "Scene I".

Summary

Barring those superficial and, rather careful qualifications, this album ranks quite highly on my list and I can't see why it shouldn't for any fan of the first two Final Fantasy installments. This orchestral album is consistent to the extent that there is no single track that is disappointing or fails expectations miserably, which is surprisingly difficult to achieve given the presence of other failures such as the track "Fithos Lusec Vecos Winosec" on the album of the same title, to name one example. The only problem is, if one is not an FFI or FFII fan, it may take a while to appreciate the quality of these tracks. Overall, great quality tracks make for a great quality album and will serve as a solid title to add to one's collection, but more so for the avid Final Fantasy fan.

Overview

Final Fantasy Symphonic Suite is a fully orchestrated album, showcasing pieces from Final Fantasy and Final Fantasy II. Epic is the name of the game here, as the series gets, for the first time, an arranged album! For an album from 1989, it still seems very up to date.

Body

"Scene I" features a choir and a string arrangement of Final Fantasy II's main theme. It powerfully pounds out the main tune with a little help from some brass and percussion arrangements. It is a beautiful rendition and an excellent opener. "Scene II", an arrangement of Final Fantasy II's "Battle Scene 2", has a very strange drum beat to accompany it. Aside from that, it is a very accomplished piece with as much drama as you can handle. The drumbeat doesn't really detract from the arrangements; it just seems a little out of place.

"Scene III" is a medley of Final Fantasy's opening, town theme, and "Matoya's Cave"! Each segment is excellently transposed. The opening part's majestic ways must have been what earned it such high occult to be included somewhere in every Final Fantasy. The town theme is much more quieter, effortlessly rolling into "Matoya's Cave", which is where the choir join the string and brass instruments for what is a very relaxing piece before building up for a crescendo of the opening theme again. Fantastic stuff!

"Scene IV", an arrangement of Final Fantasy II's "Finale", starts off with a picturesque harp and xylophone piece that grabs your heart. Then a heart wrenching string piece is played, almost like a royal anthem. From here it gradually adds layers of instrumentation to a big finale! This is classic Final Fantasy music. "Scene V" showcases various instruments for a militaristic tune that, instead of being majestic, is more happy and outgoing. Soon this stops and the traditional "Prelude" begins, leading to another extensive medley.

"Scene VI" is a playful rendition of Final Fantasy's "Gurgu Volcano". The pizzicato strings make the tune at the beginning sound like a clumsy happy one. Soon other instruments enter the fray and it turns a little more mystical and dangerous developing into another medley. The final piece, "Scene VII", rounds off the album with a rendition of Final Fantasy's "Rebel Army Theme" rounds off the album with a majestic swan song. Everyone gets in on the act, and a full orchestra and choir pound out the ending to an ovation at the ending!

Summary

After listening to a blinding CD and clapping along with the crowd at the end, you'll find this CD treasured as one of your favourites, especially if you're a fan of the older games. Technically accomplished and on scale that was rarely done at the time of making, buy this piece of history and you won't be disappointed.

Overview

The Final Fantasy Symphonic Suite brought Nobuo Uematsu's delightful melodies on to symphony orchestra for the first time. Unlike most Final Fantasy arranged albums, rather than being a studio performance, this suite was recorded during a live concert from the eminent Tokyo Symphony Orchestra. The item listings are built of scenes, seven in total, which assimilate together to produce a symphonic suite. Each scene is a symphonic arrangement of one or more themes from Final Fantasy and Final Fantasy II, arranged by father-and-son duo Takayuki Hattori and Katsuhisa Hattori. While an old live recording, the suite is still highly impressive to this day.

Body

"Scene I", the arrangement of the "Final Fantasy II Main Theme", is best described as being 'epic'. Beginning slowly with a long suspended note of a tuba as the audience gets time to sit back, our minds are left to anticipate the awe that is about to emerge from the shadows. As the cymbals momentously crash, the theme proudly explodes into a rich orchestration. The strings impressively sing out the famous main theme and they fill the concert hall, supported by a full choir. As the vocals grow to become increasingly more integral parts of the performance, so do the brass section, which leads in several places once they move away from the countermelody they initially provide. While the textures are subtly thickened, an evocative chromatic shift marks the recapitulation of the main theme. Nobuo Uematsu's original melodies were left rather untouched by this arrangement and quite rightfully so, but the Hattoris ensure that this arrangement goes way beyond its original and into a full-blown masterpiece.

"Scene II", based on Final Fantasy II's "Battle Scene 2," is the weakest addition to the suite. For a battle track, this track seems unusually thin in texture and, rather than relying on an in-your-face instrumental racket to build up the tense battle-like atmosphere for this track, the Hattoris rely on much more subtle melodic and harmonic methods. Among the most notable of these is the addition of lots of chromatic harmonies, as well as the addition of dissonant crashes at crucial points. In addition various synth 'monster' noises are well integrated throughout the track adding to its strong atmosphere further. However, the synth drumbeats detract heavily from the overall success of the track; while they add a battle beat to the track at the beginning, they quickly get annoying and repetitive as they drone relentlessly on and on. Thankfully, these fade and are less prominent in the last part of the track. Here, a new crisis motif is added that eventually leads the track into what is a rather unexpected and seemingly unfinished conclusion.

The first of several arch-shaped medleys on the soundtrack, "Scene III" is a superbly arranged medley of three Final Fantasy themes. It begins with a straightforward but rousing orchestration of the "Opening Theme" (more commonly known in later soundtracks as the "Final Fantasy" theme). Thereafter the orchestral transitions into a soft woodwind-based arrangement of the "Town" theme that is unremarkable but lovely nonetheless. The sooth transition into "Matoya's Cave" is even more remarkable. The original is probably the most rounded and atmospheric melody Uematsu created for Final Fantasy and it works even better in this album thanks to the Hattoris' appropriate use of instrumental contrasts and addition of vocals. The best part of the whole scene, however, is the great surge of energy as the scene undergoes the magnificent progression from this theme back to the opener. This brings the track round full circle, both thematically and emotionally, and gives additional meaning to the medley,.

"Scene IV" is the symphonic arrangement of the Final Fantasy II "Finale" (perhaps better known as "Love Will Grow" from the second Final Fantasy Vocal Collection). Just like the original, it starts off calmly, but is enhanced by the impressionistic touches the Hattoris add along the way. This introduction is primarily based upon a descending harp and glockenspiel arpeggio pattern against the fittingly thin accompaniment of the 'cello's long bass notes. Although nothing too fascinating, it allows the statement of the main theme within the first minute of the piece to have much greater impact than it would have originally done. As the theme is developed, the instrumentation shifts into a more conventional symphonic tone. It essentially consists of the violins leading, the 'cello accompanying, and the brass providing a countermelody. Another key feature of this arrangement is the use of dynamics, gradated and shifted to emphasise the emotional quality. The soft interlude around the 3:00 mark and the majestic build-up prior to the end of the piece generate the enormous effects the Hattoris had intended.

"Scene V" is probably the album's most famous and notable creation, as well as the album's longest track, topping up at eight minutes. It opens strongly with a bright fanfare-like melody that is entirely unique to this album. The suite then fades into silence and a solo harp gently emerges to play the arpeggio pattern that harmonises the famous "Prelude" theme. A solo flute player plays the airy melody that protrudes over this harp beautifully. These tender tones are not entirely lost as the progression from the "Prelude" to the "Final Fantasy Main Theme" is gradual and effortless. I have to confess that I never had great passion towards the Uematsu's "Main Theme," but thanks to yet more orchestral mastery from the Hattoris, this orchestration is highly emotional. As the scene moves into the imposing brass fanfare, the "Chaos' Temple" theme, the scene eventually reaches its long-awaited climax once the full orchestra joins in dramatic fashion. Being the intelligent musicians that they are, the Hattoris are very careful to ensure that the performance doesn't become an 'in-your-face' one by making a much needed reprise back to the "Opening Theme" melody, one much faster in nature than before and complete with some fascinating imitative structures.

The final medley of the suite isn't quite as impressive, but is impressive for the way it gradually darkens in a programmatic way. It begins lightly with the famous "Gurgu Volcano" theme from Final Fantasy. The instrumentation use here is appropriately sparse — the Eb Clarinet leads the way with a well-articulated solo and is accompanied delicately by some less distinguished counterpoint from the Bb clarinets and trumpets. The Hattoris lose no time in darkening the theme however, by making a rather brash yet hardly unmusical transition into Final Fantasy II's "Dungeon" theme. The atmosphere brewing with Uematsu's chord progressions here are strengthened by the way the textures progressively thicken up to the final transition, this time into the evil "Imperial Army's Theme" from Final Fantasy II. By far the darkest addition to the suite, the string use particularly emphasises the atmosphere. Unfortunately, however, this theme never really properly concludes, unlike the other scenes, and is left on a rather interrupted note. However, in some ways, this is appropriate, considering it is an ideal preparation of the last scene of the suite that follows it.

The suite concludes in a similar way to how it opens through a single and wholly beautiful arrangement of a highly melodious theme. This one is the "Rebel Army's Theme" from Final Fantasy II. The first minute of the scene mainly consists of the simple homophonic textures of the high strings singing the melody while accompanied by the sustained notes in the lower strings; however, at the 50 second mark, in typical orchestral fashion, the brass take over the main theme playing with even greater sense of pride and determination. The musicality of such an arrangement only really begins to become evident in the sensitively arranged interlude section that follows, which is entirely unique to this arrangement and demonstrates the Hattoris' careful interweaving between homophonic and polyphonic textures. From this, with the roar of a triumphant trumpet fanfare, the main melody is revived in its thickest texture with strings, brass, and vocals all joining together in one. Such grandeur and magnificence is sustained throughout until the end of the piece and is supported by a modulation to what appears to be the key a semitone higher to maintain interest. A small, yet entirely appropriate, coda finishes the piece with some sustained chords while the grand rounds of applause from the audience in the concert hall gives the cheers this suite deserves.

Summary

Even though Final Fantasy Symphonic Suite was the series' first arranged album, its high quality makes it remain one of the very best. Through the Hattoris emphasise the melodic richness and emotional qualities of Uematsu's melodies, while offering convincing orchestration and novel segmnets. Their supreme musicality is particularly evident by their structuring of the three medley scenes. Some will find it a little traditional while others will abhor a few moments (e.g. the drum machine use in "Scene II"), but most will love the album from start to finish.