is intended to introduce children playfully to the orchestral world, on an "enchanting adventure journey" in a "symphonic anime fairy tale for the entire family." Böcker was invited to write a guest article for Gramophone about orchestral music and its power to inspire audiences young and old. In it, he emphasises the importance of a family concert that "entertains and promotes immersion", because according to him, "it awakens an enthusiasm that leads to spontaneous engagement with the subject, without any finger-wagging or other overtly educational components." In an extensive article on Wired, Shimomura and Böcker were joined by Stefan Forsberg, executive director of the Royal Stockholm Philharmonic Orchestra. Forsberg points out that music by game composers is "a part of the daily lives of so many people around the world", and the author notes that Merregnon: Land of Silence could provide "a welcome hand for struggling concert halls." In a webinar hosted by the German Embassy in Tokyo, Shimomura, Böcker, and Angel talked about the process leading up to the concert Merregnon: Land of Silence. Merregnon, Volumes 1 and 2 In 1999, Böcker's interest in game music prompted him to approach composers around the world and invite them to collaborate on his original Merregnon CDs. Merregnon, Volume 1 was released in 2000, distributed by synSoniq Records, featuring orchestral music and narration, as well as an accompanying booklet with text and illustrations. Music from Merregnon, Volume 2 premiered at the first ever Symphonic Game Music Concert outside Japan in Leipzig, Germany, also produced by Böcker, before the full work was released one year later in 2004 by Totentanz Records, distributed by SoulFood / Sony Music. In 2005, Merregnon, Volume 2 was published in the Japanese market by Dex Entertainment, distributed by Sony Music Japan. Merregnon, Volume 1 used almost no live instrument recordings for its soundtrack, while Merregnon, Volume 2 featured 74 orchestra musicians. For most of the composers, this was new territory, so the project's music director for the second volume, Andy Brick, had to ensure that "everyone delivered a score that the orchestra could properly perform." Brick states that synthesizers and samplers, as in volume 1, "can do a lot that you just can't do with real instruments." His task was to help the composers transfer their sound visions to the orchestra. Volume 1 and 2's principal composer, Fabian Del Priore, who developed many of the musical themes, confirmed