GG, Orchestra: Gamesymphonic Hits All the Right Notes
When I think about what to say regarding Gamesymphonic, I’m reminded of a moment from the show that sums it up nicely. Conductor Eímear Noone informed the audience that a Gamesymphonic album would soon be available on Apple Music, and in describing that album, she noted it was all music she would want to listen to herself.
In a nutshell, that’s what Gamesymphonic offers: the complexity and sophistication of an orchestra, paired with the widespread appeal of modern, recognizable music. It’s simply music you want to listen to. Beyond that initial draw, the program also benefits from its remarkable variety. There’s music from darker titles, lighter titles, AAA games, indie games, single-player games, multiplayer games, modern releases, and retro classics. The music itself features a wide array of characteristics—modern instruments, traditional instruments, vocalists, solos, varying genres, and more. No matter how you slice it, there’s something in the program for everyone. Additionally, unlike many classical concerts, the video game scores featured in Gamesymphonic tend to be shorter, making them more easily digestible for first-time symphony attendees.
The program opened with A Brotherhood of Heroes from Call of Duty: WWII by Wilbert Roget II. This piece begins slowly in the strings and gradually builds in intensity until it reaches a grandiose climax before returning to a soft, melodic ending. Following the opening, Noone informed the audience what they could expect from the show all the while cracking jokes, telling stories, and giving insights into the video game music industry. The next two pieces were Kingdom Hearts Suite from Kingdom Hearts by Hikaru Utada and Uncharted II Suite from Uncharted II by Greg Edmonson. Like A Brotherhood of Heroes, the Kingdom Hearts Suite starts softly and grows in intensity—though instead of fading away, it concludes in a triumphant fanfare. Also, in contrast to the first piece, the winds played a much more prominent role. The Uncharted II Suite was an ebbing and flowing piece that played with both tempo and dynamics to great effect.
The following selections were Baldur’s Gate: Dark Alliance II Suite by Craig Stuart Garfinkle and Wesker Battle from Resident Evil V by Kota Suzuki. Noone introduced these with a humorous explanation of the German word “Schlagzeug”, meaning “percussion” but which directly translates to “hit thing.” She then described how traditional instruments and global influences help shape video game music. These two pieces had a noticeably darker tone than the earlier ones. One can expect heart-racing tempos, heavy brass, and spine-tingling percussion. As Noone’s introduction suggested, these compositions also showcased a broader range of instrumentation—including, memorably, a trash can solo.
It wasn’t long, however, before the program returned to lighter themes with Sparks of Hope Suite from Mario + Rabbids by Grant Kirkhope, Fallout IV Main Theme by Inon Zur, and Fortnite Suite by Pinar Toprak and Marco Beltrami. Noone again provided entertaining personal stories about the composers as she introduced these pieces. The Sparks of Hope Suite had a light yet heroic tone, with fluttering flutes, stoic brass, and strings that alternated between bursts of rapid notes and melodic runs. Fallout IV felt reminiscent of A Brotherhood of Heroes—beginning with a gentle piano, layering in instruments, building to a clear climax, and finally returning to the original piano theme. The Fortnite Suite felt more like a back and forth between different sections of the orchestra, with winds, strings, and percussion each taking turns at center stage. The fluctuation between major and minor keys added a nice sense of balance to the composition.
The final piece before intermission was Lady Luctopus from Psychonauts 2 by Peter McConnell, which brought a completely different sound. It featured a swinging beat with obvious jazz influences—think tingling piano keys, blaring brass, and heavy drums. Following the intermission, the orchestra returned with No Escape from Hades by Darren Korb—another instrumentally diverse piece featuring electric guitar and heavy percussion. The tone was dark yet heroic, and the piece provided a good jolt of energy to start off the second half of the program.
This portion of the concert then moved into music from franchises Noone herself had worked on. It began with the War Within Suite from World of Warcraft by Adam Burgess, followed by Malach, Angel Messenger from WoW: Warlords of Draenor, composed by Noone herself. The War Within Suite was a dramatic composition filled with triumphant brass and strings accompanied by strong snare and bass drum. Malach, Angel Messenger was the first piece to feature a vocalist. The talented Viji Burma joined the orchestra in this striking number, which again showcased diverse instrumentation and traditional influences, evoking imagery of faraway exotic lands.
Next, we were treated to a sneak peek at music from the upcoming Vampire: The Masquerade – Bloodlines 2, including Chanson and Noir Masquerade, both by Craig Stuart Garfinkle and Noone Noone. As these songs are still unreleased, I won’t give too much away—but they were the jazziest pieces in the program.
Viji then rejoined the orchestra to perform vocals for Korobeiniki, a traditional Russian folk song best known as the Tetris theme. This fast-paced piece had an inverted structure compared to earlier compositions: it started with high energy, slowed in the middle, and picked up again to close.
The program ended with Legends Never Die from League of Legends by Sebastien Najand, Alexander Seaver, and Justin Tranter, featuring vocals by American Idol contestant Carly Smithson. This was followed by a surprise performance of Bury Me Alive by We Are the Fallen. These final two pieces were the most contemporary, feeling more like rock songs accompanied by an orchestra than the other way around.
What I loved most about this concert was that it was just fun. The music was fun, the conductor was having fun, and the audience was having fun. It was just a good time for everyone. It was amusing to listen to Noone’s jokes and anecdotes, it was exciting to see a live performance from We Are the Fallen, and it was nostalgic to hear songs from games I’ve grown up playing. Even for people who aren’t gamers themselves, this is such an accessible and enjoyable show. I can’t recommend it highly enough.
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As a software engineer for Microsoft by day, Brady Hammond moonlights as a musician, artist, writer, and all-around arts enthusiast in his free time. He received a B.A. in Linguistics from BYU in 2017 with minors in Scandinavian studies and computer science. Hailing originally from Georgia, Brady has enjoyed traveling the world. He spent some time living in Denmark before eventually returning to the states. He currently resides in Nashville with his wife and three children.
