Game Music Concert 5 ~The Best Selection~ :: Review by Dave and Nick

	Album Title:	Game Music Concert 5 ~The Best Selection~
	Record Label:	Sony Records
	Catalog Number:	SRCL-2739
	Release Date:	January 21, 1996
	Content:	1 CD - 12 Tracks
	Purchase:	Buy at eBay

Overview

The last of the series of hard-hitting orchestral arrangements that have shaped many concerts today, is sadly, the weakest of the bunch. Game Music Concert 5 ~The Best Selection~ has no grand tracks, has no long themes, and although there is action, there is a complete lack of relaxing themes. Indeed, there is a whole lot of fun that can be taken from the themes, but what have the new set of arrangers got to offer? A more important question though is, do the Kanagawa Philharmonic Orchestra perform to the standards set by the Tokyo Philharmonic Orchestra? Read on to see.

1) Kirby's Super Deluxe "The Gourmet Race ~ Collision Theme ~ Theme of Kirby's Return" (Written by Dave)

I know very little about the Kirby series, but was actually surprised with the music that it yielded; personally, looking at that pink little character conjured up an idea of 'lameness' in my head, so I can't have been more mistaken about the music, which is actually very compelling! "The Gourmet Race ~ Collision Theme ~ Theme of Kirby's Return" takes upon the task of starting the album; a duty which has been traditionally marked by strong and captivating themes, but with the theme starting off quaintly with some light strings and a plucked harp, does it pull off the task? Of course it does! Because with a very timely crescendo, the theme erupts into song and dance as the brass section come in to other their supreme textures. You'll find that the best part of this track are its melodies, and how they are strung together with seeming ease. Indeed, this is a very temperamental piece in that it tends to suddenly die into a quieter section through a subito piano, but then it continues to rise into a fortissimo section. But, all things aside, this is an accomplished arrangement from one of the series' many newcomers. (9/10)

2) Super Mario Yoshi's Island "Yoshi's Athletic" (Written by Nick)

Kurita has really come along way, in this series. He manages to spark such life with each piece he has arranged. It would be safe to say that he is really the Nintendo man. Koji Kondo's original masterpieces already had such life to them and along comes Kurita and adds his own magical style to them resulting in pure brilliance. While "Yoshi's Athletic" is certainly not his best addition to this series it certainly is catchy and fun. This piece takes the listener and brings them through a lovely animated pilgrimage though the wonderful world of Yoshi. There are no threats here and the fruity blend of optimistic strings and keen brass signify that. Development is small through this piece but that is not a bad thing because this keeps the orchestration true to the original, it basically is simple fun! The musical notes express such joy that you can actually picture the orchestra swaying their heads from side to side during the arrangements progression. Very enjoyable stuff! (8/10)

3) Donkey Kong Country "Water Music" (Written by Dave)

Undoubtedly one of the cheekiest themes on the album, "Water Music" is a great track that adds some light-hearted vibes to the album. The jazzy nature of its introduction is something that hasn't really been explored too often throughout the series, and although I was quite saddened to see it die down into the main "Water Music" theme, I found that the relaxing nature explored here is one that doesn't feature really anywhere else on the album. A slow melody played by an oboe and then some strings play marvellously alongside some plucked strings to create a solemn atmosphere that creates a great sense of purity. Yet, when more instruments are added, it almost seems as if this purity grows into beauty, as everything becomes all the more meaningful. I enjoy heart rendering themes like these deeply, but, I feel that it was misplaced alongside the introduction to the theme. Even more misplaced however, is the transition into the end section! Totally uncoordinated, we are faced with the same jazzy opening, with abrupt instruments and a swing rhythm that totally contrasts that of the section we just heard. This piece could have been great if it weren't for this. (7/10)

4) Fire Emblem II "Fire Emblem's Theme Song" (Written by Nick)

This piece starts off with what should have been an uproar, but is in fact a state of confusion. What should have been an effective introduction turned out to be one with restricted brass and barely audible strings. The percussion was the only highlight and even that sounded muffled. The 1:09 mark shows us what can happen when bad transitions take place; the percussion is built up, and suddenly they vanish and the woodwind enter. It was almost as if someone decided to steal the percussion while they were being played! At the 1:59 mark, another section commences and tries to be emotional, but once again, it just didn't work. The woodwind work is pretty, but not quite enough to make me sad. The person who stole the percussion kindly gives it back at the 4:14 mark, and although it makes a dramatic entrance that does not save this piece from being a disaster. Granted, the ending is slightly more powerful but once again the strings sound as if they are being forced to be played. The ending was great but that was only because I wanted the poor orchestra to stop suffering. What had the potential to be a magical piece ended up being horrendous. (6/10)

5) Dragon Quest VI "Evil Motif ~ Mudo's Castle ~ Shivering in Fear" (Written by Nick)

Sinister brass greet us here, but are stripped of their authority as Sugiyama's signature string ensemble enters. I believe they try to spark confusion and they do fairly well in that department, even though a few motifs sway more towards the emotional sector, though they never do truly get there. The 1:19 mark marks the end of the string ensemble and the entrance of the highly atmospheric brass. This section does surprisingly well at reemphasizing the confusion that the introduction managed to create. Disjointed string motifs along the way really help the flow of this section and add nice eerie touches. Comparing this part to the previous section it is clear what was missing, the brass ensemble. The brass featured here simply creates a great deal of frenzy and the ambient nature would be comparable to a theme featured in a desert where the characters are lost and puzzled, looking for an escape. The 3:03 mark signals the return of the strings, and finally they do well in invoking 'fear' amongst the audience. However, a bad point is the ending! It just stops. Just like that. It hits an interesting note and vanishes. (6/10)

6) Dragon Quest VI "Flying Bed" (Written by Nick)

Sugiyama certainly has not been too great throughout the series, but this arrangement is a step up from the rest. Its full potential is restricted by the strangled strings, but if you put that aside, the arrangement itself does particularly well in invoking the image of a lovely summer day with our heroes floating in the clouds. The percussion ensemble is the key part of the arrangement because they set up and carry on the charming and mischievous feeling. This track is similar to the second one because they are both playful and serve no real purpose except for adding a bit of life to the album. It was certainly a bit of motivation to carry me on. (7/10)

7) Hercules' Glory IV "Memories of Atlantis ~ Beyond the Horizon ~ Battle with the Goblins" (Written by Dave)

Once more, this is a game that I've never even heard of, but was surprised to see that "Memories of Atlantis ~ Beyond the Horizon ~ Battle with the Goblins" was a nice track with a dominant melody that I wish I had heard before, since I don't believe that this arrangement satisfied the original's full potential. A somewhat undermined, though clearly audible, flute line starts off the track before it is played over by a strong oboe line, and we are then whisked away into a very memorable melody. But, to me, the theme turns to dry all too soon, and sadly, it doesn't seem to be a fault of the arranger. What should be heart rendering melodies are spoiled by a lack of confidence from their solo performers, who perhaps feel a bit singled out at times. Yet, the melodies aren't difficult to play, and are ones that should be belted out with a great deal of heart. The climactic end that is offered around the 2:40 section, however, sees the total opposite of this as the brass make it near impossible to hear any of their lesser, stringed, counterparts. So, to me, there was a factor in this arrangement that seemed to kill it, and this was the orchestral performance from the Kanagawa Philharmonic Orchestra, who really weren't up to the top class standards of their predecessors. The poor clapping at the end of this piece reflects entirely upon this. (6/10)

8) Renasu II ~Sealed Believers~ "Erutsu's Distant Journey" (Written by Dave)

"Erutsu's Distant Journey" starts off with a suspicious brass melody that seems to give an image of a person embarking on a strenuous, and perhaps mystical, journey. Yet, when we are whisked away into an oboe line, it almost seems as if the orchestra are thinking way too far ahead for perhaps, something dramatic, that may happen on their page scrolls. Indeed, I was right, as pretty soon comes an uproar where the whole orchestra is involved. Everything picks up here, but upon careful listening, the tempo seems to be all over the place. Soon, some emphatic melodies and trumpet injections play alongside a timpani accompaniment, which, I feel was added to give the piece a little more sustainability. After all, percussion is a vital part in any piece, and it is easy to see that it held the last part of this dying arrangement together pretty well. It's been a while since I've seen Kohei Tanaka use such a technique to reinforce his melodies though. (6/10)

9) Bounty Sword "Invincible Knight" (Written by Dave)

Kohei Tanaka's arrangement of "Heroic Mission" from Bounty Sword truly does justice to the original theme, and I find that the name change to "Invincible Knight" is very suited, since this version does seem to have a little bit more of an epic character to it. Typically starting off with a Soul Calibur-esque orchestral uproar, we are soon led into an invigorating melody that is coupled with dynamic flair from the percussion and wind sections; this section is well wrote, with there being a number of textural and contrasts in timbre, and thankfully a neglect of the string section, who have underperformed throughout the album. 2:06 sees the birth of a much more relaxed section that is headed by a plucked 'cello and a quaint oboe, but frankly, I received more reverberation and pleasure from the muffled background noises that litter the whole track! Soon enough, the original melody returns, and once again we set about on our epic journey. Tanaka makes a big mistake as we lead out the arrangement though, in that he gives the string section a main part. One would have hoped that this could have been rewritten, considering their lack of flair in other tracks. When I have to turn my speakers up to hear them, that is certainly a bad thing. (7/10)

10) Iihatoovo Story "Iihatoovo Hymn" (Written by Dave)

A 'hymn' is a song of praise or thanksgiving, and I'm glad to tell you, that this piece doesn't abuse this by any means. The sacrilegious melodies developed throughout are quite stunning, and with a dominance of brass, everything is heightened to an overall epic aurora. The strings perform in this piece like never before, and actually seem to create a reverberating atmosphere around themselves when they die out to let a single trumpet shine. Intriguing brass and oboe intersections develop throughout this piece to emphasise the main theme, and, combined with some great harmonies from the string section, that sense of holiness is truly created. My only qualms with this arrangement are its length, and the ending. The ending just seems to be the theme dying away, rather than of something glorified like the title suggests. For me, the experience would have been better if it went on for a minute more, exploring what is left of that melody. The crowd seemed to like this arrangement the most! (9/10)

11) Seiken Densetsu 3 "Meridian Child" (Written by Nick)

The original composition really succeeded in getting the listener ready for the amazing journey that our protagonists faced ahead. This arrangement succeeds eminently well in migrating the same ideas that the original set up. The introduction boasts a fancy build up that eventually leads into the main theme, it is odd because the orchestra actually sounds half decent here. On a more critical note though, the strings do limit the power of the build up, but the brass compensates for that in the main theme by bringing a majestic feeling. The 1:15 mark being in the emotional sector and achieve in that department due to the passionate string ensemble. Moving along we see the original composition expanded as the powerful percussion enter coupled with more brass instruments. The strings are barely heard and that is a good thing if you consider their weak performance on this album. At the 3:06 mark, certain notes tell us that the piece is closing in on the mega finale but a non-existent transition give birth to the entrance of the woodwind which play a few pleasant motifs before the brass enters again with a final bang. This piece certainly stayed true to the original while adding a few touches of its own, quite enjoyable nonetheless. (8/10)

12) Chrono Trigger "Theme of Chrono Trigger" (Written by Nick)

I loved the original, I simply loved it. This orchestration does amazingly well in capturing my love and developing it in remarkable ways. Effective percussion work leads into the main theme compassionately by the brass and strings. A thing to note is that the strings are used to their full advantage here, which really makes me believe that it was played by a different orchestra! The strings and brass take alternating roles in playing the main theme while the other ensemble provides soothing backup for the lead. The bass of this composition is certainly the militaristic snare and other percussion effects to add a bit of dazzle. The strings are beautiful at the 1:22 mark and are just as effective, if not more effective as the synth used in the original. For the first time, a decent transition is used at the 2:10 mark unlike the weak ones that this album had previously. A lovely French horn plays "To Far Away Time," and the string ensemble come in after 2 motifs. This section is certainly effective because of the way it weaves the amazing feelings that an orchestra is capable of. Another cleverly done transition follows and we progress back into the main theme, it is similar to the introduction but turned up in volume slightly for emphasis. The whole orchestra manufacture a mind blowing build up towards the end, leaving the listener feeling much better than they did during the progression of this weak album. (9/10)

Summaries

Written by Dave

The last album of the series, Game Music Concert 5 ~The Best Selection~ is undoubtedly the weakest, although it does still contain some gems. For me, there were two bad points: the orchestral performance, and the quality of the arrangements themselves. The fact that only Koichi Sugiyama, Kohei Tanaka, and Nobuo Kurita returned led to what was an album filled with new and inexperienced arrangers that I felt, but too much trust in the orchestra to let their themes heard. Ironically though, it were the arrangers that returned who saw their arrangements the least fulfilled. Undoubtedly, this was because this album was written to be performed by the Tokyo Philharmonic Orchestra, who, by now, they knew the ins and outs of; yet, it was the Kanagawa Philharmonic Orchestra who stepped forward to take the roll. Indeed, when an inexperienced orchestra meets a nervous arranger, one of them is bound to underperform. If it weren't for their reclusive nature, I am sure that this would have been a great album. (7/10)

Written by Nick

It pains me to say this but Game Music Concert 5 ~The Best Selection~ is easily the worst addition to the series. The previous selections contained such life and power, and I loved them so much. Granted there are a few positive pieces here, but, there are also a few mediocre ones. The previous albums did have a few weak arrangements but nothing of this magnitude. The arrangements from Kurita certainly added a bit of personality to the album. I sometimes think that the potential of this release was restricted a great deal by the orchestra which consisted of weak brass and strangled strings. Indeed, the woodwind work was fairly decent, but not plentiful enough to save this arranged album. It pained me to see the exclusion of the experienced Tokyo Philharmonic Orchestra, and I feel this album would have been much better had it been included. The art work itself suggests a massive decrease in budget! The exclusion of Yoko Kanno certainly held back the albums potential, too, and so it was a weak end to a remarkable series. (6/10)