That I understand, who the fuck plays ukulele? She should have bowed down and kiss my feet for letting her have part in listening to such mastery. Also reminds me of the time I bought a trumpet (one of these 150 Euro things) because I wanted to practice with it. That was quickly dispatched with when I heard swearing from next door ...
A piece with very different tones and shades and themes flowing into each other. I prefer the solo hardanger opening actually. The encounter of Eowyn and Grima is one of the most enticing moments in the film for me. The juxtaposition again of beautiful tones over rumbling low voices is very touching. The forlorn statement of the Rohan theme was a classic movie magic moment while watching it for the first time, again with the bassoons. Eowyn's theme is one of the most flexible of the whole palette of themes in LOTR IMO.
18. The Court Of Meduseld
I never identified this as Grima's theme until Doug told me so, actually. I never caught that the action motif in the middle is in 5/4 as well. I love the combination of 5/4 Isengard, Gandalf the White theme and powerful chorus. That was one of those unexpected moments in the theatre.
19. Theoden King
This is like a highlight piece from beginning to end, like a concert suite of Rohan themes. I dare anyone to name more than a handful of themes that are similarily intense and awesoome like the Rohan theme. When the trumpets hit the highest note, it's absolutely exhilarating.
Once again, those pure brass tones for Theodred's funeral. The choir is reminiscent of the piece for the burning Westfold, maybe intentionally so? Eowyn's singing is beautiful, much more welcome than some of the inclusions in the FOTR CR.
Theoden standing in front of Theodred's tomb with this music must have been one of the most chilling experiences I ever had on any film. The pairing of the acting and the cinematography and the music is superb. Too much vertical writing my ass.
20. The King's Decision
Some music to drive the story along. Not much to say, really.
21. Exodus From Edoras
Another one of those gorgeous one time melodies that are never explored any further. TTT really does feature great explorations of the Isengard music, naturally, given the content of the film. Grima's theme again. Howard Shore has, IMO, a quite unique sense for combining rhythm with harmony. Eowyn's theme really adds depth to her scenes, and while others may find it simplistic, I love the pure sound of the lower string octaves. It's beautiful how the hardanger has the chance to shine on its own here. And some more chilling writing for an instrument starting with "b".
22. The Forests Of Ithilien
Starting with one of my favourite little mood pieces from TTT. It resembles the music for the later discussion between Smeagol and Gollum. Fantastic play on Smeagol's theme, and some subtle use of the dulcimer. The way Howard Shore uses the lower woodwinds is really one of the reasons why his sound is so unique. I think.
Gollum's comedy piece is fun, but probably good that it wasn't in the film
I don't know, somehow the score manages to give each sequence a particular sound that you can remember, just like with this Ithilien piece. The music for the oliphaunts for example must be some of the most distinctive in the whole film.
A nice touch that the screechy brass moment for the capturing of Sam and Frodo here, and the later moment, when the Rangers pull a hood over Gollum's head is similar. Maybe the "Faramir's Dubious Intentions"theme
23. One Of The Dunedain
One of my favourite pieces in the whole film. So many little motifs and major themes on display here. This, again, feels like a concert piece. I don't quite understand why the Evenstar piece was tinkered with in the film. I find this a perfect example of how Howard Shore gave a scene, which is essentially nothing more than a love story some special dignity. Of course, as a film, Return of the King profited from that more than once.
The Diminishment of the Elves theme is one of the most evocative and sadly overlooked oftentimes.
24. The Wolves Of Isengard
This piece was butchered to death in the film, probably because it was a last minute addition and there was no time to do a rescore the way PJ wanted it. At least that's what I hope happened. The OST lack the hardanger, the CR version lacks the choir. The way to go is to have BOTH combined of course! Awesome chorus.
This should have been in the film. PJ doesn't know what's good for him.
Great tension building in 3 towards Aragorn's dive off the cliff. Some mean brass.
25. Refuge At Helm's Deep
For some reason I really love the little string piece at the beginning, especially the statement of Fellowship in minor. And the way the fanfare for the arrival emulates an air of hope before pulling the bottom of the orchestra away. I love how the Rohan theme is so instantly recognisable upon hearing the skip-beat and the two 16th notes.
26.The Voice Of Saruman
Oh Jesus, so many great additions to the score were cut from the film, sometimes I question PJ's senses. Awesome battle cry of Isengard music.
27. Arwen's Fate
Sheila Chandra's song was always an odd little inclusion for my taste. Unquestionably, it fits into the slightly exotic Elven world, but at times it pushes it into that direction a bit too strongly I feel. The piece Howard Shore wrote for the vision of Arwen's future is so sad and dramatic, another stand alone piece, and again it is not in the film. Going through it track by track makes me realise just how much was edited away. I mean, the Evenstar solo fits the film, but in no way is it significantly better than this piece. On the contrary, it flows seamlessly into
28. The Story Foretold
The airy and sad chorus for the Elves leaving is one of the most chilling moments in TTT. My favourite statement of Rivendell music actually. The winding celli are sublime. This is followed by the belated prologue. Strangely, it works in the film. I understand why executives wanted to have a prologue, but putting this at the beginning of the film would have killed the audience. It would have sent the message "seen and heard that already". Cor anglais again ...
29. Sons Of The Steward
This would have been a great addition to the theatrical cut, but I understand why it wasn't there. Some evil times workout in the beginning. Some of the wind orchestration I love so much about these scores. Faramir's dream should have been included, it could have cleared up some things in this film as well as in ROTK. I adore how the music breathes in and out, follows a clear structure, seemingly unimpressed by the film. Often you have the feeling in films that the film chases to music along, but not here.
Gondor's theme on bright solo trumpets, recalling former splendour, is a rare listen. I think it appears like this only twice in the entire trilogy. Once here, and the second one in ROTK, when Gandalf speaks of Gondor's former glory. It's these little details that make the scores so special.
30. Rock and Pool
In many ways a typical Howard Shore piece. It's great how the fluttering winds and the harp reflect the image of the pool without overdoing it and going into the realm of clichee. You probably won't find better Howard Shore mood builders than this piece. And here we have the mean brass again for the capturing of Gollum.
31. Faramir's Good Council
TTT is really all about exploring music for Gollum, Rohan and Isengard. Everything else is second to that. This is excellent examination for Gollum. And, of course, the seduction theme is cut from the film. Bastards.
32. Aragorn's Return
Finally a majestic reading of Aragorn's theme, and at the same time Gondor's theme second phrase. The king has returned. And he's here to fight. Clever little addition in the middle, echoing the Riders Of Rohan motif.
33. War Is Upon Us
Another minor highlight for me. Yes, it is just some rhythmic pulsing, but I lovee the brass and the cold, harsh inevitability of it, that war is coming. The Ent/Fagorn music really fills the spot for fantasy music because otherwise, there isn't much genuine fantasy music in these films.
34. Where Is The Horse And The Rider?
Another major highlight cue. Two moments that gave me chills and made me teary-eyed in the theatre. One is the sad Rohan theme for the children being called to fight, and the other the powerful chorus over Theoden citing his poem. I never thought a simple series of string figures can be that captivating. "To whatever end ..." I'm getting goosebumps right now.
The heroic trumpet for Aragorn ... does PJ know how much of the impact his films had are due to Howard Shore's music? So why does he constantly cut it for Christ's sake?
35. The Host Of The Eldar
A brilliant thematic variation completely out of left field. Elvish battle music ... if the Hobbit is only vaguely in this category of quality, I'm going to wet my underpants. Genius thing to recall the doors of Durin music. And a perfect mood setter for the battle. It says that it's not about an ultra cool battle that is about to start, it is about the story.
36. The Battle Of The Hornburg
From this piece onwards, I would consider practically every track a strong highlight.
From the moment of the deep string note, you're in for some of the best battle music ever conceived. Reduced orchestra for the maximum effect. Love the 5/4.
37. The Breach Of The Deeping Wall
Great expansion of the Orc sound. With the high strings, it sounds like a perverted Olympic race. More Elvish war greatness. Just a great collection of motifs.
38. The Entmoot Decides
There is a little alternate take of this cue on the ROTK EE documentary about the score, with soft horns, that I like better. Some more Aragorn motif, sounding like a defeat.
39. Retreat
Haldir's Lament was, and is, a very nice addition to the overall sound of the Helm's Deep battle. I think his death is really one of the few deviations from the book that actually work completely. One of my favourite Fellowship statements in all the films follows, in driving 3/4, and the spine tingling Cruelty Of The Orcs motif on brass. There is nothing in the scores I love more than the unrestrained sound of heroic brass, like in the last third of this piece. The final fanfare of Rohan/Aragorn is another bit of thematic genius.
40. Master Peregrin's Plan
Another little cue that is sadly overlooked, being surrounded by other brilliant cues. Love the anxious Shire variation, and the barely noticeable "Small Stones" motif. Nobody can convince me Howard Shore really believed the audience would catch something like that upon first viewing. Things like that, IMO, are added out of the sheer joy of creating a coherent piece of music.
41. The Last March Of The Ents
Pure, simple, hair-raising movie magic going on here. The Nature theme with chorus, Treebeard's words made another tear form in my eye. There are very, very few scores that capture the essence of the story that perfectly.
42. The Nazgul Attack
The Nazgul harmonies are instantly recognisable. For me, this track is basically a build-up to the grand finale. The Gandalf The White music in the end could have been in the film, but I feel like the tracked Nature theme fits the emotion at least just as well. But that may be because the theme is just so damn brilliant.
43. Theoden Rides Forth
Once more, I don't get why this piece was tinkered with. Does it really make that much of a difference to start it three seconds later? IMO one of the best finale cues ever done. Ben Del Maestro is awesome, and the marriage of music and film is almost a transcendental experience. You have this epic conclusion to Helm's Deep that makes you shiver all over, and then it goes on with the Isengard demolition, which adds relentless adrenaline to it. Critics can blow "too much vertical writing" at their asses. This is an absolute powerhouse of movie scoring.
44. The Tales That Really Matter
If the previous one is one of the best finale cues ever, so is this one. A thematically beautiful, meaningful, emotionally hooking and soul-touching piece of music. Actually, to describe this (and a few other pieces from the trilogy) with the word "music" is almost a little too lazy.
There are SO many themes included in this; Shire, Frodo, Gondor, Gollum, Treebeard, Fellowship ... and they work together so flawless. And I don't get why people think there is no thematic developments in the scores. The Shire music here sounds different than the one from Fellowship, and noticeably so.
There is a wonderful sense of impending doom at the end, with Gollum's music, when his Pity theme and the song mingle. And of course the clash of the Menace and Ring theme.
45. Long Ways To Go Yet
You know, there are over 10 hours of music in LOTR, but if I had to pick a moment when music and imagery just create something inexplicably special, I would name the opening of Gollum's Song with the boys choir. I don't even know how to name the atmosphere it creates. The music together with the camera panning over the Morgul vale and Gorgoroth, and the quiet, calling low brass chords under the choir over the image of Mordor ... that is simply sublime scoring. Best transition from movie to credits, hands down.
It also creates a sense of satisfaction, I don't know how you could end the middle part of a trilogy better. My favourite song of the three as well. Emiliana Torrini has a stunning voice.
Then the credits. IMO the one weakness of the scores, no actualy, proper end credits suite. However, TTT comes closest with Eowyn's theme and the Rohan fanfare. The Evenstar on solo oboe is gorgeous, but I'm not sure why the Leave Taking and Seduction themes are there. Better to make the end credits finale short and sweet than selecting random pieces from the film.
Overall, Two Towers is maybe the most interesting score of the three because it handles such interesting material. Without it, neither FOTR nor ROTK would have the same impact. It is certainly the gloomiest of all three scores, and that plays into Howard Shore's cards of course.
For me, there are many pieces in here that I consider among the best of the trilogy. It certainly has the best character-related music, with Eowyn's themes, Aragorn's themes, Gollum's themes thoroughly explored.
And it has some of the very best setpiece music, with the Dead Marshes and Helm's Deep.
I decided to listen to the CR and write down my thoughts as I'm listening. I started with Two Towers. Here's chunk number one: 1. Foundations Of Stone I never thought a simple arrangement of rising notes could create this much awe-inspiring anxiety. The lofty, majestic orchestration of the Ring theme says right here that this movie and score will be on a different scale than Fellowship. The lingering string line, punctuated by noble and slightly menacing brass reminds me of Sibelius a bit, and is perfect for giving the audience time to just be sucked into Middle-Earth again. And even taking ROTK into consideration, the Dwarvish chorus here is amongst the most original and poignant in the trilogy. In general, I think TTT has the most interesting choir work. 2. Lost In Emyn Muil First time for the Rohan theme. I understand why it's over the titles, I just find it a little strange in context. And the introduction of the theme in the three hunters cue was as perfect as it could be. Personally, I don't think there is any one main theme for any of the three films, but it's certainly logical to put the theme over the titles that has most of the spotlight in the score. 3. Elven Rope A warm, slightly journey-weary, reminder of Fellowship on clarinet, and a first glimpse of Gollum. It's one of these pieces in which themes just flow so organically into each other. Another choir piece (which I prefer to the film version) that sets this score apart from FOTR right there. Gollum's cembalon theme is a theme I've never warmed up to. I appreciate its intention and love the ingenius connection to the instrumentation of the Shire, but it doesn't do anything inside of me. However, the fight music is great. Has Howard Shore ever done anything like this before these films? I don't blame people for questioning his involvement back then. 4. My Precious There are many more variations on Gollum's pity theme to come, first time History of the Ring and Gollums theme meet. The cor anglais work in these scores is yet another little piece in the puzzle why I adore them that much. More workout for the Menace theme. In other guises, like this one, it's really good, I just don't find much in the minimalistic version with just the dulcimer. 5. Ugluk's Warriors Hearing the Shire on bassoon is as good a time as any to say that I really, REALLY love the bassoon work in LOTR. There is something about the way Shore uses them that makes his sound very distinguishable. Never, PJ, NEVER omit a choir from any piece again! 6. The Three Hunters Fellowship is back. That produced some major goosebumps in the theater. The revealing shot of the plains of Rohan, with the theme over it ... movie magic. So far, the score has done an excellent job of giving the film a slightly different atmosphere while maintaining the old themes and spinning them slightly differently. The trademark low brass Mordor sound, or, how to do ostinati right, Mr. Zimmer. Simplistic theme, but so incredibly effective! A piece where the extended version really adds to it. One of my favourite choir pieces in the films, mainly because of the winds, and the juxtaposition of men and women. 7. The Banishment Of Eomer An odd Wild West touch to the fanfare cue at the beginning, but so very rousing. Followed by one of those intriguing subdued Howard Shore moments. Scoring the film and not scoring the film at the same time, following the dramatic arc of the music. Some find his trademark swelling/ebbing chords annoying. I find it extremely satisfying to listen to this subtle work, building and building - to the Isengard material thrown against the Fellowship theme, with choir. A unique moment in the films. I just love thematic plays like this. 8. Night Camp Nature Theme. Still not sure about its intentions. The alternate, with the Fangorn music, would have fitted better thematically IMO. The Orc material is explored further, to great effect. No idea why there had to be music tracked into the film for the Riders' attack, with several earth shattering alternates at hand. Completely unnecessary, but sadly not the only instance in the film. 9. The Plains Of Rohan Another one of these sneaky little motifs here, the Riders Of Rohan motif (which would have been introduced one cue earlier, had it not been replaced in the film). I'm a fan of leaving the brass/wind without string backup, I love the pure sound of it, like in this cue. I also find it amazing that, with all the countless beautiful themes Howard Shore wrote, he still is able to write in good melodies/figures that appear once and never again. The three hunters mourning for Merry and Pippin would be such an instance. 10. Fangorn Another one omitted from the film. What a shame. Another one of those trademark Howard Shore cues. Nobody does it quite like him. Wonderful play on Aragorn's music, seguing into the introduction of Fangorn's music. And yet another piece of tracking in the film. How on earth can you leave out a cue like this? Excellent 5/4 chase music. And the "Treebeard's Stride" motif could have given Treebeard more impact on film. I think it needed that. This would have been an awesome introduction in the film, but Pj had to ruin it by removing half of it. Even the bassoon solo, one of the nicest and most original things in the film. Also carries the spirit of Tolkien. 11. The Dead Marshes Maybe my favourite sequence in the film (musically). Love the timpani in the beginning. Gollum's music comes to live a little more, made me feel genuinely sad for him. Then the music for the marshes. Awe-inspiring, slightly menacing while still maintaining a flair of ominous wonder. The depiction of the voices in the score is marvellous. It's just such a rich piece in all registers, dynamic ... closing out with Gollum's pity music, and more of great bassoon sounds. Not sure why it repeats the beginning portion at the end. Deleted scene maybe? 12. Wraiths On Wings Ok, why this piece of music had to be removed in favour of something glued together in the editing room is the greatest mystery of this whole score. This cue gives the Nazgul music an additional nasty twist, and moves it towards the sound Howard Shore gives them in ROTK. Not with a driving rhythm, but more with a self-conscious, menacing, imposing quality. 13. Gandalf The White Another awesome setpiece, had someone told PJ to leave it intact. The aleatoric orchestra is such a nice depiction of Fangorn. Often I think Shore's music goes far and beyond what is on screen, and depicts Tolkien's world how it should be displayed, and not necessarily what the movie shows us. Gandalf the White's theme and music. Unmistakable. The fight on Zirak-Zigil should have been scored with this, and the fluttering tones add a lot to it later on. Again, lengthy portions of this setpiece are beautiful without being particulary thematic. The short brass fanfare is not on here, but on the OST, and I think that could have been included, even though the silence gives more impact to Shadowfax' arrival I think. People often forget the OST version of this piece, which is more fairy tale-y and emotionally more neutral. Interesting that the melody for Shadowfax' arrival here begins with Rohan's opening pitches. 14. The Dreams Of Trees A wonderful addition to the film, both scene and music. And I think they should have left it in the theatrical release. More or less the concert suite of the "Small Stones" motif. And this lyrical side of Treebeard was sorely lacking in the theatrical cut. 15.The Heir Of Numenor I wonder if Howard Shore really put these score together step-by-step as he often describes it, or if his humility just doesn't let him say that he planned some things from the very beginning. Because I really doubt he would just put in a theme for the Ring's destruction and then accidentally rediscover it while working on ROTK. Mordor music gets a workout. Another perfect blend of film score and standalone music. One of the more unique variations of the Ring theme at the end. A fleeting moment, but showing precisely what goes through Gollum's head at this point - it's the Ring that drives his actions, not concern for his master. And more bassoon. 16. Ent-Draught I always enjoy the lighter Hobbit moments of Merry and Pippin, score-wise because Sam and Frodo's music is by nature a bit heavier. Again, fleeting moments of melodic beauty. Maybe Howard Shore worked on the Siege Of Gondor piece while scoring this? In general, the music for Fangorn and the hobbits' story there is highly underrated.
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