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Along with her work on video games such as World of Warcraft, Irish composer and conductor Eimear Noone went down in history in 2020 when she became the first woman to conduct an Oscar orchestra. No one is surprised to see that the gap between classical music and video games is closing. “A lot of game composers come from the classical world, so it makes sense to apply it to whatever we do,” she says.
“For me as an orchestral musician, it’s very exciting to see how many people feel orchestral music as live music and music through their game consoles. I had the privilege of meeting literally tens of thousands of video game fans in person, and people would tell me, “Oh, my favorite song is from World of Warcraft, “And I’ll say, ‘Does that mean your favorite band is the orchestra?’ And they’ll say, ‘Yeah, maybe!’
While Land of silence not a video game production, Bocker has not deviated from the aesthetics of video games to make it appealing to today’s audience, not least when it comes to Shimomura’s music. “For Merregnon: The land of silence, that was the direction I wanted to go. Very memorable, accessible and playful melodies for all the characters and themes for the city and so on. ”
There is also an emphasis on education in Land of silence, like how Peter and the wolf introduced the children to the various instruments in the orchestra. IN Land of Silence, the characters have their own themes and tools. His character, the orphan Miru, is represented by the cello, her dog Mako by the marimba, and the antagonist Skisor by the clarinet. Boker hopes this will inspire questions about specific instruments from the audience, but he wants to emphasize that the focus is always on fun.
“Of course, the educational part is important, but we don’t want to make it too obvious. My main interest is to entertain people and, at best, to show them how cool an orchestra can be, what cool sounds can be made and how much fun the whole experience can be. ”
While many in the classical world see the benefits of the video game crossover, there is still a feeling among some classical music directors and purists that video game compositions do not stand up to the classical repertoire. Grammy-winning producer and director Arnie Roth believes these views only deter them.
“Why were these walls erected?” People don’t live their lives that way. “I understand and I would regret the loss of the classical foundations and structure, so it’s important to keep that, but it’s also important to change and evolve,” he said.
Roth believes that many who attend video game concerts will be receptive to great classical music when they hear it; the challenge is simply to get them to hear it so they can connect the dots between their favorite video game composers and what inspired them.
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