SafeUnderHill

So all this time you've been exaggerating your dislike for I See Fire?

lol
 
Okay.

NeoJWFan is the future! And I have faith in Johannsson!!
 
 
 
Again, cutting and pasting existing score sheets is a low-cost way to make some extra bucks and spread his name around with interested orchestras (which naturallyexist, by the nature of Shore's reputation and the franchise name).
 
In comparison, the CRs require a lot more money and effort for an even more niche market. And that was never my sole reason for lack of faith in CRs anyway. There's already enough material available to not warrant the LOTR-style releases. But I can see us getting some other sort of limited release encompassing all the missing material!
 
 
 
Please read above regarding CRs. Still doubt they'll happen. I can definitely see another Rarities Archive type release happening though, along with the book.
 
As for the arrangement. If the LOTR Symphony is anything to go by, these "concert arrangements" aren't exactly extensive Williams-style expansions/revisions (oh how I'd love Shore to elaborate on the LOTR material in oratorio form!). They're likely going to be various OST cues stitched together, which I can't imagine takes much effort. So I find it hard to believe that such an arrangement is really indicative of his "passion" for these films.
 
And for the record, I never said he didn't care about The Hobbit. I'm sure he started the process off with the same passion he had for LOTR. But along the way, he likely became rather disillusioned with the films, and probably wanted to just wrap it up and move on by BOTFA.
 
 
 
Well, I'm likely on a less severe plan than you are. I consider the scores strong companion works to the original trilogy and among the finest of film music in recent years. Despite the flaws, there is actually a lot of neat, inventive writing (particularly in DoS) that puts it ahead of the lesser works of recent years. I consider DoS as close to brilliant as modern film music gets, if I'm being honest. Sure, not all the themes are winners (though the prelude phrase of Tauriel/Kili should make any heart sing), but that was never the only variable to me for great music. DoS is a master work of texture and how diverse it can be in film music, which you rarely hear anymore. So I wouldn't downplay its merit as much as you do here. Perhaps with BOTFA, we are more alike in our disappointment.
 
However, I do agree that the Hobbit scores are no landmark works in the grand scheme of things. But they don't have to be to be great film music! 

Can't remember. As I said I saw it once. In 2002.
 
Anyway, I'll see if I can dig the disc out of whatever box it's in an upload the video.

The Hobbit scores are easily among the best film scores of the 2010s.
 
The LOTR scores are the best of all time so everything falls short against it. 

I will defend Finn's song until the grave - Shore would have only ruined it had he been involved.
 
I notice you've become much more antagonistic since you've got that Sword of Doom pic in your signature. I suggest you go back to the Bushido code book and learn the true ways of the Samurai. You can have mine if you wish.

Commercial demand? I thought there was none and that's why we would neve get CRs

But the music is better than the films, man!

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This sounds like it comes from someone who hasn't a clue what the Wizarding world is about, and I doubt you know a lot about it. 
 
JK Rowling, in the first book alone, included an 11 year old boy burning a man to death with his bare hands, a double murder, tales of war and torture, a man being possessed by another, his head grafted onto the back of his head, the consumption of animals for power...the books are dark. The source material is certainly darker than any entertainment brand today. Star Wars and Marvel are both "fluffy and light" in comparison to Potter. 
 
Again, I really can't lay a finger on what exactly you mean by "how little was actually there" when they turned dark. They were dark from the beginning, and it was apparent she was building up to something. You keep on inventing your own weird names and mentioning organizations of Quidditch leagues, except...since when has that been the limits of Rowling's political relevancy when she's literally written about war crimes, geonocide, mass murder, mudblood death camps, kangaroo courts, torture, assassinations, human trafficking, prohibition, the murder of children...like, at least try to care. Your justification for calling it "light and fluffy" seems like a mindless attempt to trivialize the series. This woman wrote an 8 installment series about a boy coming to terms with the increasingly violent world around him and the losses he had to go through to mirror her own experience with the death of her mother, suicidal thoughts, and depression and it's told really quite excellently. The fact that an entire generation clung to it more voraciously than any generation has before to a story, and have come to Rowling to tell her how her books got them out of depression, gave them the strength to confront abusers, accompany their child as they died from cancer...to say it has no substance and is light and fluffy is an insulting, patronizing, bald faced lie, and it flies in the face of everything the books stood for. 
 
The books never attempted to be "light and fluffy" outside of a few irrelevant world building details. They were dark books. No ones claiming it's the greatest piece of literature ever, but for highly commercial fantasy, it's really quite mature, and lying about its tone and patronizing it to disclude it from the creative conscious is really disrespectful. This is the forum that will praise Star Wars and Jurrassic Park, both of which are much lighter and fluffier than JK Rowling's Wizarding World, (particularly the former: Ewoks, Jar Jar Binks, farting aliens, come on people,) so I don't really understand the voracious hatred and dismissal of her work. 
 
Basically, the Potter stories are dark and tragic. They're not light and fluffy in any significant way, and you're not going to find many people who will agree. The "heart of the story" as Jo claims, is the scene where Harry walks into the forest and uses the resurrection stone to confront the murdered loved ones he's lost, and use them to comfort him will he died for the community that took him in and gave him a family. Cursed Child sees him bonding tearfully with his son at the gravesites of everyone he lost. And at the end, he built a family. Something that was ripped away from him at age 1. For something so commercial, that really is quite mature and tragic. 
 
Cultural elitism doesn't get people anywhere. Sorry.

Speaking of Force Awakens, just this morning in fact I listened to a bunch of it on the way to work, after not having listening to any of it for months.  I was randomly inspired to check it out, and man....... that score is great.  Can't wait to hear what Episode 8 brings to the table

It sold well enough to have repressings and a second and third edition.

This hobbit four movements will be played in France and conducted By Shore 
 
http://www.gdp.fr/fr/meeting/79849/the-music-of-howard-shore/paris/salle-pleyel/07-10-2017/20h00

We wants it. We needs it!

Both books are essentially done. On Impossible Silence, we wrapped up editing last spring and completed music example engraving this summer. We are now finalizing end notes (which is no small task as there are easily a thousand). Layout will go quickly as this book is primarily text.
 
Hobbit is written and assembled in a temp layout (and has been for some time), but won't go to final proofing/layout until the studio gives the go-ahead.
 
 

Its not like she has previous with long arcing storings like a beloved seven book series behind her. 
 
Long ranging plots over over multiple stories is just something JK Rowling doesn't have any experience in. 

Second and third film were as great as the first one ! The highlights are for me : Helm's deep, Moria (Balrog), black gate.
It was as great with the Star Pop orchestra as with the 21st century symphony orchestra.
 
Howard shore made a second appearance at the end of the last concert. The crowd applauded during 10 minutes at least.  I could not take a picture even though I was 12meters from the scene and I was perfectly centered (cool !) because my phone was off but there are many on twitter :

The scene : 
 
Howard Shore : 
 


I'm not going to make a proper review because I don't have the musical knowledge but it was Really great ! 

Some nice comments from Yates about his musical process and JNH in particular:
 
 

First film tonight in Paris !
I'll try to make a review

Very cool, thanks for posting this! I admit a big smile crossed my face when I saw that Shore asked the musicians to read the book....and they did.  Just another example of how much passion the people who worked on these films poured into it, and how much respect for the source material they brought to what they did. I love to think that the performance of an individual musician was somehow inspired by what he or she read in Tolkien, and that it can somehow be heard or at least sensed in the finished piece. 
 
Who would have thought that we'd ever see another work of equal stature to what JW did with Star Wars in our lifetime. Just nailed it, and I associate Shore's score with Middle Earth as closely as I do anything else.