The Lord of the Rings: The Return of the King (The Complete Recordings)
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Free Music Notes for The Lord of the Rings: The Return of the King (The Complete Recordings)
Free Music Review: Monumental!
Hit: 5 Stars
When I walked out of my local cinema on the 17th of December 2003, having just witnessed possibly the best film I have ever seen or ever will see, I was emotionally drained, but also extremely excited to: (a) see the film again on the big screen; and (b) to buy and listen to the soundtrack.
I saw the film one more time, which I believe was enough to both satisfy me and to keep my interest piqued for the soundtrack. It was about a month later when I purchased the Original Motion Picture Soundtrack, and never have I been more disappointed.
Film soundtracks somehow always tend to leave out some piece of music that was uniquely memorable to me, however I was horrified to find a good deal of my musical highlights from the film omitted. I understand of course that they have to be ruthless in order to edit a 250-minute score into 70 minutes of CD, but that did not comfort me.
Over time I got used to it, as it appeared to be the only version of the music I was ever going to hear, and I will even admit to loving it: I enjoyed most of the tracks, especially "Minas Tirith", "The White Tree", "The Black Gate Opens" and I still prefer to "Anduril" to the one presented on the Complete Recordings.
However, it cannot be overstated: The Return of the King - The Complete Recordings is magnificent, everything that I've ever wished for in a musical score and an amazing testament to Howard Shore's skill and genius as an artist. It is what I waited 4 years to hear, and I'm truly glad that I lived to see the day when Shore's 10-hour opera was made available on disc.
I'm not going to make any attempt to critically analyse the music and its various thematic elements, etc. - any attempt would be futile, as that has already been done expertly by Doug Adams, and I would refer anyone interested to know more to the comprehensive Annotated Scores for all 3 Complete Recordings to be found on www.thelordoftherings-soundtack.net.
Instead, I can only offer an emotional response to what I view to be the highlights of this monumental recording. First, "Roots and Beginnings" gives us the music that Shore intended to accompany Smeagol's murder of Deagol and his transformation into Gollum, which was replaced by sound effects in the film: it's extremely powerful music.
"The Grace of Undomiel" is another favourite of mine as it features the best segue music I have ever heard: as Narsil is re-forged, the Rivendell theme builds to a crescendo before it flows into the Minas Tirith theme, which is appropriate as the film then flashes to Gandalf and Pippin as they approach the capital city of Gondor. The Fellowship theme sounds in an urgent yet heroic statement and then The Realm of Gondor takes over: incredible!
I was always disappointed with "The Ride of the Rohirrim" on the 2003 Soundtrack as it presented the least stirring of the Rohan melodies when there were 2 other far superior tunes that they could have chosen. "The Lighting of the Beacons" ends with one of those: the Rohan fanfare is presented as similarly heroic and urgent as Theoden and his troops prepare to depart, before it builds through a majestic version of Nature's Reclamation.
"Osgiliath Invaded" is another superb track, and it offers us a rare opportunity to hear music that was composed to an earlier, alternate edit of the film. The Morgul-host clash violently with Faramir's rangers before the fellowship theme interrupts the battle: in this version, Gandalf and Pippin have only just arrived in Gondor and, seeing the Nazgul attacking the retreating Gondorians, they charge the Pelennor fields, Gandalf's staff-light blazing, and the Nazgul flee.
The music Shore composed for all of the Paths of the Dead scenes is actually a lot better than I originally thought that it was: the use of hanging Tibetan gongs was a particular stroke of genius on his part: they're just so haunting and exotic! Similarly, Shore's music for the Shelob's Lair sequences not only showcases what is clearly one of his favourite compositional styles, but also reflects the action on screen perfectly, serving as a musical imprint of events.
I suppose that that goes for the entire score, but mention must be made here of his compositions for "The Siege of Gondor", "Grond - The Hammer of the Underworld" and "The Tomb of the Stewards": the music that represents the evil mechanical might of Mordor is evocative and harrowing at the same time.
Perhaps the one piece of music that I have most looked forward to hearing and have found myself humming many times over the last 4 years comes from one of my favourite scenes in the trilogy: Theoden's charge on the fields of the Pelennor. "The Battle of the Pelennor Fields" on Disc 3 does not disappoint and never ceases to make my hair stand on end as the Hardanger fiddle sings the Rohan fanfare over brave brass doing the same. Fantastic!
The bloody and frantic battle that results from the Rohirrim's arrival is just as well represented musically: from the deep, ponderous percussion of the Mumakil charge to the high, hellish choir that backs the Witch-king's attack on Eowyn, we are presented with a kaleidoscope of melodies that fight for dominance. And yet, amid all the chaos, a clear simple tune calls out during a lull: the Grey Havens theme makes its first appearance in "A Far Green Country", and what a tune, orchestrated differently from the film, but better!
Finally, Legolas' bringing-down of a Mumak serves as a suitable climax to the battle, both visually and musically, before we fall back to earth where Theoden lies dying. I am in constant awe of Shore's aptness to composing simple yet very emotional music for death scenes: Boromir's in "Fellowship" was one, and Theoden's is of a similar kind, as choir and halting strings and brass give the impression of a person's breath slowing and finally giving-out.
However, the true climax of the film, and the entire 10-hour score/opera for that matter, is the destruction of the ring. "For Frodo" sets those events in motion as Aragorn leads the Army of the West against the forces of Mordor and Gollum returns to attack Frodo and Sam on Mount Doom. The incredible choral accompaniment follows these events to perfection as first it sings heroically then its tone turns dark, until it is comforted by the Nature theme.
The Ring is at last destroyed, and the music for "The Crack of Doom" is some of the best I think that I have ever heard. The Fate of the Ring theme, which once appeared briefly when Aragorn and Gandalf were discussing the future of Middle-earth in The Two Towers, is now brought to the fore by full chorus and orchestra as it represents the downfall of Sauron and hope for a new day. I feel sure that if there is ever a Judgement Day, and Evil is destroyed forever, that music will be playing! The Gondor Reborn theme also features, and it is another example of an alternate version to the film, but a far superior one!
Let me make this clear: the entire 10-hour score/opera is amazing, and is an essential for any discerning music lover. If I had the time to write a review for all three Complete Recordings, I would: this all too brief critique has only looked at a small percentage of the music, and then only my personal highlights. The whole set of 10 CDs may look costly, but I assure you that it is worth every penny, and if you loved the films, the books or just good music, then you will find eternal joy in this score/opera, as I have done and still do.
Free Music Review: Fantabulous!
Hit: 5 Stars
I have been greatly looking forward to a complete "Return of the King" soundtrack ever since the movie came out, and I realized how wonderful Howard Shore's music was. What sheer delight, being able to sit in my living room for two hours last night, and again this afternoon, with two cats vying for space in my lap, the sound of knitting needles softly clacking nearby, during lulls in the music, while listing to the heavenly strains of melody wafting from the speakers. The only thing missing was the fireplace and a couple of burning logs.
I would argue for this being the greatest score ever written for a film sequel, except that technically it isn't. Peter Jackson set out to produce a single, gigantic epic, which he then broke into three parts for convenience. In much the same way, J. R. R. Tolkien wrote the original novel half a century ago but split it into the familiar trio. Thus, when Howard Shore was asked to create the music, he had the luxury of thinking in terms of the whole trilogy, and began to lay the groundwork in "The Fellowship of the Ring" right from the beginning. This gave him a tremendous advantage over, say, John Williams, who was at the mercy of George Lucas coming up with a new Star Wars script every few years. He had to make up the music as he went along.
According to the "making of the music" video in the extended DVD version of "Fellowship", Shore knew from the outset that he wanted to create an opera. If you read the excellent notes which come with the music boxed sets for all three movies, you'll know that he heavily employed a 19th century technique called "leitmotif", wherein every character of note, and every place, gets its own theme, and all of these melodies are skillfully woven together. By "The Return of the King", all the pieces were in place for the grand climax of the epic.
The beauty of this composing technique is that I could sit there with my eyes closed, and follow the progression of the movie. Certain visions and bits of dialog would pop into my mind. I could see Deagol plunge into the water and lose hold of his fishing pole, only to find the Ring embedded in the mire instead -- to his undoing. Or how about when the treasonous Saruman is standing atop Orthanc, up to his old tricks, trying to sow dissent among the ranks of his opponents? Or that wonderful extended scene where Sam and Frodo see the sun shining for one last, forlorn moment upon a floral crown atop the fallen head of a Gondorian statue at the Cross-Roads?
My favorite track of all is "The Lighting of the Beacons". I've seen that scene probably three times more often than the rest of the movie in its entirety, and the music plays a huge part of that. Another good one is "Osgilliath Invaded", which features boy soprano Ben del Maestro's ethereal voice soaring above Pelennor Fields, figuratively speaking, as Gandalf rides forth from Minas Tirith, light streaming from his staff, to dispel the Nazgul on their fell beasts and thus rescue Faramir's band.
And, of course, there is the whole sequence of Sam and Frodo on the side of Mount Doom: "Then let's be rid of it, once and for all. I can't carry it for you, but I can carry YOU!"
If you've watched the "making of" videos for the extended "Return of the King" DVD, you may recall that Annie Lennox was working on a second recording, called, I think, "Live for the Day", but this never made it into the movie. I was kind of hoping maybe they'd slip it into the boxed set, alongside "Into the West", but no dice. They did, however, include something just as nice: "Bilbo's Song". I listened to it twice, feeling utterly haunted by the melody. What a great way to finish the journey.
As with the other two boxed sets, the packaging is very attractive. I have a minor complaint about the CD pegs being a hair too tight, but no matter. Be aware, too, that the DVD is two-sided, which means there is no label side to absorb grease from one's hand inadvertently brushing across it. It's happened to me a couple of times already. That also means being extra careful when you twist the DVD off its rubbery peg, lest you get fingerprints on the surface.
The notes for all three movies keep referring to a book called "The Music of The Lord of the Rings Films". I hope this becomes available sooner rather than later. There are very nice PDF booklets available for download giving a track-by-track discussion of the music in all three films -- but this would mean listening to the music in front of my computer. And that isn't always practical. Perhaps it's time to invest in a nice color printer.
But why spend any more time reading this, when you could be listening to the music instead? It was well worth the price for me. Go for it!
Free Music Review: Howard Shore's Ring Cycle
Hit: 5 Stars
Over the past few years, as a so-called 'Classical Music' fan, I've become more and more interested in film scores. The classic composers, Korngold, Steiner, Herrmann, Rozsa, Goldsmith, Tiomkin, and many others, all have written music that not only worked wonderfully with the films, but worked on its own terms. Now, with the release of the final complete score for The Return of the King, we can see the entire piece, almost 10 hours of it, as a single work. It is rich in thematic content, with innumerable melodies that will stick in you head, lyricism, and drama. It is filled with interesting instruments and sounds, both tonal and atonal, and utilizes a vast pallet of color. It is a remarkable achievement. Wonderful choral work (in invented languages, no less!) is mixed with delicate solo work from performers well-known in clasical circles, such as Renee Fleming and James Galway. What is amazing to me is how well it stands on its own. There are very few 'dead spots', especially given that this is the complete score, on 4 cds.
It is natural to think of that other 'Ring', Wagner's, when considering this work. And I would not wish to suggest that they are comparable, though Shore himself spoke of this score as his 'opera'. Yet it is a vast and wonderful work, quite moving, often exciting, and almost always interesting. He was given an unusual amount of time to write it, and the result is a score of astonishing complexity.
A few details. The packaging, as for the previous two, is quite elegant. The notes are good (and on line you can download a more detailed analysis on some 50 pages or so). Also, it comes with a single dvd on which the entire score (2 sides) can be played. Sound is good to very good - on my system, I notice no particular difference in quality between the cds and the dvd.
Criticisms are minor. If you have little interest in the movie, this may not be for you. If your taste in music veers away from the Classical or folk-like, this might not be your cup of tea either. There is a fair amount of repitition (but so is there in Wagner) and you might not be overly fond of some of the solo singing (Liv Tyler's song is a bit weak, and some may not like Annie Lenox, though I do, very much). You probably should be a fairly serious fan of the movies in order to appreciate the score to its fullest (that however, would also be true of Wagner, or of any opera or vocal work). There is a sweet nod of the head to Wagner at the end. It is also a real investment. And finally, you can buy single cd versions of the score of each of the movies, which might be enough. But I have to say - not for me. I like the whole architecture of the work. I'm just amazed that they went to the trouble of releasing this, as well as the other two. It suggests a labor of love.
Free Music Review: A Completed Magnum Opus, Shore's Complete Recording of the Score to "The Return of the King"
Hit: 5 Stars
A circle, or ring if you prefer, has almost come to a final closing with the release of Howard Shore's Complete Recording of the score to "The Return of the King." We now speculate as to the future of "The Hobbit," whether it will be filmed by Peter Jackson and whether maestro Shore will compose the score. Even so, there is partial closure with the complete rendering of the music for the "Lord of the Rings" trilogy. Comment has been made that J.R.R. Tolkien's "Lord of the Rings" may have been the most notable literary achievement of the twentieth century, and that Jackson's film trilogy may be among the greatest cinematic creations of that same century. Likewise, similar consideration must be given to Howard Shore. Max Steiner's score for "King Kong" will always be recognized as the beginning of the modern classical orchestral film score, and perhaps the most influential single score of all time. John Barry will always be known for his considerable work with (and influence upon) the James Bond series. And John Williams' mammoth work with the "Star War" series staggers and illuminates the musical imagination. But Howard Shore stands alone with his contribution to the "Lord of the Rings." It is not the number and endearing quality of themes, motifs, leitmotifs, crescendos, and codas over three films that amazes us (this is not the place to single out particular favorites, though there are many), or the sheer volume of music (as evidenced by the now completed recordings of the three full scores), that leaves us shaking our heads in wonder; overall, it is how intricately Shore tied all his myriad pieces together from beginning to end into one vast and enjoyable, and yes "epic," musical tapestry. Shore has been favorably compared to Wagner and his "Ring" cycle, but Shore's music is more cohesive than that, and therein is the ultimate beauty of his score. Much as Tolkien's three books actually formed one epic work, Shore's music is actually one score that exists on a level that is not likely to be equaled or surpassed in this new century. The final part of this musical trilogy, "The Lord of the Rings: The Return of the King, the Complete Recordings," like the previous parts, is an unprecedented musical achievement, and now that we have all three in finished form we can marvel at them, and more importantly how they exist as a singular musical whole. It is a magnum opus in film music like nothing else we have ever experienced. Howard Shore's full score, like the novel and the films that preceded it, is pure genius. There is but one thing left to say: bravo! As with the earlier "complete recordings," brilliant production values and packaging by Warner/Reprise and New Line Records.
Free Music Review: A Cinematic Score Masterpiece!
Hit: 5 Stars
Howard Shore's Academy Award winning score for The Lord of the Rings: The Return of King was released in 2003. That was a typical standard release, only containing a fraction of the film's actual music. Finally, the film's score takes its rightful place in cinematic music history with this 4-disc masterpiece recently released from Reprise Records.
Shore's brilliant blending of themes occurs in this final chapter of the film trilogy, more so than either of the two previous releases. The Fellowship theme, after forming and then breaking, must draw itself to a new level of focus as they reach Mount Doom. The Elves' theme bestows its final gifts to Middle-Earth, receding into the West. Isengard's theme must meet its fateful demise, but not before incorporating those themes into Sauron's theme near the end of the story.
The themes of men, Rohan and Gondor, each given isolated themes in the previous releases, now join forces assuming lead roles in the preparation for war with Sauron's forces. The theme for the Ring itself is also brought to its climax as its fate is decided on Mount Doom. The three main Ring themes now interact with each other, creating a musical fusion that beautifully haunting.
As Middle-Earth survives the War of the Ring and enters its Fourth Age, Shore grants the surviving culture's themes peace and prosperity and maintains the aesthetics of each society. Men are granted respite; the Elves, peace; Hobbits, wisdom; and Ring to its fate, destruction.
Released in a beautiful boxed set, Shore's score is recorded on four discs. Disc five is a DVD audio disc that contains the entire score in Dolby Digital Surround Sound, Dolby Digital Stereo Sound, Advanced Resolution Surround Sound (24-bit), and Advanced Resolution Stereo Sound (24-bit). The set also comes with a detailed 45-page booklet about the score for the third film, along with Shore's inspirations for some tracks, new instruments used during the scoring process, a list of performers, and much more.
It's really difficult to say which tracks are standouts over others because the entire score is fantastic. Disc four's "Days of the Ring" (which is actually the film's end credits) features Annie Lennox's Academy Award winning song "Into the West."
This is truly a fantastic piece, I've been waiting for its release ever since the Lord of the Rings: The Fellowship of the Ring Complete Recordings came out two years ago. It's hard to express just truly how moving this music really is. If you're a fan of Lord of the Rings, or even just a fan of score music like me, then you'll definitely want to pick up this set.