Barnald

I guess appreciation of Jackson's M-E films in general (and probably also the scores) will also hinge upon future adaptations, which will inevitably happen at some point. They could be better, but something tells me they'll be abominable (to the point where some might actually say "You know, maybe Jackson's Hobbit really wasn't that bad after all..."). Don't say you weren't warned.

SafeUnderHill, 
You don't understand what I mean. You respond like I was criticising the composition of the quoted passages. I don't.
As I've said earlier, I don't like the dry sound of it, and the mixing, because it makes the music sound small, the opposite of what Shore usually conveys with his Tolkien music, especially in battle scenes. 
I KNOW it's Smaug/Dragon Sickness theme, but that doesn't make it any less sound like any other modern style score. 
 
And what Barnald said is exactly what I mean. Shore's own orchestrations convey a deep sound, a sort of open sound that transports space and history and age. Pope doesn't come anywhere near that. He nudges the music more into a blend of classical orchestrations mixed with modern rhythmic techniques. And the result is a sound that still has passages of deeply forceful brass or thematic splendor, which are lessened in simple effectiveness and unchecked heroism/emotion because of overcomplicated orchestrations and nondescript string patterns thrown on top of it. It simply doesn't sound like Shore.
 
Just as a particularly revealing example, in Battle For The Mountain, when the hectic string patterns start at 1:02, the music suffers from the symptome described above. But as soon as that stuff pulls away at 1:42, and the rhythmic, broad brass comes to the front, rhythm is carried by somewhat wet percussion, the score immediately gets into the sound territory we grew to love in LotR.
 
And I can only explain it with two things. Either Shore was asked to produce a more modern sound because the first two scores weren't as acclaimed as the LotR scores were, and the music is a result of a composer being forced to work outside his comfort zone, or Pope was asked to tweak the sound that way. Because a dry string sound like that isn't just produced on the mixing table, you have to position mics a certain way.
 
That Shore tweaked his music to accomodate the new orchestra may be true, but not to this extent. Don't forget that the freaking Moria sequence was recorded there.
And don't forget that the esteemed Mr. Pope said not too long ago he wished the NZSO could play music more befitting its strengths.

It's also worth noting that he stresses how it's a job, and you do what you're asked to do.
 
He acts like if Alain Ducasse was asked to cook a burger.

It's obvious! He must be clearing his workload for the impending Blu-ray box set of Middle-earth films, featuring new cuts of all six films rescored (where needed) by Howard himself! Long have we dreamed of this day.

I reckon it was a case of PJ not wanting to go to London for a few weeks so late in the post-production stage (you look at the making-of DoS and BotFA, with them going right until the last minute, and wonder how the hell he could have done it). Wanting it all 'in-house', so to speak, he wished it to be moved to Wellington, and Shore - for various reasons (perhaps including the AUJ issues, perhaps being miffed that his traditional process was being changed, perhaps not enthused by the long flights) - didn't want to go there for that length of time. If anything, I have to think Shore is a true professional - a trooper - and can't see him throwing his toys out the pram and being the one who initiated the change. I'd say it was more likely to be a PJ directive.

For me the non-use of Bilbo's Theme and its subsequent omission from the next two scores is one of the biggest losses to the films and the music overall.

That's nothing. Today I saw one site describe Maz Kanata as a 'fan favourite'.

For me the non-use of Bilbo's Theme and its subsequent omission from the next two scores is one of the biggest losses to the films and the music overall.

Indeed. I could maybe have lived with it had that rendition alone been in the film.

It's the 'all sorts' that concern me... (well, that and Tauriel of course)

Take it to PM? I'm right with you.

Unfortunately this also now means he'll be ready for us if we are forced to kidnap him. This could be very difficult people. Some might have to sacrifice themselves for the cause.
 
Oh and btw - no April Fools business regarding complete recordings releases please. A lifetime of leprosy on anyone who violates this instruction.

Unfortunately this also now means he'll be ready for us if we are forced to kidnap him. This could be very difficult people. Some might have to sacrifice themselves for the cause.
 
Oh and btw - no April Fools business regarding complete recordings releases please. A lifetime of leprosy on anyone who violates this instruction.

Are you in troll mode? There are more brilliant new themes in the three Hobbit scores than in all film music 2012-2015 combined.

"Azog urges his wargs to drink the Dwarves' blood - boal-s presumably would be provided to avoid mess"
 
"As the company sleeps in his barn, auld Beorn keeps watch outside"

There's probably a good deal more interview footage (and more besides?) they filmed for the DoS: EE doc that hasn't seen the light of day. Some sort of limited edition DVD (or Blu!) release containing any unseen LOTR and Hobbit interviews involving Howard and Doug, and indeed any music-related bits and pieces, is in order. Doug could sell it direct! He could make a tidy profit on the side! They could even include the legendary unseen segment where the pair run through each member of JWFan and how much they despise them, ranking them in order of hatred. From what I can gather, what they have to say about BB is frankly unfit for public consumption.

There's probably a good deal more interview footage (and more besides?) they filmed for the DoS: EE doc that hasn't seen the light of day. Some sort of limited edition DVD (or Blu!) release containing any unseen LOTR and Hobbit interviews involving Howard and Doug, and indeed any music-related bits and pieces, is in order. Doug could sell it direct! He could make a tidy profit on the side! They could even include the legendary unseen segment where the pair run through each member of JWFan and how much they despise them, ranking them in order of hatred. From what I can gather, what they have to say about BB is frankly unfit for public consumption.

I'll also take any more thematic presentations we don't have (I'm sure it was said there were a couple).

Also, the three Hobbit scores are easily among the best scores of 2012-2014.  They only really suffer in comparison to the same composer's previous grand masterpiece.

Yeah, I think DOS is my favourite of the scores too. I think the highlights on the other two scores are bigger but DoS is a much better score as a whole. Overall I very happy with the three scores we got even if they don't quite reach the heights of LotR. Then again, I never really expected them (or indeed the films) to reach those heights anyway. 
 
Want complete recordings. 

Sorcerer? A fucking masterpiece. Amazing Tangerine Dream score too. Choosing between that and Thief is nigh-on impossible.

I'm probably alone in my opinion, but I cared fuckall about most of the new characters and once the old guys were introduced, I wished the movie had been about them.

The theme works great in that scene. It's probably one of my favourite additions.

The theme works great in that scene. It's probably one of my favourite additions.

We're still talking about his chest right?