Annie Lennox, Howard Shore - The Lord of the Rings: The Return of the King
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Free Music Notes for The Lord of the Rings: The Return of the King
Free Music Review: Howard Shore's "Ring" Comes Full Circle
Hit: 5 Stars
There was a time, not long ago, when film scores existed only in limited form on LPs that were misnamed for they contained only reprsentative parts of the music for a film. Today, the CD has eased that problem to a certain extent. Still, many soundtrack albums are unable to present a full musical score, unless of course they are offered in multi-disc sets, which is not a bad idea. The bad news about Howard Shore's soundtrack recording for "The Lord of the Rings: The Return of the King" is that like the previous "Ring" CDs it is hardly the full score. The problem here has been further complicated by the fact that Shore has added new music to the earlier films that has yet to appear in any recording. The absence, so far, of a full recording is sadder yet because it is a phenomenal, film and musical triumph. Howard Shore has done something that no other film composer has ever done. He has devoted his full focus to a single film production that has spanned over four years...and is yet to be fully completed. No doubt there will be new music for the extended version of "Return of the King." The current soundtrack is wonderful, and the score with the film is even better. Shore brings us through epic batttles, timeless love stories, to the very edge of doom, and home again to the Shire. By use of themes that have been added to the earlier films, we now see the full scope of Shore's musical vision. The key, new theme in "Return of the King" is the Gondor theme, but it is not really new. It has appeared in the first film, the extended DVD, during the Council of Elrond and briefly for an added scene for Boromir in the second, again the extended DVD. It is a grand flourish representing the best elements of the Stewards of Gondor and the new king. In this recording, it appears in several scenes and forms, but is particularly effective as it underscores the warning fires from Gondor to Edoras. There is so much more to be admired and enjoyed here that it would take a sequal review to complete. If "The Lord of the Rings" is given just due, it will be counted as one of the greatest film projects ever done. Howard Shore's music was no small part of that achievement. It is a masterpiece. Bravo, indeed! The soundtrack album is well produced and nicely packaged by Warner's. But one hopes that soon we will see a multi-disc recording of the full score. It is well worth waiting for.Free Music Review: Howard Shore's Stunning Conclusion to Tolkien's epic
Hit: 5 Stars
After hearing Howard Shore's stunning conclusion to Perter Jackson's epic Lord of the Rings trilogy, I can only state one thing: Excellent. Excellent doesn't really do justice to the magnificence of Shore's work. Like another classic trilogy score (Williams from Return of the Jedi), Shore presents a much more mature version of work. All our favorite themes are there: The Fellowship theme has now evolved into a wistful yet powerful fanfare for Aragorn. The Shire theme makes a return as does the Hobbit theme, both played magnificently by James Galway. Also returning is the Mordor theme, it's menacing notes now grown into a malevolent force. The Rohan theme also makes a brief reappearance, while the elvish theme comes to a full circle, representing Aragorn as he gets his sword in the track Andruil. The beginning of the cd is much more playful than that of the Two Towers, but it swiftly transforms into a majestic fanfare for Minas Tirith and Gondor which is among the greatest moments on the cd. Once again Enya does not sing on this cd, but in a suprisingly powerful decision, Billy Boyd aka Pippin does appear, singing briefly for Lord Denethor, capturing the rift between the Steward and Faramir. In track 17, The Return of the King, Shore takes a listener on a journey of all his developed themes for our heroes. Like his previous two Lord of the Ring scores, Shore writes so the listener see's. What I mean is that the music and the movie work so well together, that one actually envisions the beacons being lit at Minas Tirith or Eowyn swinging Merry unto her horse as the Rohirram ride out to Gondor. Faramir's deadly attack on Osgiliath and the appearance of Theoden at dawn come vividly to life, but most moving and most emotional is track 15, beginning with the Fellowship fanfare as Aragorn exorts his soldiers to fight and ending with a new theme as Sam picks up Frodo and says, "I can't carry It for you, but I can carry you!" It's enough to bring the listener to tears. As for Oscar-winning the song at the end by Annie Lennox, it is a vast improvement over Gollum's song, and captures triumph and tragedy of the conclusion of the Lord of the Rings. I was only disappointed by there not being more music to hear. I truly hope a complete soundtrack is released containing all the music from the film.Free Music Review: Indescribable majesty
Hit: 5 Stars
Bravo Howard Shore. Very few musical scores are so evocative, so emotional, so complex, or so successful. The sheer power of this score will just overwhelm you, specifically, track 3-Minas Tirith, track 4-The White Tree, and track 17-The Return of the King. It's wonderful that Shore was given such a healthy budget to recruit some of the best classical musicians, both Renee Fleming's haunting soprano and James Galway's spirited and lush flute playing add so much to an already outstanding film score. I can honestly think of no better resolution to any trilogy. Bravo to the London Philharmonic for all of their work on all three films and making this very difficult and overwhelming score into pure beauty. And I don't care what these other reviewers have to say about Annie Lennox, I listen to nothing but orchestral and choral classical music and I still think her voice is absolutely perfect for Howard Shore's, Into the West, an absolutely beautiful and powerful closing song to an amazing trilogy. Some people have noted that you don't hear the themes from the first two films that much in this score, you hear variations and little tastes of them throughout the picture, which is true. Howard Shore moves into a lot of new territory for this score and includes the other themes only where they are appropriate. The whole idea of the film is that every single one of these little cultures that had their own music and own way of doing things is now part of something bigger and greater, they are no longer just Rohan, Gondor, Bree, the Dunedain, or hobbit, they are a much larger version of the fellowship that we saw in the first book. Howard Shore illustrates this magnificently and clearly, showing that he has grasped and understood the book and the films and where the music should fit in to the story. I can't think of a better score except for maybe John Williams' Harry Potter which is tied for my favorite along with the LOTR music. There is now another great composer besides Williams who knows how to use the symphony orchestra to make such beautiful film music. Believe me, the works of Horner and Zimmer pale in comparison to this monumental achievement. Buy this soundtrack I dont care if you listen to rap, death-metal, baroque or jazz there is something in here for everyone. Highest Recommendation.Free Music Review: The last leg of a journey...
Hit: 5 Stars
Just like the final movie in the phenomenal series, the final score for the third film feels like the last leg of a huge opera (which indeed was his goal). No it may not be as bold as The Fellowship of the Ring's score, but no good opus should rely on the same themes over and over. While there are few standout tracks, almost all of theme are solid, the exception being #18 The Gray Havens, which is too mellow to properly portray what you should be feeling, especially when the highs have subsided and has started to drag for people unfirmiliar with the book. And yes, the soundtrack isn't as entertaining if you don't know what's going on at the time, but as that was again Shore's and Jackson's intention--not to overpower the scenes.Som of my favorite tracks:
1 A Storm is Coming: Stronger strings playing the "history of the rings" Theme is Faaaan-tastic.
2 Hope and Memory: lovely bit that proclaims the last leg of a great, great story is underway.
3 Minas Tirith: The most grandios rendition of the Gondor Theme that (thankfully) doesn't disappiont (some renditions in the EE's of the first 2 films were underwhelming, had me a bit worried).
6 Minas Morgul: Full fledged Mordor Theme baby! So good you can excuse the short track time.
8 Twilight and Shadow: One last melancholy repraise of the beautiful (and I mean to the nth degree) Evenstar theme from The Two Towers.
13 The Fields of Pelennor: Alas, the charge of the Rohirrim is missing and I would have liked for their to be more all around, but good stuff none the less.
14,15,16: All mesh together really well, can feel the age-ending events taking place.
19 Into the West: Is great when is quiet and sad, not so good when it tries to peak, but is worthy to be the last track on this series of excellent scores. And that's saying something. Some great lyrics too (especially if your obsessed with the novel). Give it a few listens and a little time; it'll grow on ya.
Extremely well done. As epic and sincere as the wonderful movies and books they're based on. Shore's willingness to spend and good chuck of his life working on this shows. Thank you Shore and all collaborators!
Free Music Review: The final chapter
Hit: 5 Stars
I consider Howard Shore one of the finest composers in modern film history. He manages to compose music that suits the mood of the film without it sounding overly bombastic as some composers have a tendency to do. I think some of Howard's best compositions were for the LOTR trilogy. I haven't heard "The Two Towers" soundtrack yet but I can certainly vouch for "Fellowship of the Ring" and "The Return of the King" that the music for those particular films were nothing short than stunning, grandiose yet not overwhelming to the human ear. I particularly love the last installment of "The Return of the King" music-wise. To be brutally honest, I have never had any desire to see the Peter Jackson-directed films. I don't know why other than turned off by the hype. Then again, I did grow up on "Star Wars" (the last three episodes) and loved them. Maybe I will take the time to see them some day. As for the music, I found the music on "The Return of the King" to be more melodic than with "Fellowship of the Ring". I also love the fact that the album has included a few more songs with vocals as opposed to mostly instrumentals and one vocal song. I personally loved the lush acoustic sounds of "Into the West" which was performed by Annie Lennox. It didn't come off as cheesy as say "A Love Before Time" (Crouching Tiger, Hidden Dragon" or worse yet "My Heart Will Go On" (Titanic). Annie Lennox is one of the best vocalists in the past twenty years. She knows how to control her vocals and doesn't attempt at vocal acrobatics like Celine Dion and Christina Aguiler. The rest of the soundtrack was equally wonderful. I felt like I was in the Middle Ages as I listened to the music. Other than "Into the West", I am also particularly fond of "Minas Tirith", "The Steward of Gondor", and tracks 16-18 as well. Obviously the vocal tracks were the highlights for me. I sure hope Howard Shore is recognized with a Grammy for his magnificent work for the last installment of the LOTR trilogy. This is simply the best film score I have heard in the past year (next to "Whale Rider").