Music of Final Fantasy I and II

Music Of Final Fantasy I And II

The music of the video games Final Fantasy and Final Fantasy II was composed by regular series composer Nobuo Uematsu, who would go on to be the exclusive composer for the next seven Final Fantasy games. Although they were composed separately, music from the two games has only been released together. All Sounds of Final Fantasy I•II, a compilation of almost all of the music in the games, was released by DataM/Polystar in 1989, and subsequently re-released by NTT Publishing in 1994. Symphonic Suite Final Fantasy, an arranged album of music from the two games by Katsuhisa Hattori and his son Takayuki Hattori was released by DataM in 1989, and re-released by NTT Publishing/Polystar in 1994. Final Fantasy & Final Fantasy II Original Soundtrack, another arranged album, this time by Nobuo Uematsu and Tsuyoshi Sekito, was released in 2002 by DigiCube and again in 2004 by Square Enix.

The music was well received by critics; reviewers have praised the quality and power of the original songs, and reacted favorably to the arranged soundtracks. Several songs, especially "Main Theme" and "Matoya's Cave", remain popular today, and have been performed numerous times in orchestral concert series, as well as having been published in arranged and compilation albums by Square Enix and outside groups.

Read more about Music Of Final Fantasy I And II:  Concept and Creation, All Sounds of Final Fantasy I•II, Symphonic Suite Final Fantasy, Final Fantasy & Final Fantasy II Original Soundtrack, Legacy

Famous quotes containing the words music of, music, final and/or fantasy:

    So gladly, from the songs of modern speech
    Men turn, and see the stars, and feel the free
    Shrill wind beyond the close of heavy flowers,
    And through the music of the languid hours,
    They hear like ocean on a western beach
    The surge and thunder of the Odyssey.
    Andrew Lang (1844–1912)

    For the introduction of a new kind of music must be shunned as imperiling the whole state; since styles of music are never disturbed without affecting the most important political institutions.
    Plato (c. 427–347 B.C.)

    After a month or so I get used to the book’s final stage, to its having been weaned from my brain. I now regard it with a kind of amused tenderness as a man regards not his son, but the young wife of his son.
    Vladimir Nabokov (1899–1977)

    The traditional American husband and father had the responsibilities—and the privileges—of playing the role of primary provider. Sharing that role is not easy. To yield exclusive access to the role is to surrender some of the potential for fulfilling the hero fantasy—a fantasy that appeals to us all. The loss is far from trivial.
    Faye J. Crosby (20th century)