It is divided into three acts: a symphonic poem for VI, a piano concerto for X, and a symphony for VII.

In 2024 and 2025, additional performances are planned in Edinburgh and Glasgow (Scotland), as well as in Ottawa and Vancouver (Canada) and Des Moines (United States).

A video of the Stockholm performance of the Final Fantasy VI Symphonic Poem was released on October 11, 2014, and a full album recorded by the London Symphony Orchestra at Abbey Road Studios was released on February 23, 2015 by Merregnon Studios.

[3] He encouraged Böcker to take more liberties with the source material if the opportunity arose, and hoped that another concert could be created in the future.

Böcker proposed Final Symphony later that year to Uematsu, and got approval from Square Enix while coordinating a Tokyo concert of Symphonic Fantasies.

[2] Böcker wanted to focus on "longer pieces [and] deeper storytelling" than other concerts like the Distant Worlds series, so as to offer fans "something they really never heard before".

[7] They did not research other arrangements that have been done of the pieces, as they feel the general approach to video game music orchestration is very different from their style.

[8] They then got together to propose which tracks would be arranged, and decide which soundtracks worked best as a piano concerto, a symphonic poem, or a symphony.

They chose a symphonic poem for VI, a piano concerto for X, and a symphony in three movements for VII.

[8] The Final Fantasy VI poem follows the journey of Terra Branford, "the heroine born with the gift of magic".

The poem explores the stages of her life through the game, as she escapes from slavery, faces her amnesia, discovers the source of her powers, and saves the world from the insane Kefka Palazzo.

[9] He feels that a hallmark of Böcker's concerts is that they are not limited to directly translating the original works, but instead tie them to a wider creative process.

[11] Valtonen created the three movements of the Final Fantasy VII symphony to show three aspects of the game's setting.

The first movement, "Nibelheim Incident", follows the villain Sephiroth in his journey through the game; the second, "Words Drowned by Fireworks", explores the relationship between Cloud Strife, Aerith Gainsborough, and Tifa Lockhart; while the third movement, "The Planet's Crisis", depicts the final clash between Cloud and Sephiroth.

[14] It was described by both Dengeki Online and Famitsu as magnificent, with a bold and refreshing style that was met with "thunderous applause".

[20][21] The London performance was also praised by critics; Joe Hammond of Video Game Music Online, Ed Williams of The 405, and Mariusz Borkowski of Gamemusic.pl all praised the concert for its powerful performance as both video game and classical music, and Audun Sorlie of Original Sound Version noted the fierce applause and standing ovations at both the London and Wuppertal performances.

Final Fantasy creator Hironobu Sakaguchi was present for concert and audience Q&A sessions at the California shows, the concert in San Francisco boasted a crowd of over 2,700 and made it the largest ever audience for a single performance produced by Merregnon Studios.

Stephen Meyerink of RPGFan described it as "the absolute top of the mountain in the world of video game music arrangement".

He praised the album's production values, saying that it was the closest a listener could get to the live performances from their home.