ReMix:The Legend of Zelda: A Link to the Past "Divine Princess of Destiny" 5:23

WOW. Just... wow.

Rebecca E. Tripp has been impressing us with a ton of creative & gorgeous work, and not only is this Link to the Past "Zelda's Lullaby" ReMix one of her very best arrangements, the production is gorgeous, integrating symphonic and choral solo & ensemble components seamlessly. This represents a marked improvement from her (already solid) norm and matches the splendor of her writing with a very delicate and blended soundscape. She writes:

"After a very long time (several years) of dreaming about this project, I finally made an extended cover of Princess Zelda's theme ("Zelda's Lullaby") featured in most of the Legend of Zelda games. Since Link to the Past was the first version of this theme in the series (and also the first version I heard), there are several movements that are an homage to that game. But this arrangement also includes nuances, harmonies, and motifs from the OoT and TP versions of her theme in addition to the LttP ones. I also added bunch of my own variations.

I wanted it to be as delicate, mathematically precise, and dreamy as a ballet, because I feel that Zelda's every word and movement would be like something in a dream. The way her skirts swish as she turns around. Her delicate footfalls. Her laugh is like wildflowers and her tears are like echoes in the halls of a sublime temple. The strings are the velvet of her gown and the woodwinds are the lilt of her song and softness of her gaze. The harp is her countenance and the ethereal metals are dust caught in golden beams of light spilling from the grand, painted windows of Hyrule Castle."

Beautiful prose to match a beautiful piece; there's a magical, Disney-esque quality to the overall presentation, and nothing sticks out at anything remotely resembling a wrong angle or takes you out of the experience. Hearing Rebecca's work with this elevated production and mastering is a joy, and I hope whatever means & methods she used to refine this mix so much are repeatable, because I think it represents growth, refinement, and an aesthetic that lets her grand musical ideas come through even more clearly than before. In short: I'm lovin' it. So is Gario:

"Damn, this arrangement is on point. It's by far one of the most expansive arrangements I've heard from you so far, and it's absolutely gorgeous. While the link to the source is always clear, this really expands on the harmonies and orchestration in a way that makes it your own. I love it.

The production is great, as well - clean, at the right volume even with a wide dynamic range (as orchestra tracks should have). The humanization is really on point with this, too; there was a lot of love that went into the humanization on this one, which addresses my more common concerns with the strings. I could still nitpick here and there with some of the releases cutting a bit too quickly on the strings and that vocal solo sample, but they're minor in the scope of the track.

It takes your best orchestration qualities and combines it with a creative arrangement. I don't think this needs to sit on the panel; this is some amazing work."

Ditto all that; among many singular, expressive arrangements from a talented & prolific artist, this mix has its own place, and might be my new favorite of hers. Wonderful, interpretive concept, expressive and dynamic arrangement, and a more polished, cohesive production give this one wings; highly recommended!