As the show continued, we were treated to a wonderful performance of вЂAerisвЂ™s ThemeвЂ™, as well as the first of two performances by solo vocalist Susan Calloway, FFIXвЂ™s вЂMelodies of LifeвЂ™. As I alluded to earlier, the accompanying video, which in addition to a montage of some of Final Fantasy XвЂ™s more moving scenes also included a number of shots of the ruins of the eponymous city, rendered this song even more poignant than usual. After a brief musical indulgence in the form of the seriesвЂ™ signature Victory Fanfare (without which, as Roth quipped, the night just would not be complete), the concert continued with a rendition of вЂTo ZanarkandвЂ™. Once the crowd calmed down, Roth took the opportunity to provide an introduction to the concert, showcasing an ebullient personality and passion for the material which would only further enhance the evening. After the opening piece was completed, Uematsu crossed the stage on the way to his seat, prompting a round of applause that can only be described as thunderous. The show began (appropriately enough) with вЂOpening вЂ“ Bombing MissionвЂ™ from FFVII, during which the gameвЂ™s opening scene was shown. While this could at times seemВ superfluous, it more often than not enhanced the experience. The tone of these videos ranged from comical (вЂChocobo ThemeвЂ™) to awe-inspiring (вЂOpening вЂ“ Bombing MissionвЂ™) and even poignant (вЂTo ZanarkandвЂ™). On a screen above the stage, they projected footage (gameplay, cutscenes, even concept art) taken from whichever game corresponds to the music being performed. I know I still canвЂ™t listen to Final Fantasy VIIIвЂ™s вЂNever Look BackвЂ™ without mentally reliving the chase out of Dollet (which I always found to be a particularly tense sequence in my younger years), to say nothing of the host of others, from the melancholy of вЂAerisвЂ™s ThemeвЂ™ to the urgency of вЂClash on the Big BridgeвЂ™, that have the same effect.ДЄs for the concert itself, before I talk too much about the music, I should mention the video component. Ask anyone, most fans will tell you that hearing a particular song can transport them instantly to the moment in the game at which that piece most stands out. Indeed, music has always been a tremendous part of the Final Fantasy experience. I still vividly remember playing through Final Fantasy VII for the first time, those many years ago and wishing I knew somewhere I could buy the soundtrack. Many was the time I would tear a new Final Fantasy title out of the shrink wrap and start the game, only to find myself just as excited to experience the soundtrack as the game itself. To say that Uematsu-sanвЂ™s singularly masterful scores were but a minor part of that would be a grave understatement.

As I said, IвЂ™ve been a long time fan of the series, eagerly awaiting each new release as well as immersing myself in the classics for something like fifteen years now.

I feel I should preface this with a personal note. Indeed, even setting aside the show itself, just being there for what conductor and musical director Arnie Roth described as вЂњthe first concert of Final Fantasy music in New York City,вЂќ with legendary composer Nobuo Uematsu in attendance and a veritable legion of fans (including, of course, a number of cosplayers) in the audience, one could not help but feel they were witnessing something special. Rather, and I say this as a lifelong gamer and long time fan of the Final Fantasy series, it was an experience.

At the risk of stepping into the realm of hyperbole, this was not merely a concert. On the evening of Saturday, April 2 nd, I was fortunate enough to attend the Distant Worlds: Music from Final Fantasy concert at the BAM Howard Gilman Opera House in New York City.

Distant worlds music from final fantasy