Next Level is an attempt to bring new video game and classical music worlds to people who don't even know they exist. Like a dark-chocolate-bacon truffle, these pieces are much more delightful than the title alone may suggest. Give these suggestions a try!
This week — Respighi goes dragon hunting and Dead Space 2 meets its Polish composer-soul mate.
For classical music lovers
If you like …
Respighi - The Pines of Rome
Vaughan Williams - Fantasia on a Theme by Thomas Tallis
Then you should check out …
Jeremy Soule - Skyrim
Because …
Granted, these are two dissimilar pieces with an undeniably different emotive response. The soundtrack to the game Skyrim, likewise, needs to carry the affective weight of the epic, sprawling story it accompanies.
Labeled by classic FM as one of the top 15 great computer game scores, its opening tune (a Skyrim overture, if you will) carries a driving weight and thumping passion reminiscent of The Pines of Rome, complete with a male chorus singing in the language of the game's dragons. This award-winning opening tune is reason enough to listen to the soundtrack, but the pieces stray from a stereotypically adrenaline-fuelled musical narrative. There are meditative acoustic guitar solos, and beautiful brooding strings reminiscent of the haunting Fantasia.
The massive soundtrack is several hours long, but even skipping through the tracks will reveal its similarity to these two classical pieces. Side effects may include a newfound love of swords and dragon lore.
For video game music lovers
If you like …
Jason Graves - Dead Space 2
Then you should check out …
Penderecki - anything
Because …
Aside from your love of horror and space-y things, you probably love modern classical music.
You're skeptical? Okay, turn on the Dead Space 2 soundtrack to one of the creepy sections. Now look up a Polish composer named Krzysztof Penderecki. Pretty much anything written since the '70s will work. Press "play" and remember that this is classical music … and it would work in a horror film. Really well.
Even if you don't like the music that much, look at Penderecki's music in the context of the social atmosphere during the time he composed them. The chaos, dissonance and terror make sense. Now all we need is an opera called Penderecki in Space…
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