I’ve spent the last few weeks writing about video game music, and this post will continue that series. This week, I want to talk about the phenomenon of the video game music symphonic concert.
Here’s how this type of usually concert works: a producer gets the rights to the video game music, contracts arrangers to make a symphonic version, and then tours by bringing a conductor and production crew to a stationary orchestra. The traveling conductor and the new orchestra rehearse the music for a week and then put on the show, usually with a big video screen for highlighting game play.
This week, I attended one of these concerts. While most of these types of concerts feature music from several video games, the one I attended was themed—all the music was from the Zelda video game franchise. The Zelda games are a logical choice for this type of concert; not only is game and its music well-regarded and memorable, music also plays a vital role in the game itself, with the game characters usually playing some sort of musical instrument to unlock puzzles or gameplay. This particular concert hailed itself as something even above a normal video game music concert: “Featuring a first in video game concert history, The Legend of Zelda: Symphony of the Goddesses has been arranged and programmed with classical sensibilities in mind, organizing the music of this beloved franchise into a complete, 4 movement symphony…” (http://zelda-symphony.com/concert).
Setting aside the question of what “classical sensibilities” actually are, I think this advertisement demonstrates how these concerts are advertised and perceived: gamers are invited to see their beloved, low-art music turned into “high art.” And I think this expectation was played out in how people came to the concert; while many concert-goers came in cosplay as Link or other characters, or in fan t-shirts, many more people were in formal dress—strange for a casual place like Hawaii.
So, how was it?
The “symphony” itself, which was the centerpiece of the concert, was actually pretty well done. While not really a symphony, it was well orchestrated and was more than just an elaborate version of the video game music with as many recognizable themes stuffed in as possible. The transitions were satisfying and interesting, both recalling the original music at times, while also experimenting some. I think if the entire concert were of that quality, I would have been satisfied with it. However, the reality is that many of the arrangements were poorly done; sometimes not even as complex or satisfying as the original music, despite the trappings of symphonic orchestration. The lack of good writing was very evident in the endings, which mostly just fizzled out; I don’t remember any strong endings, despite some very powerful musical themes. Video game music doesn’t usually have endings, actually; instead the music transitions or fades when it doesn’t simply loop or repeat. Despite this problem, I think the arrangers really could have used some creativity to construct satisfying endings.
My opinion was also shaped by the orchestra; there were many times where the orchestra was not together. While I’m tempted to blame the orchestra for not knowing the music better (and that probably played into it), I couldn’t help notice that the orchestra made less mistakes during the better arrangements, leading me to believe that perhaps the orchestra didn’t play them well because they were badly written. Also, of course, the orchestra only had a few days to rehearse and sightread very unfamiliar music (though orchestras do this all the time).
I couldn’t decide whether I liked the video screen or not; I also heard mixed opinions about this as the show was getting out. It was both immersive and distracting. It certainly made me pay less attention to the orchestra.
What did I learn from the experience?
- One very positive result of video game concerts is getting young people into the orchestral hall—and they are excited to be there. Getting young people to the symphony is extremely important for the future of orchestras as the average age of orchestra concert attendees gets older and older.
- It takes a lot of careful wrangling to make video game music work in a concert setting. I would bet that instead of just shoving as many themes in an excerpt as possible, as happened in a few of these arrangements, arrangers would do better to pick fewer themes and arrange them very well, exploring themes and orchestration and maybe trying new and varied settings of the themes. I think if done right, the gamers would understand and enjoy.
- With the cheapest tickets at around $50, and most between $70-120, I think the concert was too expensive, especially if the main audience is young people. On the other hand, this type of show is very expensive to put on; not only do the producers pay for travel, equipment, and game licensing, they also pay for a whole orchestra (with choir!). Orchestras generally lose money at the box office on every performance and stay afloat only with the help of generous donors. If I were to put on a traveling show like this, I would try make the orchestra smaller. On the other hand, part of the draw is to have a full orchestra!
- The concert was a commercial for Nintendo as much as anything else, and indeed the company did underwrite the concert, though I don't know how much. I know I wanted to pick up the featured games that I hadn’t played.
- Video games are about interaction, but there was remarkably little interaction in this performance. I think the concert would have been much better with some sort of audience participation. One of the most memorable things was what the audience members shouted in between pieces—lines from the game that everyone immediately understood. Like rock concerts, people are usually there to see things they are familiar with already; how could these shared experiences be harnessed to give concert-goers a more memorable experience?
- In other end, though, I have to admit that there were a few goosebump moments where I was glad to be there.
Vocab: symphony, orchestra, theme