An orchestral concert for Chrono Trigger, you say? Sounds like a lovely affair! But, wait a second… is Square Enix really doing a full orchestral arrange album for this classic game less than ten years after their last one?
Yes. Yes they are.
Not only that, but this new Melodies Across Time album features the same arrangement for the opening track as the previous Chrono Trigger Orchestral Arrangement. The only change is in the clock-ticking sound effect in the opening. This arrangement for “Presentiment / Chrono Trigger” by Kosuke Yamashita is more than just serviceable though.
Part of me shrugs and says, “well if it ain’t broke, don’t fix it.” The clear sign to me that the arrangement was identical was in the counter-melodies woven into the latter half of the “Chrono Trigger” motif. If you catch that, it’s just unmistakable, because those lines don’t exist in Mitsuda’s source composition. Also, and this is a plus: Melodies Across Time is a significantly cleaner recording with a more even mix than the 2019 release.
I’m going to keep up with the comparison and contrast, because I think the 2019 Orchestral Arrangement serves as a worthwhile baseline. Is Melodies Across Time the superior album? If you already own the 2019 Chrono Trigger Orchestral Arrangement, is it worth also purchasing Melodies Across Time? These are relevant questions I intend to answer.
Fortunately, after that opening track, there are no repeat arrangements. How do I know this? The two arrangers for this album are Kosuke Yamashita and Hideaki Haginomori. Haginomori didn’t work on the 2019 album at all. Yamashita only did two arrangements for the 2019 release: the aforementioned “Presentiment / Chrono Trigger” (which was worth the re-recording, in my opinion), and a Magus Castle / Battle medley that is not present on this album at all.
So, we’re looking at new arrangements. Not necessarily new source material picks, though. About half of the themes found on the 2019 release are also found here: “Wind Scene,” “Frog’s Theme,” “Robo’s Theme,” “The Day the World Revived,” “Brink of Time,” are all newly-arranged for Melodies of Time. Good news: in nearly every case, I find the Melodies of Time recordings superior, either for more sophisticated arrangement, or for the better balance in the mix.
One thing that strikes me as a peculiar, and frankly bold move, also has to do with the source material selection. I think nearly every Chrono Trigger fan agrees that the peak emotional moments of the game happen in 12,000 BC. So “Corridors of Time” and “Schala’s Theme” are must-haves, right? Maybe tag on “Sealed Door” and “Ocean Palace” if you’re really craving the full Queen Zeal experience. Well… none of those songs are present.
This might be the first time Square Enix released an official Chrono arrange album and fully dismissed the entire 12,000 BC era. Part of me thinks that this was a mistake. Another part of me thinks, hey, more room for arranging less-celebrated music! Between this omission and the cut away from all things Magus, this really is a different kind of Chrono Trigger arranged album.
So let’s get into it: what makes this orchestral album work? I think it’s the pairing of environmental themes with character themes. Let’s start with “Courage and Pride / Frog’s Theme,” the first of Hideaki Haginomori’s four contributions. Yes, we’ve all heard “Frog’s Theme” a thousand times, and it still sounds great with this orchestra. But weaving the Guardia Castle theme “Courage and Pride” into the mix was a stroke of genius—plus, this is easily the best recording I’ve ever heard of this song. The build through the first minute, all the way to that ultra-catchy 12/8 ostinato and soaring melody on top… this is peak Mitsuda, and it’s about time we get it with a full orchestra.
Haginomori strikes gold again by pairing “Robo’s Theme,” appropriately, with “Lab 16’s Ruin.” What a deep cut! Who was expecting Lab 16 on an orchestral album? Not me! It sounds great too, with some clever use of the brass section to keep the allegro tempo chugging along without overpowering the piece. It also serves as a beautiful lead into the joyous “Robo’s Theme,” so that’s a win!
While I’m on my whirlwind tour of Haginomori, see “Primitive Mountain / Ayla’s Theme.” A few thoughts here: first and foremost, an orchestral arrangement of “Primitive Mountain” actually happened? Yes, please! This is the only track on here that is non-Mitsuda (one of Nobuo Uematsu’s contributions to Chrono Trigger). And once again, we have a pairing of an area/dungeon theme with a corresponding character theme from the era. After an impressive show of “Primitive Mountain,” in the last minute, “Ayla’s Theme” breaks through the noise, just like she does in the game when she shows up to rescue the team from a whole slough of Reptites! Perfect timing, perfect pairing, perfect everything. Love it!
Hideaki Haginomori’s contributions end with another pairing, though it’s a secret one. The final track is listed simply as “To Far Away Times,” but it’s actually paired at the end with “Epilogue ~ To Good Friends,” as it should be.
Whenever I listen to these ending melodies, I am pulled back to the greatest arranged album in all things Chrono: 2015’s To Far Away Times. I hear Laura Shigihara and Sarah Àlainn singing the melodies every time. Shigihara’s short “On The Other Side” for the epilogue still resonates with me, and Àlainn’s moving performance for the titular “To Far Away Times” is how I will forever remember this incredible piece. Hearing these songs without the vocalists is okay though, too. Having it in fully orchestrated form is wonderful.
Now, I gave Haginomori’s contributions the extra level of focus because he is new to the Square Enix scene. Kosuke Yamashita, on the other hand, has been at this for awhile. If you’ve heard any orchestral projects from Square Enix in the past 15 years, you’re probably familiar with what Yamashita brings to the table. It’s often a bit more robust than a vanilla transcription, but without taking too many risks. He utilizes all parts of the orchestra in equal measure, which I treasure in an arrangement. But I’m not going to dig too deeply into his work on this album.
However, I have to throw some extra praise at the penultimate track, which is Yamashita’s final contribution to this album, “World Revolution / Last Battle,” which is amazing for three reasons. First, the overall quality is top notch. Second, the blaring trumpets voicing that creepy squealing sound Lavos makes in the transition from his second form to his third, final form is a mark of brilliance. And finally, just the existence of “Last Battle” is a wonderful thing to have!
“World Revolution” gets so much attention, but what about the true, final battle, which starts to move into an electronic dance music soundscape? Can you orchestrate that?! Well, if you’re Kosuke Yamashita, you certainly can. This was a bold choice, and I’m all for it. Now don’t forget to kill the little guy on the right! He’s the real target!
If you’re ready to dive ever deeper into Chrono Trigger arrangements, both this and the recently-released Piano Soundscape Arrangements (2025) are equally worthy of the Chrono fan’s attention. If you own the 2019 Orchestral Arrangement but recognize some of its failings, and what something a little more robust, give Chrono Trigger Orchestral Concert -Melodies Across Time- a shot. Heck, give it a Wondershot.
