Kondo was hired by Nintendo in 1984, … "The next momentous moment for Kondo's music is surely that of the last OST he composed entirely, that of Zelda: Ocarina of Time. His work is enormous and of a high level of quality in the middle, but an approach to his career can be understood through three of his moments.By chance, Nintendo, in full expansion after the famous crash in 1983, began to need specialized composers, so a job offer from the company ended up at the University of Nagoya. The music from this game has become so popular that it's been expanded and developed into a four-movement orchestral symphony called 'Symphony of the Godesses'. Video Game Blog with All the News, Previews, Gameplay, Reviews, Guides and Everything Related to Ps4, Xbox One, Ps3, Xbox 360, Nintendo Switch, Wii, Ps Vita..There are many factors that contribute to a musician going down in history, either as an interpreter or as a composer. His training is far from self-taught since he studied music at the university, but his higher studies consisted more of an approach to various audiovisual arts, rather than a true specialization in composition. In the case of the pioneers, and this applies very directly to that of Kondo, these conditions were also a great opportunity: that of saying much with very little.Along with the Mario games, to which Kondo continued to put music throughout the Nes and Snes era with surprising moments in each of them, the melodies of the Zelda saga were always the other field of action of a Koji Kondo that has already did not leave the baton at Nintendo. It is very tempting, with characters of this lineage, to be carried away by enthusiasm, but the qualification of "Mozart of music for video games" is probably not exaggerated to define Kondo, author of works that mark the dividing lines in the evolution of this type of music. It is also the case, now that the subject begins to have interest (and the musicians can begin to say it), by the Japanese Koji Kondo, the author behind the music of the Super Mario Bros and Zelda sagas.The story of Koji Kondo (Nagoya, 1961) is not entirely strange among Japanese video game composers regarding the heterodox nature of their education as a musician. We, players and musician-players who have known the work of Kondo himself in his natural habitat, can only discover ourselves before a true master of tonality and concretion. On the one hand, an unusual melodic inventiveness is necessary, since it is the melody that almost always makes a certain work immortal for those who listen to it. Such a thing projects his figure into a future that we cannot yet reach with his ears and has direct repercussions on the entire world of video games for a reason difficult to discuss: among the greats, Nintendo is the company with a more distinctive sound identity, recognizable in very different titles in almost everything else. Melodies that will be interpreted, analyzed and, above all, enjoyed, for as long as video games exist. Likewise, it is necessary that the aspiring immortal works with a language that is novel to a certain extent, in which things are still to be consolidated.

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