| Mr. X |
Jun 16, 2006 03:38 PM |
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EDIT: Mr.Maul, you met Uematsu??? How did you manage to do that?:P
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As I attended the press conference, I received a VIP 'meet and greet' special pass for after the concert. I didn't get the chance to meet Huelsbeck, unfortunately, but got pictures of all the others plus one with me and Uematsu together.
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At the Stockholm concert, the electric guitar was played by an Orchestra member I think, and it felt really stale. The clean sound he used was also really bad.
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Glad someone agrees with me here. I'm pretty sure it was the bassoonist. It was a dull performance, in my opinion, which is a pity given the orchestral parts were so good. More Yamaoka plz!!
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It was already 2 at night at that time and even after that we went and greeted some Swedish game music fans from spelmusik.net, who got our tickets for us at the last minute and were great contributors to our journey altogether. :)
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You didn't happen to meet someone hanging around with the Spelmusik dudes but from England and completely unable to speak Swedish, did you? If so, that was likely me.
Gonna just quote my incoherent ramblings about the Stockholm concert. I'm intending to make a full review shortly:
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General details:
- I arrived back from Stockholm a couple of hours ago. Sure was an adventure both travel-wise and musically, which I'll tell everyone about soon enough in some sort of concert review. Here are some scribblings about the concert before I present my experience more coherently.
General details:
- Before the live concert, I was able to attend a final rehearsal featuring all the pieces in a way that was close to a show. It was a great way to see how Arnie Roth and the orchestra's leader interacted with the various members of the Royal Stockholm Philharmonic Orchestra. It had a good spirit and made me feel 'at one' with various orchestra members while introducing listeners to unfamiliar pieces prior to the concert. A great way to see the concert twice, huh?
- After the rehearsal, I attended a press rehearsal. Not too many questions covered anything beyond what was featured in my interview with Jason M. Paul & co., but there were some interesting things. E.g. Why Apidya was chosen instead of Turrican, how the Swedish composer dudes felt about VGM and getting their works performed live, why Rory Barrak was participating in the show, and, of course, what cars Uematsu-san and Huelsbeck drive. Nobuo Uematsu's responses were translated into Swedish only. ;_;
- Prior to the concert, the Powerplay performed in the lobby of the concert hall. The four-piece band, which plays rock interpretations of 8-bit themes such as Zelda, Mario, Gradius, etc., provided around 45 minutes of music and received a great reception. Their interpretations were energetic and precise, though stayed faithful to the original music, not even including elaborate endings; the arrangements were fun, brief, and well-performed, just as intended.
- The concert hall was rather large and packed with people. The audience was just wonderful. As Arnie Roth put it in the press conference, they combine the enthusiastic applause and jubilance of rock/pop concert goers yet are suitably restrained and respectful during the performance like classical concert attendees. It was largely thanks to them that there was a warm spirit throughout the hall and a great sense of occasion.
- Arnie Roth hosted the evening in English after a brief Swedish introduction from Stefan Forsberg, Executive and Artistic Director of the Royal Stockholm Philharmonic Orchestra. He was a fun, sincere, and inspiring host who really emphasised the strength of today's game music in both his speeches and, of course, the performances that he conducted.
- There was a 'meet and greet' for around 100 people. I received my ticket at the press conference. It featured four Swedish composers, European legend Chris Huelsbeck, conductor Arnie Roth, master percussionist Rony Barrak, and, of course, Nobuo Uematsu. I was able to get pictures of most of them and their autographs on the PLAY! program. I also got the chance to speak to executive producer Thomas Boecker for about 10 minutes, a wonderful guy with a sincere passion for game music.
- Arnie Roth seemed irritated with me because I was taking too many photos. I should have said I was a representative of a website. Because of that, I got 'pushed' along and missed a photo opportunity with Chris Huelsbeck. Still, I guess the 'meet and greet' was pretty packed and Roth was otherwise cool (I think he was getting pestered by Mrs. Roth...), though I did find the 'meet and greet' a little too rushed for my tastes despite it being a bonus. However, I ultimately got what I wanted...
- Attached is a picture of Nobuo Uematsu with me. On the left is Chris Huelsbeck, with his back turned next to the banner is Thomas Boecker, and on the far right is the orchestrator of the Chrono, Morrowind, and Super Mario suites. The picture was taken my Jason M. Paul, producer of PLAY! who was taking an active role administrating the 'meet and greet'.
A little about the pieces (more later):
- The PLAY! fanfare sounds very good live and was well-orchestrated by Arnie Roth.
- The Final Fantasy performances were the best of all the pieces that I have heard. The second concert item, "Liberi Fatali," was impeccably executed and literally sent shivers running up my spine. I preferred the rendition even to the studio recording thanks to the intensity and dramatic effect of the buildup. "Aerith's Theme" was as touching as ever and a real fan pleaser. "Swing de Chocobo" was magical live... it was deeply amusing yet remarkable musical musically. Its full effect can only be witnessed on stage. The performance of "One Winged Angel" really enhanced the orchestral arrangement and, like "Liberi Fatali," demonstrated the force of the choir that appeared on several items in the concert. It was used as a finale not just once, but twice, to the shock of the exhausted performers!
- The Swedish pieces -- The Chronicles of Riddick and Battlefield suites -- were among the biggest highlights for me. Though I wasn't familiar with them prior to the concert, they were both incredibly dramatic and emotionally moving pieces that featured Rony Barrak accompanying on percussion. Barrak added to the flavour of the pieces with his exotic rhythms and also provided two remarkably percussion solos inbetween items on the concert (one using just a terracotta pot!!). He was incredible and it was fun watching the sheer awe on the lead second violinist's face as he played right next to her.
- There was a lot of fun in this concert. The arrangement of a variety of Mario themes into a multifaceted medley was just spot on... sophistication and lightness combined while the melodies remained the focal points. Yuzo Koshiro's Sonic arrangement was quite alternative choosing to use instruments in an unusual way in conjunction with rich symphonic textures. It's not the Sonic most would expect, but was unconventional, endearing, and fascinating. A theme from the upcoming Blue Dragon by Nobuo Uematsu was also the second of three finales. It was light, airy, and melodic; perhaps not a masterpiece, but very appropriate given the youthful nature of the visuals and pleasantly orchestrated.
- I was a little shocked by the decision to use a unique arrangement of the Metal Gear Solid theme close to Tappy Iwase's original version given the phenomenal success of Harry Gregson-Williams' full-orchestral arrangement for Metal Gear Solid 2. Initially, I was disappointed, as I anticipated a performance of a familiar piece that would be about as inspiring as "Liberi Fatali"; however, on second listen, I warmed to the arrangement, which emphasised both the famous melody and the rhythmic fragments that were passed around through bass instruments.
- The Kingdom Hearts suite was too segmented for my liking. Featuring the opening of "Hikari -Orchestra Version-," the second part of "Fantasia alla marcia" (no "Destati" unfortunately), and, to end, the last part of "Passion -Orchestra Version-," the individual pieces were rich, but the transitions were near-enough non-existent. It felt abrupt, though was still very enjoyable.
- The electric guitarist in "Theme of Laura" from Silent Hill had little charisma. Actually a bassoonist for the rest of the concert (save for Chrono Cross, where he was acoustic guitarist briefly), his performance was too restrained and the balance wasn't quite right. Compare this to Akira Yamaoka's own guitar performance in the Chicago performance and it is sure to pale. I sure hope PLAY! manage to employ more talented guitarists next time, as this made the piece somewhat boring, particularly the feeble introduction.
- The Western game music choices were mostly dramatic. Jason Hayes' World of Warcraft suite stood out in the second half with its beautiful orchestral textures combining with oppressive percussion use. I was never a fan of HALO's music and can't remember the suite too well, but that was also a fan-pleaser. Jeremy Soule's Morrowind was also interpreted in a suite featuring the main theme and a battle theme that simply resounded with beauty. My favourite of all, however, was Chris Huelsbeck's Apidya, perhaps the most emotionally diverse piece in the concert that worked effortlessly on orchestra.
Conclusion:
It was an absolutely fantastic show that should be attended at some time by all those who enjoy at least some of the music featured. With high-quality and accessible orchestral arrangements of popular game themes in a variety of styles and moods, the experience will captivate and remain with you for the rest of your life. For me, the biggest highlights were the two Swedish suites, Apidya, "Liberi Fatali," "Super Mario Bros.," and World of Warcraft, though practically all were awesome in some way. Full review coming shortly...
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