The Music of the Lord of the Rings Films | Doug Adams' Blog

Boston

noreply@blogger.com (Doug Adams) — Tue, 23 Apr 2013 13:42:00 +0000

Hi everyone,

Just checking in quickly while posting the ROTK De Doelen review. If you've been following my Twitter feed (which is where I'm doing most of my mico-blogging during this busy spell), you may have noticed that I was scheduled to give a lecture at Boston's Berklee College of Music tonight. With the recent tragic events in Boston, it seemed best to hold off for the time being. We will reschedule in the fall when Berklee is back in session, and when Boston has had time to heal.

Boston is a beautiful city. I have many dear friends there. Shore attended Berklee, and I met my wife when she was a student there. If anyone is interested in helping Boston back onto its feet, please consider donating the The One Fund. You can read more about the organization HERE, but the short writeup below outlines its purpose:

Massachusetts Governor Deval Patrick and Boston Mayor Menino today announced the formation of The One Fund Boston, the purpose of which is to raise money to help those families most affected by the tragic events that unfolded during Monday’s Boston Marathon.

“I am humbled by the outpouring of support by the business community and individuals who are united in their desire to help; The One Fund Boston will act as a central fund to receive much needed financial support,” Governor Patrick said. “At moments like this, we are one state, one city, and one people.” 2013.

Thanks, all!
More soon ...

D

ROTK De Doelen Review

noreply@blogger.com (Doug Adams) — Tue, 23 Apr 2013 13:30:00 +0000

April 21st 2013, the city of Rotterdam.

For the third year in a row I'm gathering up for a great event: The LOTR live on screen: the films of LOTR accompanied by a live symphonic orchestra, full choir and children's choir! Today will be the last one in the row: The Return of the King.

Mixed feelings; looking forward to the concert, but it's the last one...

When entering the venue, the excitement get's me right away, the big screen, the great Rotterdam Philharmonic orchestra with the choirs right and left. As soon as the film starts and the orchestra starts to play, you'll right away be transported to Middle-earth, to this great imaginative world. Mr. Ludwig Wicki, the great conductor of this show, leads the orchestra over mountains and great landscapes and exciting adventures. And again, I'm thinking: "How did Mr. Shore made this, how did he manage, and not only that, it is, as Peter Jackson says, really the very soul of this film?" And also, the film is so good, and the music fits so well, that watching the movie I sometimes forget to look to the orchestra! There's nothing to say, this orchestra is so good! And of course the lovely and great soprano Kaitlyn Lusk, she sings the score so easily, she really is Elven-kind! As you see, I'm still excited of the performance.

It was a while ago when I listened to the music of the LOTR, but as soon as you hear it again, it strikes you! Howard Shore, thanks for your great music for this films! I again know why your music made me a film composer too! And of course Rotterdam Philharmonic, Choirs: Laurens Collegium Rotterdam Vocaal Talent Nederland, Ludwig Wicki and Kaitlyn Lusk.

THANKS!

Arjan Kiel

Howard Shore to Score JIMMY PICARD

noreply@blogger.com (Doug Adams) — Thu, 18 Apr 2013 18:33:00 +0000

Howard Shore has composed the score for Arnaud Desplechin's new film, Jimmy Picard, which will play at the Cannes Film Festival later this spring. Shore recorded the score in New York this past winter.

Shore's Hobbit Wins Colonne Sonore Award

noreply@blogger.com (Doug Adams) — Mon, 01 Apr 2013 13:39:00 +0000

For Immediate Release:

Winners of ColonneSonore.net Award, the prize awarded by the readers of ColonneSonore.net, announced!

ColonneSonore.net is proud to announce the winners of ColonneSonore.net Awards 2012, the first edition of a special prize to the best music written for film and television voted by the readers of our website. The public survey has encountered the enthusiastic participation of both our loyal readers and workers of the Italian film/TV music industry.

Online voting began on February 2nd and closed on February 28th, seeing the participation of more than 1,000 film score enthusiasts submitting their own preferences over selections spread over six categories. The nominations were submitted by ColonneSonore.net staff editors, who chose names and titles through internal votes and ballots among the overall eligible works released through year 2012. The goal was to represent at best the eclectic and high-quality work in film and television music by both Italian and foreign composers.

Here are the results of the public survey:

In the category "Best Music for an Italian Film", composer Paolo Vivaldi won for the captivating score Maternity Blues, written for the intense melodramatic film directed by Fabrizio Cattani.

Young talent Andrea Farri has been recognized both as "Best Italian Composer of the Year" (thanks to his outstanding work in films like Gli sfiorati and 10 regole per fare innamorare) and for "Best Music for Italian TV Fiction" for the score of the acclaimed series Squadra Antimafia: Palermo Oggi 4, broadcasted successfully on Mediaset channels.

A surprising tie resulted in the category "Best Original Song for an Italian Film": young and talented singer-songwriter Thony won for "Time Speaks" (written for the film Tutti i santi giorni, directed by Paolo Virzì), and Elisa and Andrea Guerra got recognized for "Love is Requited", the main theme song of Roberto Faenza's Un giorno questo dolore ti sarà utile (Someday This Pain Will Be Useful).

A win tie is also found in the category "Best Music for a Foreign Language Film": Howard Shore won for his monumental score to The Hobbit - An Unexpected Journey, while the legendary John Williams got recognized for his poignant musical score for Steven Spielberg's Lincoln.

John Williams was also elected "Best Foreign Composer of the Year", thanks to his exceptional work on the Steven Spielberg film.

All winners will receive a certificated plaque.

You can see the results of the public survey to the following link:

http://www.colonnesonore.net/sondaggi/

We hope this is only the beginning of a long and lasting tradition aimed to recognize the art of applied music both in our country and all over the world. Thanks to everyone who participated and voted and made this possible!

The full list of winners of the ColonneSonore.net Awards - 2012 Edition

Best Music for an Italian Film Music

PAOLO VIVALDI, Maternity Blues

Best Italian Composer of the Year

ANDREA FARRI

Best Original Song for an Italian Film
tie:

ELISA and ANDREA GUERRA, "Love is requited" - from the film Un giorno questo dolore ti sarà utile (Someday This Pain Will Be Useful)

THONY, "Time Speaks" - from the film Tutti i santi giorni

Best Music for Italian TV Fiction

ANDREA FARRI, Squadra Antimafia: Palermo Oggi 4

Best Music for a Foreign Language Film
tie:

JOHN WILLIAMS, Lincoln

HOWARD SHORE, The Hobbit - An Unexpected Journey

Best Foreign Composer of the Year

JOHN WILLIAMS

Howard Shore and Nicola Benedetti, Live in The Greene Space

noreply@blogger.com (Doug Adams) — Tue, 12 Mar 2013 23:49:00 +0000

Saturn Award Nomination

noreply@blogger.com (Doug Adams) — Wed, 20 Feb 2013 11:29:00 +0000

Congratulations to Howard Shore on his Saturn Award nomination for Best Music for The Hobbit: An Unexpected Journey! See the complete list of nominees HERE.

New LOTR Performances!

noreply@blogger.com (Doug Adams) — Tue, 12 Feb 2013 01:42:00 +0000

The Lord of the Rings Live to Projection concert series has just added a huge number of 2013 performances in cities around the world. See the formidable list below!

Fellowship of the Ring

Nurnberg, Germany: March 21 - 22, 2013

Munich, Germany: March 25 - 28, 2013

Stuttgart, Germany: March 30 - April 1, 2013

Perth, Australia: June 21 - 22, 2013

Vienna, Austria: May 16 - 18, 2013

Calgary, Canada: May 16 - 18, 2013

Singapore: June 6 - 8, 2013

Perth, Australia: June 21 - 22, 2013

Wolf Trap, Virginia: Sept 6 - 7, 2013

Hong Kong, China: Oct 26 - 27, 2013

The Two Towers

Paris, France: June 26 - 29, 2013

Melbourne, Australia: July 12 - 13, 2013

Ravinia, Illinois: Aug 15 - 16, 2013

Brisbane, Australia: Oct 5, 2013

The Return of the King

Rotterdam, Netherlands: April 19, 20 & 21, 2013

Sydney, Australia: Sept 27 - 29, 2013

ROTK to De Doelen in April

noreply@blogger.com (Doug Adams) — Fri, 18 Jan 2013 12:25:00 +0000

Attention Netherlands-based readers: Howard Shore's The Return of the King: Live to Projection is playing Concert Hall De Doelen in Rotterdam on April 19, 20, and 21!

Bilbo Primer

noreply@blogger.com (Doug Adams) — Sat, 12 Jan 2013 16:40:00 +0000

Hi everyone,

I've received a number of questions regarding Bilbo's material in the AUJ score, so perhaps a simply sketched guidebook is in order. Below is a listing of Bilbo's major thematic connections. These titles are just placeholders for the moment, so don't start canonizing them just yet!

Adventure

The theme heard at 0:15 in the whistle in "The World is Ahead" relates to Bilbo's adventure. (A-B-C#-E-E-G#-G#-A-E-C#-E-D). This theme is first heard in "My Dear Frodo" at approximately 0:37 and comes right on the heels of a gesture in the strings and woodwinds that hints at the History of the Ring theme without ever fully articulating it (Bb-D-F over Bb-major; F-F# over B-minor, etc.) In my opinion, really sets the tone for the score to come. SPOILERS: You also hear this theme near the end of the film when Bilbo leaps in to protect Thorin from Azog.

Baggins/Took

This two-part theme is easily heard in "Dreaming of Bag End." The Baggins phrase appears at 0:10 and the Took phrase takes over at 0:33. It's kind of a single theme and kind of not, which is why I've been hedging my bets and referring to it as one-and-a-half themes. It relates to Bilbo's two primary impulses in the story: the urge to return home and the urge to go adventuring. As his character develops, the two halves begin to function independently. The Took phrase is often orchestrated for solo French horn, which is an unusually bold sound for Hobbit-based music.

Fussy

The "Fussy" Bilbo theme is the triple-meter figure that alternates between D-minor and A-major. That major chord is what I'm on about in the Tracksounds podcast (which you can hear HERE, if you haven't already). It's a more classical sound that we're used to in Middle-earth ... more a part of historically functional harmonies, whereas Middle-earth usually traffics in modes or chromatic leaps. It's just a bit stuffy and put-upon sounding. This theme shows up about half-way through "Axe or Sword," but you also hear in the Trolls sequence.

Hilary Summers Interview

noreply@blogger.com (Doug Adams) — Tue, 08 Jan 2013 23:25:00 +0000

I'm very late with this, but Earl over at TheOneRing.net interviewed Hilary Summers regarding her experiences working with Howard Shore on "Gilraen's Song" in The Fellowship of the Ring. An excerpt:

HILARY SUMMERS

At the time they were looking for vocalists I’d been working a lot with Michael Nyman and had done a few soundtracks with him, and the agent or ‘fixer’ who had been in the sessions happened to take my details. Luckily for me she was asked if she knew anyone with a low voice and she sent a demo cd over to Howard Shore and I was booked. A fax was sent with the music (only a solo line and the text) and I went to the recording session and did my stuff.

Do check it out at your convince right HERE!

... And Happy New Year!

noreply@blogger.com (Doug Adams) — Tue, 01 Jan 2013 00:24:00 +0000

Wishing you all a safe and joyous start to 2013!

Merry Christmas! ...

noreply@blogger.com (Doug Adams) — Tue, 25 Dec 2012 13:47:00 +0000

Warmest wishes to all who gather here!

Notes

noreply@blogger.com (Doug Adams) — Sun, 16 Dec 2012 17:24:00 +0000

Hi everyone,

I promised everyone that I would talk a little more Hobbit after the film was in theaters. It's now out in the world breaking records and setting tongues wagging both here and elsewhere, so maybe it's a good time to chime in. In dramatic fashion, then, let's begin back in 2001 ...

In the first act of Fellowship Gandalf and Bilbo sit on a grassy hill in the Shire, enjoying a bit of pipe-weed. After the whistle plays a lovely bit of the Shire theme, violins ascend and, over a C-major chord, resolve a mild Lydian dissonance: F#-G -- and presto, we're off to Bilbo's birthday party.

In the first Hobbit film we also see Bilbo with his pipe, and once again he blows a smoke ring that drifts across the screen. This time however, the ring holds in the center of the shot right. Now the orchestra is in D-major and the whistle rises along with the strings on the same figure we heard in Fellowship: D-G-B; E-A-C#-E; C#-E ... and as the title come up the same mild Lydian dissonance emerges: G#-A.

The dissonance in The Hobbit is more pronounced than it was in Fellowship. It's in a higher key; it begins with a subito piano; the resolution is delayed by a few extra beats. But most importantly, it means something different this time. Bilbo's prophetic line ("... and nothing unexpected ever happened") coupled with the ring imagery has redefined the G#-A. In Fellowship it was a bucolic cadence. In The Hobbit, it's an unmistakable movement from the sharp fourth of the chord to the fifth. It is a veiled reference to The History of the Ring theme.

That's the funny thing with film music -- there's always a film to consider. In this case, the film allowed Howard Shore to slightly reshape a musical phrase, yet impart something completely different. Lydian harmonies are traditionally used to represent something wondrous and almost supernaturally beautiful. It's in E.T.'s theme. It's the Christ theme from Ben-Hur. Heck, Beethoven used it in his fifteenth string quartet, in a movement he began with the words: "Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart" ("A Convalescent's Holy Song of Thanksgiving to the Divinity"). But here in The Hobbit, it's chilling. It's a harbinger -- a reminder that this "simple" little story is headed down a dark path. Shore uses a subtle combination of modulation, orchestration, phrasing, and imagery to redefine a musical phrase that is over a decade old. Does that now mean that we go back to Fellowship and hear that phrase differently? No, the F#-G in Fellowship still means the same thing it always did -- but then that's part of the whole game, too. It that weren't such a pure, lovely phrase, then the chill it acquires in The Hobbit wouldn't be quite as effective.

And of course, there's the whole issue of the timeline. Technically, the Hobbit's use of this theme would occur just slightly before Fellowship's, right? This is, of course, speaking strictly as part of Tolkien's timeline of events. But as a piece of storytelling, where does it fit? If you imagine a massive six-score listening marathon a few years from now (wow!), what order do you approach it in? The Hobbit is sort of nestled inside Fellowship -- it's neither strictly before or after. I think that's a brilliant choice because it doesn't bind the creators to either working backward or forward. Rather, The Hobbit exists in its own little narrative bubble.

This requires some nonlinear thinking from listeners because musical material is going to be developed in a very different way. Sometimes familiar themes and phrases are treated as call-backs, sometimes as introductions. And sometimes they mean something new. The Hobbit is just as narratively/motivically driven as Rings was, but the narrator is not meant to be quite so invisible this time out. Sometimes he simply tells the tale, sometimes he tips his hat in acknowledgement because he knows that we understand the deeper meaning of something. Sound familiar? This was Tolkien's own approach to writing The Hobbit. His narrator didn't fall back on an understanding on The Lord of the Rings, of course; it didn't yet exist. But he could, at times, address the reader directly and give them credit for comprehending things beyond the borders of the page. When Shore quotes A Hobbit's Understanding in this new score, part of this theme speaks directly to the moment, while another part of it speaks to a listening audience that understands how this resonants against what we have already heard.

That said, there are a couple of themes in The Hobbit: AUJ that have people scratching their heads. Well ok, some people are scratching their heads, some are crying bloody murder and calling for the reinstatement of the Spanish Inquisition. This puts me in a tricky spot because I inevitably feel compelled to explain these things, however I'm not always going to be allowed to tell you everything right away. I started my public work on The Lord of the Rings with the Complete Recordings. The films were out and people had heard most of the music in one form or another. It was a nice, easy way for me to break into all this because I could say anything I wanted to. I couldn't really give anything away. Sure, I held on to a few surprises, but nothing heavy. This time, I'm involved while the movies and scores are being created. There were a good number of thematic connections I couldn't even describe in the liner notes, because those connections would give away plot elements from the next two pictures. I received a lot of notes from the studio -- and you know what, they were very intelligent notes! Edits and rewrites are a part of every creative endeavor; they always have been, they always will be. I owe the people at the studio a huge debt because they trusted me to make contemplative music theory a part of a mass-marketed mega-release. That took a lot of faith! The Complete Recordings were (and are) a huge hit, but they appeal to a very specific niche market. The Hobbit: AUJ is more on the level of a pop album in terms of its wide appeal. I still can't believe they let me open up a discussion on modes, tonalities, clusters, music examples, etc. I even worked two classical music in-jokes/references into the liners ... I'm not sure if anyone has found them yet. One's pretty obvious.

Suffice it to say, the score in the film is, by and large, exactly what Shore put on the page. For the most part, this is the score I heard when I first watched/heard the film. I loved it then, and I love it now. To me, it's the perfect return to Middle-earth, every bit as carefully shaped and considered as our beloved Rings scores. I know people discovered some alternate compositions en route, but take it from someone who has dedicated huge amounts of time and energy into researching alternate music from Middle-earth: this is all just part of the process. And those 'head-scratcher' moments that I've already received several hundred emails about? Yep, they're considered, too. And they mean things. Some of those things I can't talk about yet ... meaning I'm still not allowed! Anyway, I'm extremely glad that we have some puzzling going on around here! We've been so well-informed for the past few years, it's actually pretty invigorating to have to stumble around a bit.

That said, as some of you have noticed, I have asked someone to step in and moderate comments. It is always ok to question things. However, accusations, demands, assumptions, and expressions of entitlement can get pretty unattractive. I've said before that I consider my work on these projects to essentially be a musical performance. I'm not a writer, I'm a musician. I just happen to be performing on a laptop, but it's still a form of musical expression as far as I'm concerned. I need to come at that process from a positive place, so I've asked someone to temporarily keep house so that shouting doesn't crowd out my headspace. I know, what a diva, huh? :) This will not be a permanent change. Let's just all take a deep breath, ok? Spoilers for The Hobbit: AUJ are now officially permitted. Unpleasantness still isn't.

Here, by way of making it up to you, a little bit of a hint. The music of Azog has caused something of a stir this weekend. Why does his last scene in the film include music we've previously associated with Mordor? I can't fully answer that question, but I can lead you a bit: Azog's primary theme is a descending pair of thirds (G-Eb-F-D) with a chromatic snap at the end (Eb-D-Db). Musically, Azog has a connection to Mordor's musical world from his first appearance on. His final scene is very much in line with this approach. Why this consistent connection? We shall see ...

And you thought I was kidding when I said we had a long journey ahead of us!

For Old Time's Sake ...

noreply@blogger.com (Doug Adams) — Mon, 10 Dec 2012 22:26:00 +0000

Tomorrow.

Like a Rolling Stone

noreply@blogger.com (Doug Adams) — Sun, 02 Dec 2012 14:01:00 +0000

Read.
Listen.
Enjoy.

D

Hobbit Production Diary #9

noreply@blogger.com (Doug Adams) — Sat, 24 Nov 2012 14:54:00 +0000

Thanks

noreply@blogger.com (Doug Adams) — Thu, 22 Nov 2012 13:06:00 +0000

Happy Thanksgiving to everyone in the States, and to those celebrating abroad.

I thought a little holiday treat was in order, so please enjoy Howard Shore discussing The Hobbit with Classic FM.

Back soon,

Doug

Kit and Kaboodle

noreply@blogger.com (Doug Adams) — Tue, 13 Nov 2012 14:41:00 +0000

LINK

Sounds Official

noreply@blogger.com (Doug Adams) — Wed, 07 Nov 2012 15:32:00 +0000

Hi everyone,

Ok, here's the deal: The Hobbit's official website currently has some music playing in the background; some music that may be of great interest to blog readers. Or it may not, I'm not going to say!

If you would like to talk about that music, please feel absolutely free to do so. I won't be chiming in at this time, but I might somewhere down the line. However, links to anything other than The Hobbit's official website will be deleted. This includes, but is not limited to, YouTube, SoundCloud, or extraction instructions. These links will deleted and repeat offenders risk being banned.

This is probably all an overreaction on my part. In fact, I'm almost sure it is! But I'm still not sure what gets me into hot water and what doesn't, so I'm playing it safe.

So, this is my best solution. Stop by the official site, turn your ears on, and come back here and chat. Speculate, analyze, identify, but don't link beyond the official site. And don't mind me grinning in the corner holding my peace. I'll pipe up later ... :)

Thanks, you guys are the best!

D

Geek League Top 10

noreply@blogger.com (Doug Adams) — Tue, 06 Nov 2012 17:13:00 +0000

GeekLeagueofAmerica.com has placed The Music of the Lord of the Rings Films on their "Ten Great Books About Movies" list, which is a very fine honor indeed!

I'm telling you, folks, you will want to read this book very closely before Hobbit time! It pays to invest oneself in the details ...

But enough of my hackneyed sales pitch. Big thanks to the Geek League. Their Music of LOTR entry is below; you can read their full list right HERE.

It saddened me not to include a Lord of the Rings book on my initial draft of this list. There is simply no book available that covers LOTR’s extensive production from beginning to end in a fashion that I recommend. The Extended Edition Blu-ray/DVD collections and Costa Botes’ fly-on-the-wall documentaries really do the best job covering all of it. I would be remiss, however, if I didn’t include Doug Adams’ (no, not that Doug Adams) mind-blowingly extensive account of Howard Shore’s scores of the films. Loaded with illustrations from Alan Lee and John Howe, this book covers all three films and the musical themes developed therein.

Adams is a musicologist, so this isn’t light reading. It talks about what goes into scoring these films, both from extensive interviews with Howard Shore as well as musical theory, and requires a little music acumen to totally comprehend the finer points of the text. It also comes with an exclusive rarities CD that features original concept recordings and versions of themes that didn’t make it to the big screen. Doug Adams is working on a new book for The Hobbit and like Rinzler’s ROTJ book, my pre-order is ready to go.

The Hobbit: An Unexpected Journey Soundtrack Album Coming December 11

noreply@blogger.com (Doug Adams) — Thu, 01 Nov 2012 12:52:00 +0000

THE HOBBIT: AN UNEXPECTED JOURNEY SOUNDTRACK 2-CD SET DUE DECEMBER 11TH FROM WATERTOWER MUSIC

Featuring Original Music by Academy Award™ Winner Howard Shore With An Original Song Performed by Neil Finn

2-CD Special Edition Soundtrack Also Available

WaterTower Music has announced the release of The Hobbit: An Unexpected Journey Original Motion Picture Soundtrack at all retailers on December 11th. The soundtrack will be available both digitally and as a 2-CD set. A Special Edition of the soundtrack featuring six exclusive bonus tracks, seven extended score cues, and deluxe liner notes will also be available December 11. The Hobbit: An Unexpected Journey features original score by Academy Award® winner Howard Shore recorded at famed Abbey Road studios by the London Philharmonic Orchestra. Additionally it includes an original song entitled "Song of the Lonely Mountain," written and performed by Neil Finn (Crowded House). The Hobbit: An Unexpected Journey, the first of a trilogy of films from Oscar-winning filmmaker Peter Jackson (The Lord of the Rings Trilogy), will be released in the U.S. on December 14, 2012.

Shore’s music for The Lord of the Rings Trilogy has been performed in concerts throughout the world. In 2003, Shore conducted the New Zealand Symphony Orchestra and Chorus in the world premiere of The Lord of the Rings Symphony in Wellington, New Zealand. Since then, the work has had over 140 performances by the world’s most prestigious orchestras, and has even been the subject of a book, The Music of The Lord of the Rings Films.

"I have looked forward to returning to the imaginative world of Middle-earth for quite a while," says Shore. "I read all of the books by Tolkien, including The Hobbit, when I was in my twenties, and his deep love of nature and all things green resonates deeply with me."

"It’s a thrill for us to work with Howard Shore on The Hobbit: An Unexpected Journey soundtrack" stated WaterTower Music head Jason Linn, "His reputation and body of work have long inspired us, and we look forward to another successful partnership as we embark on the next chapter of our journey together."

One of today’s most respected, honored, and active composers and music conductors, Howard Shore previously worked with director Peter Jackson on The Lord of the Rings Trilogy, which stands as his most towering achievement to date. He won three Academy Awards for his music for those films, two for Best Original Score, and one for Best Original Song. Shore has also won numerous other honors for his film work, including four Grammys and three Golden Globe Awards.

The Hobbit: An Unexpected Journey Original Motion Picture Soundtrack on WaterTower Music in the United States and Decca Records outside the United States. It will be available on December 11, 2012. The track listings for the 2-CD Standard and 2-CD Deluxe versions are as follows:

THE HOBBIT SPECIAL EDITION TRACKLIST

DISC 1:

My Dear Frodo

Old Friends (Extended Version)

An Unexpected Party (Extended Version)

Blunt the Knives performed by The Dwarf Cast

Axe or Sword?

Misty Mountains performed by Richard Armitage and The Dwarf Cast

The Adventure Begins

The World is Ahead

An Ancient Enemy

Radagast the Brown (Extended Version)

The Trollshaws
Roast Mutton (Extended Version)

A Troll-hoard
The Hill of Sorcery

Warg-scouts

DISC 2:

The Hidden Valley

Moon Runes (Extended Version)

The Defiler

The White Council (Extended Version)

Over Hill

A Thunder Battle

Under Hill

Riddles in the Dark

Brass Buttons

Out of the Frying-Pan

A Good Omen

Song of the Lonely Mountain (Extended Version) performed by Neil Finn
Dreaming of Bag End

EXCLUSIVE BONUS TRACKS:

A Very Respectable Hobbit

Erebor

The Dwarf Lords

The Edge of the Wild

Dad Mode

noreply@blogger.com (Doug Adams) — Mon, 22 Oct 2012 01:06:00 +0000

Hi folks,

A brief -- and admittedly preemptive -- comment regarding certain lines of questioning. Please do not use this blog to discuss anything that is not commercially available. We're going to have a ton to discuss later this year, but we will wait until materials are distributed through legitimate commercial channels. Discussion of any materials other than these -- which includes but is not limited to press kits, awards promos, scoops from your crazy Uncle Frank who played the nose flute solo in the score's finale, etc. -- is strictly prohibited.

We're all heading back to Middle-earth in just a few short weeks/months. Let's arrive together, yes?

Now I gotta get back to work ... :)

Celebrate Howard Shore's Birthday with the LOTR Symphony

noreply@blogger.com (Doug Adams) — Wed, 17 Oct 2012 13:34:00 +0000

Thursday is the sixty-sixth birthday of composer Howard Shore. Classic FM will be celebrating with an 8 pm airing of The Lord of the Rings Symphony. Please see the note below from Kyle Macdonald, Classic FM's Community Manager.

And happy birthday!

*****

At Classic FM we're doing as much as we can to champion great movie soundtracks. Tomorrow at 8pm we'll play Howard Shore's immensely popular Lord of the Rings Symphony, in full.

Thursday is the composer’s 66th birthday and his LOTR score has also recently been voted by our listeners as their number one Soundtrack, in our Movie Music Top 100.

It's an astonishing piece and we'll broadcast it in its entirety, without interruption. Shore's Symphony is based on themes from the phenomenally-successful Lord of the Rings trilogy.

HERE is a link to our programme on Thursday.

We're also celebrating with a gallery of Howard Shore and his movie soundtracks.

We'd be delighted if you would share this with your fans and followers.

Best regards,

Kyle Macdonald Community Manager

Mabel Faletolu

noreply@blogger.com (Doug Adams) — Tue, 25 Sep 2012 13:09:00 +0000

Our good friend Earl at TheOneRing.net is running at interview with Mabel Faletolu today. You'll recognize her name -- and, more importantly, her voice -- from Gandalf's fall in The Fellowship of the Ring.

QUESTION I

It’s been said that when Peter Jackson set out to work with Howard Shore on the music for The Lord of the Rings, he desired to have a cast of vocalists for the songs that would be sung during significant events in the films. How did you come about to be a featured vocalist on The Fellowship of the Ring?

AIVALE COLE

I was studying at the National Academy of Singing and Dramatic Art in Christchurch, New Zealand. I got a call from a friend, Igelese Ete, who was the choir director for the male choir featured on the same album. He said that they were looking for a soprano with the right amount of richness in the voice for this particular part. When all was approved then they arranged my flights and it was all go. No audition. Just got the job. Howard Shore had a lot of faith in Igelese so I had better get it RIGHT!! ARrrGH!!

Read Earl's full article HERE.

Poster Posted

noreply@blogger.com (Doug Adams) — Sat, 22 Sep 2012 22:13:00 +0000