The Glasshouse

On Sunday 9 June, Royal Northern Sinfonia will welcome conductor Eckehard Stier and pianist Mischa Cheung to create an otherworldly experience in Sage One with Final Symphony II: Music from Final Fantasy V, VIII, IX and XIII.

If you’ve ever wanted to hear the soundtracks of Final Fantasy V, VIII, IX, and XIII live, here’s your chance. It’s music that transcends the gaming experience and entertains even audiences who’ve never visited these imaginative worlds.

We caught up with Eckehard Stier and Thomas Böcker, the show’s producer, to hear about their homage to the art of music in storytelling while scoring beloved narratives.

Why do you think video games and film scores are such popular events played with live orchestras? 

Thomas – In a concert hall, a collective remembering takes place when music is performed live by an orchestra, and the power and fragile beauty of the sound surprises the audience. Sometimes, people are not convinced by usual classical programmes because they don’t reflect the reality of their lives. It can be different at game and film concerts. You can indulge in nostalgia with like-minded people or discover nuances in music you’ve never experienced.

Eckehard – The standard of game and film scores has improved so much over the last few decades. With Final Symphony, we mark the top. This firework of concentrated emotions combined with the sound of a huge orchestra gives you goosebumps.

How did you collaborate with composer Nobuo Uematsu to adapt his iconic music of Final Fantasy V, VIII, IX, and XIII for a live orchestral performance?

Thomas – For Final Symphony II, I collaborated with Nobuo Uematsu and Masashi Hamauzu, the latter of whom contributed his arrangement for Final Fantasy XIII. The work on the scores mainly involves teaming up with arrangers Jonne Valtonen and Roger Wanamo to bring the original music into a live orchestral setting.

Based on the games, we research the storylines and see which pieces are suitable for realisation. The challenges are many, one of which is adapting music from 8-bit or 16-bit games for an orchestra – but it’s rewarding. It appeals to us the most, as it means a creative approach using lots of our ideas.

What were the most surprising elements of bringing video game music to a live symphonic setting?

Thomas – There are still people that don’t seem to be aware of how important video game music is to people nowadays – and what a high level of craftsmanship it offers.

Eckehard – The atmosphere in the concert halls is always something very special. You can hear a pin drop during the concert. The eruptive discharge of the audience at the end of a concert is always sensational for all the artists on stage.

What do you hope the audience will take away from the Final Symphony II concert at The Glasshouse?

Thomas -I want them to leave feeling orchestral music has something for everyone and can convey an incredible range of emotions. There’s no substitute for the live experience.

Eckehard – Final Symphony II is a powerful mélange of breathtaking atmosphere, wonderful melodies and harmonies. The audience will love this experience, I promise!

Which video game or film soundtracks would you love to produce in the future?

Thomas – Well, with over 20 years in the field, we have achieved what we wanted. Instead, I’d like to continue with my original projects like Merregnon: Land of Silence or Merregnon: Heart of Ice. They’re symphonic fairy tales with new, exclusive music by Yoko Shimomura and Nobuo Uematsu. We’re designing them to introduce entire families to the beauty of orchestral sound, a kind of Peter and the Wolf for the PlayStation generation, with an aesthetic inspired by anime and manga.

Eckehard – I look forward to all the concerts that Thomas Böcker produces. He has great feelings and the necessary taste to make things correctly. So, I’m looking forward to some new scores. Which? Of course, I can’t reveal that here yet.