The Final Fantasy Collection

Originally composed by Nobuo Uematsu for Final Fantasy VII, One-Winged Angel has become one of the most celebrated and instantly recognisable themes in video game history. Written as the climactic final boss battle music for Sephiroth, it shocked audiences in 1997 with its unprecedented combination of full orchestra, rock idioms, and Latin choral writing—a sonic representation of chaos and transcendence. Our arrangement takes inspiration from Shiro Hamaguchi’s official piano transcription, expanding its virtuosic textures into the dramatic scope of a symphony orchestra. Echoing the rhythmic ferocity and ritualistic tension reminiscent of Igor Stravinsky(1882-1971)’s The Rite of Spring, this version emphasises sharp contrasts, percussive energy, and primal orchestral colours. The result is both an homage to Uematsu’s original and a reimagining that places the work firmly within the symphonic tradition, highlighting its ritualistic drama and its enduring influence on game music.

“J-E-N-O-V-A” is one of the most iconic battle themes from Final Fantasy VII, composed by Nobuo Uematsu. It accompanies the eerie and intense confrontations with Jenova, the mysterious alien entity central to the game’s plot. Originally, the piece fuses electronic, orchestral, and progressive rock elements to create a futuristic and unsettling atmosphere. With its fast-paced, syncopated synth arpeggios and relentless rhythm, the track generates a sense of urgency and alien tension that sets the tone for high-stakes encounters. Over the years, “J-E-N-O-V-A” has been adapted into various styles across the series, each exploring new facets of its energy. In this rearrangement, the piece takes on a dramatically different character. Reimagined through the delicate timbres of celesta and vibraphone, it evokes the sound of a music box—intimate, fragile, and nostalgic. Stripped of its original intensity, the music no longer portrays Jenova as a terrifying, alien threat. Instead, it reflects Sephiroth’s perspective, imagining Jenova not as an enemy, but as a mother. With this reinterpretation, the piece speaks in the soft, gentle voice of maternal longing, filled with innocence and melancholy. It becomes a lullaby—not for the gamers, but for Sephiroth himself.

“Eyes on Me” is the love theme from Final Fantasy VIII, one of Nobuo Uematsu’s masterpieces, released in 1999 as the first Final Fantasy pop ballad. Its beauty has been shared with audiences worldwide. It depicts the romance between Julia Heartilly and Laguna Loire in FF VIII. New notes in the high register is added in this arrangement to imitate the stars at night which are far from reach, just like the unfulfilled love of the protagonists.

Not alone captures the scene in FF9 of the character Zidane in trying to fight alone, whilst his friends came to help him and told him not to give up. In this arrangement, the materials in the introduction are reused as another melodic theme with some modifications and development to evoke a sense of uneasiness. It is further altered with different starting notes and staccato in the next section, bringing forth a positive atmospheric change and signifying the presence of his companions as suggested by the title. Transitions are added before and between the next section to allow a gradual move to the climax.

Originally composed as the nighttime theme of Labyrinthos in Final Fantasy XIV: Endwalker, Dreams of Man reflects the Sharlayan people’s devotion to knowledge and their hopes for humanity’s survival. Labyrinthos itself is a vast subterranean sanctuary, built to safeguard wisdom and research against impending calamity. Its nocturnal theme carries a tone of quiet reverie, both a lullaby for the tireless pursuit of learning and a meditation on the fragility of mankind’s aspirations. This enchanting valse à deux temps/Russian waltz (Вальс в два па) arrangement captures the ethereal and serene essence of the original Final Fantasy XIV soundtrack. Crafted for piano, vibraphone, and violin, the piece weaves a delicate tapestry of sound that evokes the tranquil stillness of a Labyrinthine night, with stylistic echoes of Russian composers Pyotr I.Tchaikovsky (1840-1893) and Dmitri Shostakovich (1906-1975). Starting with the vibraphone, it adds a shimmering, celestial sparkle, like stars twinkling in a quiet sky; while the piano lays a soft, flowing foundation, its gentle chords echoing the dreamlike yet melancholic quality of the melody. The violin’s tender, soaring lines bring an intimate, heartfelt warmth; emphasise the power of hope and belief. Together, these instruments create a reflective and intimate atmosphere, preserving the original’s silent, dreamy vibe while inviting listeners to drift into a world of nocturnal wonder and contemplation.

Originally composed by Yoko Shimomura, Somnus is the main theme of Final Fantasy XV. First introduced in 2008, the piece is written for solo voice and orchestra with Latin text, creating a prayer-like atmosphere that reflects the game’s central themes of destiny, sacrifice, and tragedy. With its haunting piano introduction, lyrical strings, and solemn choral style, Somnus has become one of the most recognisable themes in the Final Fantasy series.This arrangement reimagines the work for a chamber ensemble of celesta, flute, oboe, English horn, clarinet, violin I, violin II, and double bass. The celesta lends a delicate shimmer in place of the piano, while the woodwinds and strings add warmth and depth. The result preserves the intimacy and beauty of the original while offering a more lyrical and colourful sound world that highlights the expressive character of Shimomura’s theme.