Incanus

I listened through the earphones and I did not hear the choir in the Weather top sequnce after Frodo falls down and Witch King approaches just the Nazgul ostinato. The initial encounter with the Ringwraith is partly scored with choir but when the hobbits are in the dark forest and they see a Nazgul riding away just before one attacks them does not have choir. This is the case with Extrended edition anyway.

Once again with nothing to write about JW I go to my other obsession the LOTR. I just went to my local record store here in Finland to ask when the ROTK album is going to be released and they answered the 21 of November. It's four day in advance of the listed release date!!! It happened last year too with the TTT album. No complaining here since this happens not too often here in Finland. We usually get the scores 2-3 months after the initial release. I can't wait for the next friday . I have correct this one to my disappointment (the early release was too good to be true anyway):The release date of The Return of the King soundtrack has changed from the date announced earlier (11/24/2003). At the moment, the soundtrack will be officially released December 1. In reality, this means the CD will be in stores around Helsinki on December 2 and elsewhere in Finland the day after. Source: Warner Music Finland, Tuula Hangasluoma. I am very, very disappointed :cry: :cry:

This is GREAT news the one I have been waiting for to be confirmed!! It will be more than 9 hours of music if he is to release the whole EE versions of the scores. I can't wait for it.

The reason I did't include the track At the sign of the Prancing Pony is because it has the choir, which is good. My point is that the two other scenes don't in such large amount they have on the CD because of the dramatic tension they wanted to achieve. The album has choir in abundand but I was wondering the difference in the movie itself. Also I have heard a weird alternate version of the Nazgul stabbing the beds in the Prancing pony scene on one of the documentaries on the EE where it had a choir. Furiously chanting female choir if I remeber correctly.

This topic does not really belong here but others have posted LOTR threads before. Yesterday I once again sat down to watch Fellowship of the Ring and made a surprising discovery. Almost all the choir element was stripped from the Black Rider scene as well as from the Knife in the Dark scene. The first scene has choir only in the beginning and little in the end when the hobbits run for the ferry and the second scene has the chant in the beginning of it but once Frodo falls down the cue turns into the basic Nazgul ostinato without chorus. This made me little disappointed since the theme itself without the choir is not very effective (just your basic suspence underscore), but then again the film required these changes not to muffle up the sound effects and not to distract the action. Before I would have liked to have the movie versions of these cues but now the album cues feel much better listening-wise. The theme needs the choir to be impressive even though it is effective without it.

My opinion firmly is that David's theme is the countermelody in the middle of the Reunion cue and not a part of Monica's theme. From the beginning I have heard it as David's theme. It can be heard on Arrival of David, Hide and Seek, The end of Mecha World cue on the album and in the Reunion. The most easiest it is to spot in the Reunion.

Maybe I have listened it too many times but it still is A GREAT SCORE!!!!

I have worked on this sporadically for 2 months and since I do not own the movie in question it was difficult to accertain some smaller details on the cues. Finally I borrowed it from library and could go on with the analysis. But finally despite the delays it's finished: An Analysis of the score of A.I.- Artificial Intelligence A.I. was a project long nurtured (the idea was produced as early as 1980?s) by the now late Stanley Kubrick but eventually he chose only to produce it as he was busy with other things and let his friend Steven Spielberg handle the directing. The sudden demise of the great and excentric director was a setback for the production but with Spielberg in charge the film was being prepared in spite of it. Now it became a dedication of respect and a homage from Spielberg to Kubrick. A.I. is based on two short stories by Brian Aldiss whom Kubrick insisted to expand them but finally they were transformed by Ian Watson into a screen story and finally Spielberg made it into a script. Spielberg and Kubrick collaborated and presented ideas to each other via fax so the story evolved for a long time over the years. Kubrick also had the screen story storyboarded and the world of the film visually defined so Spielberg was left with a clear idea what Kubrick wanted visually. It is an extraordinary story of a robot boy named David who was build to love and his odyssey to become human and find acceptance and love of his human mother. Although set in the far future it is essentially a fairy story with parallels to the classic story of Pinocchio as he also strove to become a real boy but the film does not follow it?s plot per se. Unfortunately the movie was a boxoffice failure and it never achieved widespread success. Still it yielded one of the most significant scores of the year by John Williams. A.I. was the 17th film director Steven Spielberg and composer John Williams did together. Their working relation is nowadays very mature one and perhaps Spielberg has served Williams music over the years better than any other filmmaker. As Williams puts it Steven Spielberg loves music and likes to use it his movies. He always feels the music adds something to the film instead of taking away. His pictures also seem to lend themselves very easily to music. Spielberg who unlike many directors is very closely associated with Williams through the whole period of composing likes to hear the musical ideas and constantly discusses the music with the composer. This and their close friendship has yielded many memorable and intricate film scores in the past. But as Spielberg loves movie music Williams is often called on to write huge amount of music for his films. A.I. contains by the composer?s own estimate well over two hours of score. This is an amazing feat to write considering Williams had another big project in the year 2001. He wrote roughly 2 hour score for the first Harry Potter movie as well not counting the Introduction to the Orchestra for Young People based on the themes of Harry Potter. But it seems that as Williams gets older he seems to quicken his work pace. And when you think of the quality of the works he composes it is admirable and simply quite amazing. The film certainly was in some extent a departure from the usual Spielberg style and thus Williams had from the beginning opportunity to explore a wide range of musical possibilities. His score does utilize modern minimalism and atonalism, techno and synthesizers(rare instances in the past in a Williams score), and of course the melodic ingenuity of Williams to evoke the soundscape in the movie. It stands apart from his other works with exception of Close Encounters of theThird Kind in it?s timbral qualities. One other score Williams compared it was surprisingly another Spielberg film Always in it?s minimalistic style. Williams developed various themes for the movie as is his style. They evolve and change throughout the movie as it is usual for Williams and the complete score only helps to understand and appreciate them fully. 1. The Cybertronics theme: Played solely on strings this theme represents the Cybertronics? Cryogenics Institute, a manufacturer of Mechas and provider of cryogenic suspension facilities for medicinal purposes. It is in minor mode and has as a core constantly rising and falling series of six and seven notes which alternate and repeat. This creates a very uneasy, cold, mechanized and unchanging athmosphere like the containment where Martin, the Swinton?s real boy is kept. 2. Martin?s Jealousy/Abandonment theme: This theme implies the jealousy and malice Martin feels toward David. When his attempts to oust the robot boy from the family finally succeed the motif turns into a fully developed theme for the abandonment sequence where it describes David?s horror and shock to be left alone by his mother. Deliciously malevolent and ominous theme. 3. Yearning for a Lost Child theme: Theme for Monica?s and Dr. Hobby?s longing for a lost child, in Monica?s instance for Martin and in Dr. Hobby?s David (his dead son who was the model for the Mecha child). This is a sad nostalgic (initially 22 note) piano melody which is variated throughout the first part of the movie. After this it disappears as the characters it is associated do as well. It is the also the only major theme to be left out of the original soundtrack album. 4.Monica?s theme: The thematic core (alongside with the Blue fairy theme) of the last third of the movie this theme is melody associated with Monica and David, David?s love for his mother and Monica?s feeling toward David. A warm touching melody with a touch of lullaby to it this theme is the centrepice of the score. Williams and Spielberg pondered a long time for the correct melody for the last scene with Monica and David and Williams wrote 6 or 7 melodies and played them to the film. Finally this one piece seemed to sound right and this was the cantilena-like Monica?s theme. 5. David?s Theme and the Mecha motif: David, the protagonist of the film, has a thematic identification of sorts. This is to describe the more human side of him and his wish to be human. It is a wistful, playful melody full of innocence and it is in close connection with Monica?s theme. Williams uses it sparingly but effectively through the movie. The second theme associated to David is a small 7 note synthesizer motif to represent his robotic side. It is stated often when David?s Mecha origin is implied. 6. The Blue Fairy theme: One of the cantilena like themes Williams has composed for the movie. It has to do with David?s wish to become a real boy and the hope of reuniting with his mother and the gentleness of the character of the Blue fairy. Blue Fairy?s theme has a fairytale like quality and as Monica?s theme it is lullaby like being slow and lilting with warmth but also sorrow for it implies that what David hopes is impossible. One of the most touching themes Williams wrote for the movie. Has almost a spiritual depth which I think was Williams? intention. 7. The Travelling theme/Mecha World theme: Theme or a musical identification of the world of A.I. this theme represents the mechanized age of the future and is used when ever David is seen travelling with vehicles (namely in the cues Rouge City and The Mecha World.) Consists of a repeating motif on percussion(namely marimba) and strings. Other Possible themes/motifs: Monica?s incidental music: As with his other movies of the past decade Williams uses oboe to evoke the warm familial feeling of home and he very often associates it to the character of Mother. He uses it e.g. Stepmom, JFK, Angela?s Ashes, Episode I and II. Monica has oboe underscore that is associated to her and describe her different feelings. Teddy?s theme: Small playful melodic fragment in the end of Perfume/Will you Die? /Teddy cue could be Teddy?s, the mechanical teddybear?s, theme/motif. Other instance where it might be heard is the end of The Moon Rising where falls of the Moonballoon (this part of the cue is left out of the film). Cue-By-Cue Analysis The first time we hear music in the movie is when Monica and his husband Henry are driving to visit their son, who is very ill and is therefore in cryogenic suspension, in the Cybertronics cryogenic labs. We hear first a snippet from Waltz from Tshaikovsky?s Sleeping Beauty as a source cue when Monica reads to Martin though the music is cut around the first Williams cue: Cybertronics (3;30): This is the first instance where the Cybertronics theme is used. As I said before this theme is played solely on strings and features a series of 6 and 7 notes ascending descending in slow deliberate way to create this clinical cold and mechanized athmosphere. In around 1;47 this constant repeating motif appears to create a sense of unending cryogenic sleep. This is the scene where Dr. Frazier of the Cryogenic institute suggests to Henry the possibility that Martin may be never healed and that there are alternatives to a real child. Arrival of David (3;50): This cue begins quietly with austere electronics as David steps in, it is very ambient and atonal. Yearning for a Child theme is heard for the first time but in a fragmented form on celesta as Monica looks the boy in amazement and disbelief which is followed by a reflective oboe melody to represent Monica?s sadness. As she claims he is not real Henry concurs saying he is a Mecha child and we hear David?s Mecha motif. Yearning theme appears next on piano as the couple sees David watching the family pictures of Monica, Henry and Martin. This cue has a shorter alternate found on the Oscar Promo where the music begins the same but we hear first David?s theme and then the Robot motif appear to announce his arrival. The music continues warm and homely on the oboe as Monica meets David but as she sees this child she remembers her own and we hear Monica?s Yearning theme on the piano which ends the cue tentatively. A Few Simple Procedures (2;42): Oboe melody reflects Monica?s initial apprehension of taking David in and electronics describe her discomfort and doubt as Henry describes the Imprinting protocol. As David asks her to dress him in pyjamas when it?s his bedtime she declines and goes outside as Henry does it. This is first part of the cue which is continues as? Intro to? (0;36): Looking through the glass door frightened and unsure of her feelings cold piano and electronic music plays. This leads to? Hide and Seek (3;23): Monica spends a day with David and as she does the household chores the curious robot follows her silently everywhere. One of the scenes where Monica bonds with David after feeling reluctant to be a mother to a robot boy. This creates many humorous situations for both of them and Williams? cue captures the lighthearted scene perfectly. Here he utilizes both the David?s primary theme, the Mecha motif and parts of Monica?s theme to create a duet of synthesized piano playing Mecha motif and real piano playing two more human themes backed up by light swirling strings to depict the human/robot relationship that is slowly forming between the two. Imprinting protocol / ?Will You Die?? / Teddy (7;53): This long cue starts of with the harp playing gently the Yearning theme to express Monica?s longing for her son and need to have a child in her life as she tucks David into bed at night. The cue turns more atonal and slightly chilly as Monica wavers as she thinks of her real son and feels like she is betraying him. Eerie electronic effects and twinkling celesta create a subtle suspence to the scene where she imprints David. Finally as she succeeds we hear Monica?s theme for the first time as a subtle version to imply David?s awakened love for her. The second part of the cue starts as the Swintons are leaving for a party and David is left home for the evening. He sees Monica putting on some perfume and as Henry complements her for it David decides to imitate. He pours the whole bottle full on himself while we hear the Mecha motif and as we see this celesta, xylophone and oboe play as Monica notices it. Oboe representing Monica interplays shortly with mecha motif until the Yearning/Sorrow theme takes over on piano as David inquires from her mother ?Will you die?? This is the lengthiest development of the Yearning theme full of melancholy as Monica explains to him she will live for many many years but she will eventually die. And to make David more comfortable she produces Martin?s old toy, Teddy, to keep him company. Oboe introduces a playful element, melody that could be called Teddy?s theme. This cue is divided in two on the Oscar promo and contains more music. Martin Returns (Version 1) (1;23): The life of David changes rapidly when Swintons? real son Martin suddenly is healed and brought home. As Martin comes back he immediately feels jealous towards this new family member. Gradually the boys begin to compete for their mother?s affection. Here we first hear the sinister Martin?s Jealousy theme coupled with a short piano phrase (which is to be developed later into a motif for the cue A Drive) as he is brought home. The music turns dark as it describes the threat David now feels. Although David does not see the malevolent intent of his ?brother? to drive him out of the family it can be heard in this subtle ominous melody for Martin. This version of the cue is a composite of 2 different segments edited together, taken from the cues A Drive and Martin return version 3. A Bird (2;18): Martin and David spend time together and Martin inquires where has David come from and who made him. David says first thing he remembers is a bird. Martin urges him to draw it. Music is very light using flute, celesta, strings and electronics to create a proper athmosphere. This cue runs without themes. Stories (1;37): Martin knowing how desperately David wants his mother to love him and brings a book to Monica to read for them. It is Pinocchio by Carlo Collodi. Cybertronics? cold theme is played as if to remind of the time when Monica read to Martin in the Cryogenics lab but also to imply Martin?s evil intent. The picture here is totally opposite of the music to suggest something is wrong as we see Monica reading to the boys in a boat on a sunny afternoon. Soon it subsides and we see Monica reading by Martin?s bedside and David listening on the floor. Here Monica?s theme expresses David?s wish to become a real boy as she reads the segment where Pinocchio pleads for the Blue Fairy for the same thing. ?Does He Eat?? (1;02): As the Swintons are having a dinner Martin urges David into an eating contest with him. Both parents try to stop it but David want?s to show his mother he can eat like a real boy. Suddenly his face melts down as he is not supposed to eat and he malfunctions. This short cue is played on strings and develops a sense of urgency, shock and dismay as it swells as David?s face prolongs horribly. It Doesn?t Hurt (2;07): The subsequent scene where we see David being cleaned by the technicians and the concerned Monica standing by the robot boy holding his hand. Music is ambient and very atonal and cold electronics, piano muted brass and strings create foreboding and imply Monica?s doubt of having the Mecha in the family. A Haircut (3;46): Dark, ambient cue for the scene where David out of the suggestion from Martin at night sneaks up to her sleeping mother and tries to cut a lock of her hair since according to Martin she would love him for it as the princess in a story loved the prince whose lock she had. Martin also promises to tell Monica he loves David so she?ll love him even more. With ominous orchestral rumble and very athmospheric orchestrations this music conveys perfectly the mood of the scene. Music turns more busy toward the end as Monica wakes up just as David cuts her hair and Henry frightened shakes him angrily. As Henry was certain before that David was trying to hurt them out of jealousy he is now sure of it. Monica still has doubts. The Pool Sequence (1;41): It's Martin's birthday and he and his friends are playing beside the pool in the garden. He is showing his robotic brother to his curious friends and because he seems so humanlike they want to see if he has DAS, a damage avoidance system, like other Mechas by stabbing him in the arm. Frightened David cowers behind Martin and grapping him by hand repeats: "Keep me safe Martin, keep me safe!" as boys close on him with a sharp cake cutter. Martin tries to pull away but stumbles right into the pool David still holding him. Music starts with uneasiness on strings which grows as the boys plunge into the pool. Watery dripping synthesizer effects play as we see David pulling Martin to the bottom and as we see him alone in the bottom of the pool when Martin is rescued. A Drive (3;26): Monica and Henry are now both certain that David poses a threat to their son and family so Henry advises to send him to be demolished at Cybertronics. But Monica has developed feelings for the boy and is hard pressed to do it. Finally she comes to David and says they are going for a drive in the country. This cue begins with a new, peaceful yet ominous piano motif which creates a sense of foreboding as we see Monica pursuading David for a drive. Monica sees some writings David has made that almost break her resolve and The Yearning for a Child theme receives a warm and sad reading as Monica's inner conflict is seen. As we see them driving Martin' s theme is sped up to emulate the spinning wheels of the car. Finally as she decides to abandon the boy instead of taking him to be destroyed Martin' s theme is played full force as to show that this was his doing. Monica stops the car and drives to different direction and as they drive on, a segment of Martin's theme is repeated until the cue ends abruptly as they stop in the woods. Abandoned in the Woods (5;06): This cue is one of the few centrepieces of the score not released in it's original form. All other versions are shorter and are missing much of the beginning of the cue. The music starts of sad and uneasy with the Abandonment theme and strings play a new tragic melody as Monica leads unsuspecting David into the woods. Emotional version of the Abandonment music plays with celesta and piano as she struggle?s to leave him and David pleads her not to. Desperation and horror are both conveyed by Martin?s /Abandonment theme and suddenly music gains a threathning and forceful edge and strings lead the orchestra to full version of the theme. Struggling to get free from David?s hold she pulls and tugs and the music grows louder. Finally as Monica drives away music ends with slamming piano notes. Moon Rising (5;53): The only all-action cue of the movie Moon rising begins as David is left in the forest alone and he wanders about in the darkness. He sees a garbage vehicle dumbing something in the forest. Suddenly he sees dozen of abandoned Mechas scavenging for parts from what seems to be a dumbsite for broken robots. Here the music starts with dark rising orchestral effects and a low male choir expressing David?s shock and amazement and it gradually builds in to a choir, perscussion and brass laden crescendo when the Moonballoon of Lord Johnson Johnson?s rises over the edge of the hill and the hunt for the mechas begins. Rapid escape is scored with techno beats and a lone male voice chanting in the distance. As most of the Mechas are captured by the wolfbikers others hide in abandoned buildings amidst the forest but soon they are captured. Forcefull brass, percussion and fervent strings play as bikers rip off the wall and net the helpless mechas. Low brass play repeatingly a 4 note motif to create a threathning athmosphere as they are hauled into the Moonballoon. As it rises we see Teddy hanging outside the net and as David can?t hold on to him his fall is underscored with swirling strings soon followed by an oboe melody with resemblance to the earlier Teddy music is heard as he lands safely and runs after the balloon. Leaving the Fleshfair/We Found Him (2;20): Joyous strings play as David and Gigolo Joe are freed from the Fleshfair and as we cut to Dr. Hobby?s facilities where he is watching some photos of his dead son David we hear Yearning theme for the last time. When his team informs him they have located David music turns more lighthearted version of the Yearning theme and as we cut back to the woods Gigolo Joe and David are trying to make their way to the Blue Fairy. Here can be heard a faint reference of the Travelling theme for the first time on marimba. Music changes to very lyrical with an oboe solo as we see the night sky and the moon. As David ponders if it is the real moon remembering the Moonballoon music suddenly goes eerie. Mecha, Orga, Man or Woman ? (0;47): Gigolo Joe tells David of the Rouge City and women. This short piece of unused music is whimsical, light and rhythmic utilizing Blue Fairy?s theme. Intro to? (0;22): Small lyrical oboe line backed with strings is played when we see the moon and this goes into the rhythmic? Rouge City (3;26): Repeating motif that could be called The Mecha world theme on marimba and other percussion accompanied by strings and brass consist much of the track as it steadily grows and suddenly bursts to a statement of Richard Strauss? Der Rosenkavalier waltz theme around 2;12-2;38 (taken from Der Rosenkavalier Suite Opus 59) as the group goes in to the tunnel shaped like a woman?s mouth from which the music goes again to a repeating statement of the Mecha World theme. The theme is very effective describing the robotic and highly mechanized and automized age of A.I.. The Album version of the cue contains as an intro an alternate version of the Abandoned in the Woods theme and the Travelling theme is shortened just as it would go into the Rosenkavalier section. I guess Williams didn?t want to present other composer?s work on his album though it is a clumsy transition from one part of the cue to the next. The Dr. Know Sequnce (4;49): Ambient and mickey-mousy electronics underscore this scene as the animated Dr. Know is seen. Under the effects short quotes of David?s theme are heard as well of the Mecha motif. Come Away, Oh Human Child (1;37): Short piece starts with swaying figure on the strings but turns into a lovely piano version of the Blue Fairy?s theme that ends suddenly unsolved. ?They Hate Us?/Amphicopter Escape (2;42): This cue starts as Gigolo Joe explains David why humans hate mechas so much and is scored with cold and foreboding underscore by strings and electronics. As soon as they exit the Dr. Know parlour the police are waiting outside. Here tracked material from Moon Rising is used. Tense synthesized drum beats go to a techno beat and effects that underscore the hijack and escape in the Amphicopter. This cue is immediately followed by? The Mecha world (To MAN-hattan) (7;03): As David is seen flying towards Manhattan in the Amphibicopter Williams delivers a constantly building repeating theme for the journey. It feels like the whole orchestra becomes a giant clockwork machine repeating and modulating the theme as it keeps building and building until it comes to a climax on the 3 minute mark with percussion and electronics. The theme continues somewhat subdued and as David and Joe land in the Cybertronics building the music changes to gentle and dreamy as David is so close to his goal (or so he thinks). As the gentle music subsides the cue goes to an interconnected cue? David Meets David (1;56): Subtle and uneasy strings, electronics and eerie piano play as David steps into a room that is revealed to be a library. Suddenly a chair turns and we see a David replica reading. Baffled David is feeling confused and angry since he is not special any more and flies into rage as he thinks this clone is after his mothers love as well and in a moment of fury decapitates him with a table lamp. Music turns from foreboding into rage and the wood winds and strings play furiously chirping and swirling creating the confusion and horror and the percussion hits imitate the hits with the lamp. Then Dr. Hobby interferes and stops David. He explains the purpose of the robot boy as a test version of imprinted loving robot and that there will be many more of his kind. When he mentions David, his real son, was one of a kind we hear his theme (Mecha World 6;00-6;38). The David?s rage part of this cue is included in a version of the Mecha World and is missing the beginning and the end of David Meets David. The ending of this cue is subtle underscore. Replicas (5;58): Dr. Hobby leaves David alone as he goes to fetch his team of scientists. David wanders of into a room nearby and makes a startling finding: Room full of Mechas, replicas of David have already been manufactured and packaged for sale.The music is minimalistic. Chilling choir, piano and strings underscore the scene where David discovers the Replicas. As he sees the packaged robots his horror and dismay increases. Suddenly David loses heart and as his hopeless horror is revealed camera zooms to his eyes and the choir builds to a screaming halt around 3 minute mark. In the next scene we see him sitting at the edge of the Cybertronics building totally broken. In his despair he plunges down to the ocean that now covers all Manhattan. Music turns once again dreamy and reflective as David is seen sinking to the bottom. Light and luminous orchestration follows when a school of fish swim around him and he is carried by them for a while. Subtle version of a part of Monica?s them can be heard amidst the music. Just as David hits the bottom Joe rescues him but on that moment David sees a glimpse of something in the water. He has seen Blue Fairy! Here music takes hopeful tone. The Dave & Seen Her(2;36): David huddles in the ruins with Joe and decides to go under water to search for the Blue Fairy. The Next moment police arrive to retrieve Joe since he is accused of murder and catch him. David plunges under water with the Amphibicopter and begins to descent into the Coney Island Amusement Park now submerged. Music is tracked from the earlier pieces and is low level underscore. The Search for the Blue Fairy (5;30): Music takes a murky, meandering under water quality as David is seen slowly propelling past the old Park buildings. Slow, deep orchestral sonorities create the sense of antiquity and age and Williams even adds carnival organ to create the athmosphere of the Park. Music becomes more agitated and anticipatory as he closes his goal and strings, and woodwinds herald his arrival to the Blue Fairy. Now music turns into the Blue Fairy theme and is performed by the orchestra and solo soprano voice, Barbara Bonney. Soprano stays in the background and gives away to the orchestra as Ben Kingsley?s narrator voice begins it?s story. The whole scene is build on the Blue fairy theme as David has reached the fulfilment of his dream but as he will not achieve his dream the theme is full of sorrow. In the end of the scene as the screen grows dark the theme closes softly. There is an alternate version of this piece found on the album and it is significantly longer (6;16) and the major difference is the solo soprano is given the foreground. Bonney?s voice conveys perfectly the feeling and emotion of the scene and gives the piece a fairytale like quality but it also enhances the feeling of sorrow and loss in the scene. The reason to drop this version must have been the different emphasis Spielberg wanted to give to the scene. The film version of the cue is also clearly shortened so the logical conclusion is that the scene must have been longer. City Under Ice (5;42): Starts of as we see the world of the future and Manhattan all covered in ice. Solemn and sad piece for the mixed choir singing wordless melody underscores the flight of the Super Mechas over the glacier and as they land to the site where David is found in the ice the music turns more atonal, cold, electronic and alien. Twinkling celesta and other chimes play as Amphibicopter is melted from the ice and David is wakened. This cue goes straight into the next. Stored memories (5;02): Atonal strings, electronics and high female choir create the feelings of cold and fear as David first sees the Super Mechas. The statue of the Blue Fairy is still intact and as David reaches for it, it crumbles to pieces which is scored with sudden frightening downward surging srtrings. The remainder of the cue continues atonal and cold but there are small hints of Monica?s theme on piano under the music as the Mechas keep studying David?s memories. The Blue Fairy (Monica?s theme)(5;59): Suddenly David appears to be at his own house again. In the familiar environment we hear once more Monica?s theme as David?s hope to come home is partly realised. But soon he encounters someone unexspected. He hears the Blue fairy calling him and finally he meets her. The music turns gentle and once again Barbara Bonney provides an emotional performance. Wordless humming melody represents the Blue Fairy and as she talks to David the music takes a sad tone as she informs she can?t bring Monica back. But Teddy has saved the lock David cut from Monica?s head and as he hands it to the Blue Fairy we hear Monica?s theme on celesta. The cue ends on a as she proclaims his wish is to be granted. David and the Supermecha: (4;00): Light celesta and harp begin the cue, another performance of the Blue Fairy theme. First minute of or so the music is luminous and light but as the Supermecha explains to David they can bring his mother back for just a one day and how it cannot be done no more after that The Blue Fairy theme on strings, celesta and harp plays and the orchestration remains throughout the cue but around 3 minute mark solo cello enters to perform the melody and the piece comes to an end. The Reunion(7;00): The finale of the movie starts with a performance of the Blue Fairy theme as Supermecha urges David to go to his mother. From here on Monica?s theme and David?s theme form the core of the cue . First Monica?s theme is heard on the piano as she wakes up and David makes her coffee. The theme continues as the two spend the day together. But when David tells of his journey to Monica close to the 4 minute mark David?s theme is interconnected with hers as they are finally united. David?s melody continues as they bake him a birthday cake. But when the night falls David tucks his mother to bed and as she says she loves him we hear more impassionate statement of the Monica?s theme on strings but finally as she falls asleep and David goes asleep beside her Monica?s theme brings the cue to a gentle close. Where Dreams Are Born (End Credits part I) (4;24): A concert version that features soprano Barbara Bonney singing the Monica?s theme accompanied by piano, cello, oboe and strings. One of the highlight pieces of the score. End Credits part II (2;21): To accommodate the end credits length music was tracked from the cue City Under Ice. It is the segment from the beginning of the cue until 2;21 where the choir piece ends. Alternate Cues: Arrival of David (2;44): Is longer and I believe the original version of the cue. Imprinting protocol (4;03) Perfume/Teddy/ ?Will You Die??(4;12): These 2 cues actually run longer than the film versions and contain more music. Martin returns 2 (2;04) &3 (1;32): Two alternates of the Martin?s arrival. First has a lengthier version of Martin?s theme and the other does not use it at all and runs without themes as dark underscore. Abandoned in the Woods (2;02): Short segment from the end of the film version is used at the beginning of the Rouge city cue on the album. Abandoned in the Woods(Album version) (3;07): Almost like a concert version of the cue and does not have music from the beginning of the scene and has a coda not heard in the movie. Reunion(Album version) (7;46):This version of the cue is slower in tempo than the film counterpart and would not have fitted in the film. Maybe it is an alternate or it could be a pure concert arrangement. It has also subtle differences such as the lack of string accompanied version of Monica?s theme in the end half of the cue. Concert Arrangements: For Always: Williams wrote Monica?s theme to the lyrics of a poet Cynthia Weil and he also recorded two different versions of the song one with Lara Fabian and the other as Josh Groban/ Lara Fabian duet. This basicly is the Monica?s theme but with lyrics: I close my eyes And there in the shadows I see your light You come to me out of my dreams across The night You take my hand Though you may be so many stars away I know that our spirits and souls are one We've circled the moon and we've touched the sun So here we'll stay For Always Forever Beyond here and unto eternity For Always Forever For us there's no time and no space No barrier love won't erase Wherever you will go I will know in my heart you will be With me From this day on I'm certain that we'll never be alone I know what my heart must have always known That love has a power that's all it's own And for always Forever Now we can fly And for always and always We will go on beyond goodbye For Always Forever Beyond here and on to eternity For Always And ever You'll be a part of me And For Always Forever One thousand tomorrows may cross the sky And for always And always We will go on beyond goodbye

Williams should compose it if can, but another good candidate would be Greek composer Mikis Theodorakis. Canto Olympico:Ode to Zeus on the Summon the Heroes album was great and if he could match it's qualty I think he should write for the Olympics.

I for one am sick of the different versions put out of the ROTK score album. The record company is making money nothing more. It is outrageous that you have to pay 20 euros more to get that collector edition DVD with the album(though I guess that is why it is called collector's edition ). The material is not very special since all you get is a 20 minute interview with Shore and one new song by Annie Lennox ("Use well the Days") plus some tidbits of the production and lyrics. In the past releases the value of the extra material has not been very extravagant(FOTR collector's edition had more lyrics and TTT one new cue from the FOTR Extended DVD new scene and more lyrics which could have been included on the regular release if the record company would have not been so stingy.) Rogue Leader I think you should not wait for the full releases to happen in the early 2004 since the Extended edition score for ROTK will be done earliest in the summer I'll wager. Yes it would be nice to get the first 2 scores in full before the end of the year but who knows. Shore said in some interview something about the end of year 2004 along with the release of ROTK Extended edition DVD.

Great Williams percussion cues:Visitor in San Diego and The Raptor's Appear from The Lost World, Zam the Assassin from the Episode II, as well as The Arena sport good percussion, the Chess Game from HPPS, Temple of Doom has great percussive track all over it e.g. the drums when Indy sees the shrine of Kali on the way to Pankot Palace, the Ceremony and the Cliff confrontation scene. Spyders from Minority Report (movie version has better drums). In Episode I e.g. the Droideka sequence in the Beginning has great frenzied snare music but all the good percussion sequences are too numerous to mention. In the film the drums are varied from ethnic drums to war drums (Williams actually gave a list of all the different kinds of drums to the chief percussionist of LSO and left it to him to supply them. It cost 6000£ to rent them all .) Duelling the Basilisk from HPCS has powerful percussion. Patriot has great timpani&snare collaboration for the Redcoats on the farm and facing the British lines. In Sleepers the Football match has good drums though they may be synthezised. I have noticed Williams does percussion music more often today (out of demand) than before.

I think it's strange Pippin will sing for Denethor since in the book he does nothing of the sort. Although Denethor mentions one of Pippins duties as his servant is to keep him company and sing to him he actually does not(and is happy he is not asked to sing). I wait with trepidations what will Billy Boyd sound like on the soundtrack . As for Viggo he should do better than he did on the Extended edition DVD where the tune he wrote (with that "celtic feel" )was quite insignificant and he sang it so quietly I almost didn't catch it. I hope we get to hear more of the Nazgul theme as well as the Ring theme. The Fields of Pelennor and Minas Morgul sound promising cues for the Nazgul theme. I also hope the Grond scene music (which must be scored) is also included on the soundtrack. It is awesome in the book and I'll bet very dramatic in the film as well. I'll wish the very best to Howard Shore. He has finally finished a massive task of composing the score for LOTR trilogy and that is not a small feat. He has done a good job thusfar. I can't wait the the 25th of the next month.

The first moment for me was Journey to the Island from JP in the movies. It just blew me away!

The report is quite old and it is a rumor but all that one can do is hope 8O !! Shore would be very willing to release these scores in full but there is the question of market the record companies have to consider. Unfortunately this is the spot where they usually show the red light as soundtracks are not something mainstream consumers will buy and Special editions with multiple CDs cost more than your average ones. On the other hand LOTR has quite a popularity as did the initial soundtrack releases so it could happen. Hopefully Peter Jackson uses his influnce in the industry (if he has acquired any since the appearance of the LOTR films) to make it happen as well.

Yes the theme for piano I refer to is the most prominent theme left out of the album. It seems to pop up every time Monica is longing a child. But for the theme that appears in cue Mecha World towards the end of the track as David sees the incsription Come away oh human child is David's theme.

I am currently writing a track-by-track analysis on A.I. and I have a little problem. I have already once asked on the message board what is David's theme and I have received two different answers. 1) King Mark's opinion is that the theme is the one used on the track Hide and Seek along with the repeating robot motif. This is my opinion as well. 2)Diskobolus informed me that the theme is actually the piano melody on the Oscar promo e.g. on tracks Arrival of David, We found him and Perfume/Teddy/Will You Die? JW has apparently confirmed this in FSM article but I liked to know what were his words exactly?I personally don't think it is David's theme but a different theme altogether. So could you help me on this one so I can get on with the analysis, PLEASE !!!

Ihave heard this news as well. I can't confirm it but Shore might be releasing the full versions of the 3 scores November 2004 at the same time with the Return of the King Extended edition. At any case I'm sure he'll produce them some time in the near future.

What's the hurt in the bombast for a movie like Star Wars? 8O Why is the heroic, brassy music always put down by these "classical music" reviewers?

That is what I also think about David's theme. The theme I am asking about is the Theme that comes up with the Monica's and William Hurt's characters as they miss their child. What would be the correct name for it?

Yes it's true he said in one European magazine he wasn't artistically satisfied with the Episode I. I think that was not very harsh from John but I guess he doesn't want to bash one of his best friends too much.

Very nice analysis ridan! I have been thinking about writing about LOTR themes myself but your analysis is quite comprehensive so I don't think I 'll bother . I did not notice you missed any of the themes( actually you have spotted even more themes than I have). The first movie was so shock full of themes and motifs the Two Towers felt hollow in comparison with only 2 or 3 new thematic ideas and Shore used the old ones(expect the Fellowship theme) sparingly. Who knows maybe the TTT Extended Edition will allow Shore to write new thematic material and augment the old. Few little observations. the One Ring theme is actually refered the History of the Ring theme((though it is The One Ring's theme) as Shore calls it that on the commentary in the beginning of the Extended Edition of FOTR. He also says it is a Gondorian theme in essence ???(I don' t see what he means by this though it is played when the fellowship reaches the Argonath to represent the Kings of old). The Mordor theme is used atleast thrice in the movie. Once when we first see Barad-Dur and once in the Counsil of Elrond when the counsil begins to argue about the fate of the ring and Frodo senses the rings evil as it creates this mistrust and strife amoung the people and when Frodo looks into the Mirror of Galadriel and the Eye of Sauron appears. As for the Moria/Dwarrowdelf theme it is used the second time when Gimli runs to the Tomb of Balin and the third time just after the Cave troll hits Frodo with the spear and the rest of the Fellowship defeat the troll. It was a suggestion from Fran Walsh that it would be appropriate to use it. It is a pretty subtle but it is there. the Danger motif you refer to is little ambiguous since it is used in several places not related to danger. For instance it is used in the Prologue when we see the Numenoreans marching against the Host of Mordor(This could be counted as dangerous though ) and when Bilbo struggles to give up the Ring. It could be a motif for the Ring's presence or Numenoreans since 3 of the Nazgul were of Dunadan birth. One actual Danger motif used two or three times is the motif that appears when Arwen flees the Nazgul. This is reprised atleast when the Crebain spy the Fellowship. The Balrog motif/theme was one theme I never actively noticed before but as you pointed it out it seemsto me it is the backbone of the whole sequence of Bridge of Khazad Dum. Even the choir element is weaved around it throughout the whole escape. There is also one motif that you did not include which has to do with the Weakness of Men that Isildur represents. This motif is heard in the Prologue when Isildur is seen riding with the Ring on a chain around his neck and the second time when Aragorn reveals his fears and selfdoubts to Arwen in Rivendell about the quest and the Ring.

The theme I refer to is the music associated with Monica as she grieves for his own son and the longs for a child. It was sadly left of from the soundtrack release and can only be found on the terrific Oscar promo.

I am writing an analysis on the A.I. and would like to consult the Message Board on one of the themes from the score. What would be the proper name for the piano melody featured on tracks Arrival of David, Imprinting protocol and A Drive that has to do with the longing for a lost child?

To me Angela's Ashes is one of the most hauntingly melancholic and beatiful scores Williams has ever written. The movie was okay but the score is a classic. It has the same heart that Jane Eyre does and it really seems Williams connected very well with this film. The theme on track 3 is actually a theme for Angela, the mother, and I think has to do with the religious aspect of the family and I concur, it is a beatiful melody and I wish there would have been more variations of it on the album. The melodic fragment on the track 5 is a variation on the main theme and it is one of the highlight sections of the score as well as the warm melody on track 15 Angels Never Cough. It is simply heart warming. This is one of the best scores for drama I have heard. I love it (How could one not?). -Incanus- who is very glad that Decca released the score in Europe without the narration from the film in the beginning of the tracks.

I hope John has a stronger mind than that for the mindtricks work only on the weak minded , though Williams has not objected editings before as they according to him belong to the process of moviemaking. I wonder if Lucas is paying him to keep his mouth shut and not protesting. I just wish John can resist Lucas' mindtricks in the Episode III.