Full dectet, harp, percussion, vocalist, conductor, projectionist
Fifth House Ensemble, composer Austin Wintory, and arranger Patrick O’Malley team up to create an original, interactive arrangement of the Grammy-nominated score to Journey for the ensemble’s full instrumentation, with added percussion and harp. Mirroring the breathtaking synergy between score and action in this transformative video game experience, this arrangement is constructed in short trigger points that allow the ensemble to be responsive to the actions of a live game player in real time. In live performance, a single player joins the ensemble on stage, with the game’s stunning visuals projected live on screen, as the ensemble seamlessly underscores their journey.
In 2016, Journey LIVE raised $52,505 on Kickstarter from 1,196 backers all over the world. Check out the campaign here.
For a distillation of all that is promising, unique, and breathtaking in the video game experience—an experience in which gameplay, art, and music weave together on an almost operatic level—the most hardened skeptic might do well to spend an evening with 5HE and Journey. According to the game’s own website, “Journey is an interactive parable, an anonymous online adventure to experience a person’s life passage and their intersections with others.” The evening-length program will never sound the same as each performance; every decision by the live player results in a unique musical outcome within Wintory’s haunting, mystical score.
“Journey inhabits this really beautiful balance between unique and simple gameplay, emotionally-charged string melodies and a mystical art style.”
– Kayla Herrera, CinemaBlend
Game Play Video:
“Putting “Journey Live” together isn’t as simple as giving someone a controller and a copy of Journey while musicians play off of sheet music. Journey publisher Sony Computer Entertainment provided the Fifth House Ensemble with a special version of the game that only contains the sound effects, not Wintory’s music; that way, the group said, “You’ll hear all of the swishing sand, creaking metal, and blowing wind mixed with the sound of our live instruments.”
– Samit Sarkar, Polygon
Journey at MAGFest
Saturday, February 20, 2016, 2:00pm
Gaylord National Resort and Convention Center
201 Waterfront Street
National Harbor, MD 20756
$75 Festival Pass
Journey at Steppenwolf Theatre
Sunday, February 28, 2016, 7:30pm
Steppenwolf Theatre, 1650 N Halsted Street
Chicago, IL 60614
$25 General Admission
Journey at Florida Atlantic University
Saturday, April 9, 2016, 7:00pm
University Theatre, 777 Glades Road
Boca Raton, FL 33431
$15 Reserved Seats
Journey at University of Illinois at Springfield
Saturday, April 16, 2016, 8:00pm
Sangamon Auditorium, 1 William Maxwell Lane
Springfield, IL 62703
$44 Reserved Seats
Journey LIVE at National Sawdust
Friday, July 8, 2016, 8:30pm
80 N 6th Street
Brooklyn, NY 11249
$60 Advance, $75 Doors
About Austin Wintory
Austin Wintory began his obsession with composing back when he was ten years old, when he discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. After a busy high school career composing for the student orchestras, Austin went on to study at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and miscellaneous others.
In March 2012, the PlayStation3 game Journey was released, after three years of work. The game instantly became Sony’s fastest-selling PlayStation title, and the soundtrack album debuted on the Billboard charts higher than any original score in gaming history. In December 2012, more history was made when it was announced that Journey had become the first-ever Grammy-nominated videogame score. The score subsequently won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, and IGN’s “Overall Music of the Year,” five G.A.N.G. Awards and host of others. The score features the Macedonia Radio Symphonic Orchestra and a lineup of top soloists (Audio excerpts available here). Orchestral excerpts, and the stand alone mini-concerto “Woven Variations” have been consistently scheduled for concert performances all over the world since its release.
Beginning humbly as a Kickstarter campaign, Austin’s next major game effort was Stoic Studio’s The Banner Saga, a unique and mature turn-based strategy / RPG hybrid with a dazzling art direction. The score featured the Dallas Wind Symphony, America’s premiere wind ensemble, and an all-star trio of YouTube musicians: Malukah, Peter Hollens and Taylor Davis. The game and soundtrack were released in early 2014 to critical and commercial success; the score earned Austin over a dozen awards and nominations, including his 4th and 5th British Academy Award nominations, and won the first-ever peer-voted ASCAP Composer’s Choice Award for “Best Video Game Score of the Year.” He is currently working with Stoic on The Banner Saga 2, which was announced live, on-stage at The Game Awards in December 2014 to an audience of nearly 2 million people.
Most recently, Austin wrote and produced the score for Ubisoft’s latest blockbuster: Assassin’s Creed Syndicate. The music is at its heart a chamber score deeply rooted in 19th century traditions, featuring virtuoso musicians Sandy Cameron and Tina Guo, and an all-star ensemble recorded at the legendary Abbey Road Studios in London. The score earned Austin his 6th British Academy Award nomination, and second ASCAP Composer’s Choice Award nomination, and has been lauded as among the top game scores for 2015 by major industry organizations like GameTrailers, IGN, Movie Music UK, the International Film Music Critics Association and the Hollywood Music in Media Awards.
Austin has also scored nearly 50 feature films, and his first major film score, for the Sundance Film Festival-winning film Captain Abu Raed, was shortlisted for the 2009 Academy Awards for Best Original Score by the LA Times. His next major film, Grace, was also a hit at the Sundance Film Festival. Austin’s score (which featured a wild array of custom-recorded sounds such as babies crying and horse flies, in addition to a large ensemble of clarinets at London’s famed Abbey Road Studios), was also highly lauded, earning a notorious Fangoria Chainsaw Award nomination and being cited by “Visions in Sound” (a popular film scoring radio program) as among the Top 10 Scores for 2010. His most recent films are writer/director Adam Alleca’s Standoff, starring Thomas Jane and Laurence Fishburne, and Amin Matalqa’s The Rendezvous, starring Stana Katic.
Outside of games, Austin also maintains a busy concert composing schedule, with regular appearances throughout the world. Most recently he premiered the commissioned work “This Gaming Life” with the Melbourne Symphony Orchestra, a theatrical work created in collaboration with the legendary comedians called “Tripod.” Announced in 2016 was also the unveiling of his partnership with the Chicago-based chamber group Fifth House Ensemble, with whom he will tour in a production of “Journey LIVE,” a recreation of the hit PlayStation title, performed interactively live. His chamber music show “Mythos,” combining his own music with other contemporary works, is also touring throughout 2015 and beyond following a successful world premiere in Manhattan at New York Comic Con in 2014. Forthcoming he will also have premieres with the West Michigan Symphony, Colorado Symphony and others.
Passionate about education, Austin is a regular public speaker at schools and events around the world, in addition to pre-concert talks and workshops. He also serves on the Board of Directors for the non-profit Education Through Music – Los Angeles, as well as the Board of Directors for the Society of Composers and Lyricists.
For more information, visit www.austinwintory.com
About Patrick O’Malley
Patrick O’Malley (1989) is a composer whose works explore the musical interplay between emotion, color, energy, and landscape. Currently living in Los Angeles, O’Malley grew up in Indiana, where he cultivated an interest in composition from hearing music at the local orchestra, studying piano and double bass, film scores at the movie theater, and even MIDI compositions for videogames being written at the time. His pieces span many of the contemporary mediums for classical music (orchestra, chamber ensembles, vocal music, film scores etc.), and have been performed across the United States as well as in France and Germany. Often when writing a new piece, O’Malley considers the listener’s imagination as much as every other musical element – an admittedly and enjoyably subjective endeavor.
THE GROCERY LIST: Most recently, O’Malley has been recognized and/or performed by organizations including the American Composers Orchestra, the Columbus Symphony Orchestra, the Milwaukee Symphony Orchestra, Los Angeles Philharmonic’s Next On Grand National Composers Intensive with wild Up, the Society of Composers Inc., The American Prize 1st Place for orchestral music in 2015 (with additional awards in orchestral, chamber, and wind band music in 2014), the Boston New Music Initiative, ASCAP’s Morton Gould Award (finalist in 2012, 2014, 2015), and Fulcrum Point New Music Project. He has spent summers as a student at various music festivals, including the Aspen Music Festival, Bowdoin Festival, Fresh Inc. Festival, and FUBiS composition course in Berlin. He is gratefully indebted to his private teachers over the years for helping guide his work, the most recent of which include Andrew Norman, Samuel Adler, and Frank Ticheli. O’Malley is currently pursuing a doctorate degree in composition at the University of Southern California’s Thornton School of Music.
For more information, visit www.patrickomalleymusic.com