You can hear that I was thinking about plainsong in the track “For Ever”.” “The beauty of his choral writing pushed me forwards, and his extraordinarily clever use of plainsong was also incredibly influential and inspirational. Although there aren’t any direct harmonic comparisons between the two scores, there is definitely a profound connection between the works. Everybody’s Gone To The Rapture as an overture to Maurice Duruflé’s RequiemĬurry: “I sing in a choir, and at the time of writing Everybody’s Gone To The Rapture, I was singing Duruflé’s Requiem, which is an absolutely stunning piece and one of the greats of the choral repertoire. Tl dr - Curry knows both worlds pretty darn well, and is finding success straddling them. ( And she was named as composer-in-residence for the London Oriana Choir.) And, she recently presented the PlayStation In Concert show, performed by the Royal Philharmonic Orchestra, at London’s Royal Albert Hall. For some, this was an overdue recognition of the maturity of both video games, and the work of the composers that score them. In 2017, she was hired by Classic FM to front the new series High Score, recognising classy game music, and helping to significantly boost its under-25 listenership. In 2016, Curry staged the premiere of Dear Esther Live at the Barbican, a show featuring live gameplay, narration, and music. A large part of that is down to her crafting game soundtracks that stand up as contemporary classical music in their own right, and recording them with world class classical performers. Curry has, in some ways, become the spymaster general when it comes to infiltrating the classical world with video game music. Jessica Curry – Composer ( Dear Esther, Everybody’s Gone To The Rapture) Presenter, Classic FM’s High Scoreīy way of her own growing profile as a composer and now presenter, Ms. Pieces are embedded below, but for further listening, here’s a handy YouTube playlist, Spotify playlist, and Apple Music playlist - selections vary a little across the three. In order to help game music fans begin (or continue) their journey of exploration into the world of classical music, we asked composers Jessica Curry, Austin Wintory and Lloyd Coleman, podcaster Emily Reese, members of the Videri Quartet, and arranger David Peacock to pick video game and classical works that, for them, musically resonate with one other. Tendrils of inspiration stretch in both directions (clearly Dvořák would have dug the J-rock of Guilty Gear Xrd -Revelator- ), but mostly from the work of the classical greats into that of game composers. Melodies that reach into your chest and tug violently at your heartstrings flourishes and virtuosity that leave you gawping in disbelief passion-inflaming passages that will inspire you to want to kiss someone)Ī musical venn diagram would show significant crossover between the two worlds, with a growing number of people and works sitting comfortably in the middle. ‘Classical’ is a similarly nebulous label under which we sweep (some might say dismiss, or condemn) vast quantities of music new and old.Ĭlassical music is also, some would have you believe, both a dying art, and plagued by a defensive elitism - video game fans know a thing or two about the latter.īut those who know anything about classical music, like those who take an interest in game music, will attest that there are works of such emotional nuance - some grand, some intimate - that they can change your life. ‘Classical music’ isn’t a unified thing either, even though, viewed from the outside, it might seem like an intimidatingly vast body of work. orchestral pomp, big band jazz, chill electronica, country songs), there are also numerous overlapping areas of activity: soundtrack releases live performances and experimental art projects fan covers, remixes, and rearrangements and a community built around critical analysis (writers, YouTubers, etc.) ![]() As well as video game music being incredibly diverse of musical styles (e.g. ‘Video game music’ is not one thing, and it’s certainly no longer just the sum of music directly produced for video games it currently serves as a useful, if nebulous, umbrella term. We highlight some accessible (but still brilliant) classical works that fans of video game music will love - with the help of composers Jessica Curry, Austin Wintory and Lloyd Coleman, podcaster Emily Reese, and the Videri Quartet. Listening to classical music can be glorious, even life-changing, but it’s a field that’s daunting to navigate.
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