Romancing SaGa La Romance :: Review by Dave

	Album Title:	Romancing SaGa La Romance
	Record Label:	NTT Publishing
	Catalog Number:	N30D-011 (1st Print); NTCP-5037 (Reprint)
	Release Date:	July 20, 1992 (1st Print); October 1, 2004 (Reprint)
	Content:	1 CD - 11 Tracks
	Purchase:	Buy at Game Music Online

Overview

Romancing SaGa La Romance is an exquisite arranged album that brings forward the true colour and flair of the Romancing SaGa Original Sound Version and expands it to timeless limits that have never been touched upon before. Masaaki Mizoguchi's expertise in the typical French styles of Impressionism and jazz gives the album a sense of originality, too; with far too many arrangers resorting to Celtic styles, this album is music to anyone's ears, with it certainly being something different. Kenji Ito, the composer of the four Romancing SaGa games to date, should be proud to hear his music relived to its full limits, with only the best tracks being chosen. Read on to see what makes this refined little gem so special and such a great listen.

Track-by-Track Reviews

1) Thème d'Ouverture

This arrangement of the main theme is dramatically introduced by a strummed guitar and some other interweaving instruments that create a sophisticated atmosphere. A heartrending violin soon takes over the melody and plays alongside some percussive instruments, each of which enhance every note. This section is filled with hope, joy, and a sense of action that could only signify an upcoming developed section. In a typical Andrew Lloyd Webber style, the melody transposes up a semitone into a new section where the melody is put forward for the final time in its most conjunct, desirable, and extremely emotional form. This track is a great start to the album, and provides a charming atmosphere for the rest of the arrangements to be based upon. (9.5/10)

2) Pot-pourri des Héros

This potpourri of the game's character themes is amongst the most sophisticated and cleverly formed that I have heard, but that doesn't mean that it is perfect. The sole problem with the theme is that some parts seem to conflict with each other, as although it is well formed, the rhythmic changes that Mizoguchi is ever so fond of seem to throw the overall feel. Nonetheless, in saying this, there is a clever section that lies towards the end of the theme where each of the themes are combined. In a sense, this restores balance to the track, and leaves a not so sour taste after an experience that could have been better if it weren't for a few rhythmic mishaps. Added to this, the development that the themes receive is extraordinary to the point that Mizoguchi truly enhances and clarifies the characters' personalities. Pretty impressive. (8/10)

3) Le Palais du Rêve ~ La Ville de Cristal

This piece, which is translated to "The Palace of the Dream - The Crystal City," is another strange arrangement that is jazz-based. The accordion and a violin open this rather jazzy track and the parts fit together really well here. Following this, it transitions rather poorly into a new section at the 0:50 mark. Strangely, we go into a more Classical string quartet, which doesn't fit the jazzy section at all. It is certainly interesting to hear what Mizoguchi has done with such a simple melody, but if he just left it as a jazz piece, it could have been so much better. Mizoguchi's transitions into different sections aren't exactly the best that I have seen, but his efforts are still commendable. Theme and variations arrangements are always interesting to listen to, though they need to have coherency and balance to be truly remarkable. (7.5/10)

4) Marche vers l'inconnu

"Marche vers l'inconnu," or "Walk Towards the Unknown," sounds traditionally Latin-American, relating to France through the French colonies in these areas. Violins and an accordion play a growing melody which rises and falls in dynamics and pitch here, and when this is combined with a series of stabbing chords and excellent transitions between sections, the overall effect is amazing. The flair of this arrangement makes it stand out far more than the previous two, and in my eyes this is quite an achievement. The sophistication of the melody is definitely the highlight, however, almost representing the seduction of one of the army officers; with frequent build ups and areas of intense action foiled by sudden drops in tempo and dynamics, a desirable lady toying with an officer certainly comes to mind. (10/10)

5) Echoppes Autour de la Ville

"Echoppes Autour de la Ville," roughly translated to "Shops Around the Town," starts off as a piano rag, to which a traditional fiddle, accordion, and penny whistle are added. The track is extremely upbeat, and this reflects upon the sense of community around the area that you are in. The fiddle melody is great, and it frantically moves everywhere giving us an enhanced traditional image of a town with thatched roofs and cobblestone roads. One can really imagine the main characters walking around a French hamlet here, so Mizoguchi's musical imagery is near perfect, though some may oppose the somewhat out of place drum line. Personally, I think that the drum line and the acoustic bass add to the playful nature of the track, and that the main problem lies in the track's length instead. It doesn't develop as much as it could do, and although it captivates the listener, it doesn't keep them as entertained as with the likes of "Marche vers l'inconnu." (9/10)

6) Perdu dans la Forêt

"Perdu dans la Forêt," or "Lost in the Forest," starts off as a piano arrangement that features an Eb clarinet descant on top. The track is almost surreal in the way that the melody is eerie yet beautiful, and even more so with the piano playing alluring chords to this melody. Yet it also adds a rather dark side to the track, which just lets it ring out nicely. The track combines the French styles of jazz and Impressionism, which is a very important part of their musical culture, and this works to the extent that it adds a very unique feel to an already accomplished melody. This style is exhibited in almost every track of the album, which is a touch of originality and mastery to the arrangements that Mizoguchi should be proud of. (10/10)

7) La Gloire du Chevalier

This track represents the glory of a knight, and it is extremely sophisticated due to the melodies and accompaniment offered to us. The melody repeats itself regularly, and it rises up the semitone giving us a theme that is filled with pride and elegance. An accordion begins the melody, yet the violin plays the main part of it, and with brief glissandos between the notes a great feel of tradition is created. The track is of impressive length, and it doesn't bore at all; in fact, it is a really inspirational track which flaunts itself through its instrumentation. The accompaniment is great, and the tom-toms are the main centre of the cool rhythm which the track bases itself upon. "La Gloire du Mizoguchi!" (10/10)

8) Tango du Pays des Frontiers

"Tango du Pays des Frontiers" shows Mizoguchi's experimentation with the style of the tango, which was first established in French colonies in South America. He certainly succeeds through combining forceful syncopated rhythms, an acoustic guitar playing in rasgueado style, lots of accordion use, and some swishy violin solos. It develops magically, never losing its punch, and it is perfect for dancing to. Extremely catchy and delightful to listen to, as well as hugely creative, this is one of the greatest arranged themes to have ever been created. (10+/10)

9) Le Village Désert ~ Thème de la Solitude

Masaaki Mizoguchi gives us another superb arrangement with "Deserted Village - Theme of Solitude." It begins with a typically French nylon guitar, and this plays a melody for which other instruments, such as the accordion, flow over. It is composed in a musette form, and once again we see the typical influence of jazz and Impressionism in this track. This theme creates a feeling of openness, and a great image idea of solitude is emphasised through the melody which at times is rather sad. The violin melody is typically folk-orientated, and it gives off a nice ringing tone when it is played. This is yet another great track, and it demonstrates Mizoguchi's skill and determination well. (10/10)

10) Il Etait une Fois : l'Histoire d'un Barde

This theme is lounge jazz music. It is led by the trumpet which plays a rich and beautiful melody, and drums, piano, and bass lightly accompany it. In the latter half of the track, the guitar plays a lovely solo that gives a little extra colour. Eventually the trumpet comes back in, and leads the track to a heartfelt conclusion. Whether a fan of jazz or not, this is undeniably one of the most heartrending and relaxing themes on the album, and it is perfectly in-keeping with the French theme. It's another additional layer of stylistic variety to Mizoguchi's already hugely diverse palette. (9.5/10)

11) Thème Final... La SaGa

This ending theme tells of the whole journey through the Saga. It is filled with feels of passion, desire, loss, and anguish, so Mizoguchi's task here is to re-create the raw emotions felt throughout the game. The melody moves slowly, and it rises when a violin secondary melody is added. The 2:10 mark sees the production of a very upbeat version of the melody and the bass line goes crazy here to create clashing rhythms and hemiolas alike. This section sees a dominance of electronic instruments, rather than traditional ones; we now see the introduction of a bass guitar in place of a double bass. The track builds up right until the end where it ends effectively, hence bringing the album to a fully rounded conclusion. (10+/10)

Summary

This album is a diverse one filled with Impressionism and jazz influences. Mizoguchi does wonders for the original score in this arranged album, and he has definitely done Ito proud. Upon listening to the Romancing SaGa Original Sound Version, you can't really see much area for improvement, but this album shows a completely different route that no other Square arrangers have undergone before. The integration of this French flair gives this album its own little signature of success, and despite a couple of disappointing arrangements, I'd definitely suggest to buy this album, simply for its most inspired arrangements. A great listen indeed.