SafeUnderHill

I'm sure he's thinking of Howard Hanson, whose Symphony #2 closes Alien. 

Shore's composition uses elements of Epicalypse.  The trailer piece was conducted by Shore and recorded in stems over a single session in late Summer 2003.

Hopefully the latter!
 
Best case scenario is that we get expanded/complete releases before/with the book. 

All lyrics will be provided. But the score will only be analyzed in the form in which it was originally composed by Shore.

It will be enlightening in many ways.

You know that they're singing in Khuzdul, right?

The Ringwraith theme develops and combined more and more with the other Mordor material, where its presence is not announced by the choral text but the subtler harmonic and rhythmic elements before it builds into the Power of Mordor motif at the Siege of Minas Tirith and the secundal harmonies of the theme form parts of the Witch-King VS Eowyn music. I think this type of thematic development starts already in the latter half of TTT and is more and more embraced in RotK where all the themes clash and combine and form new ideas. 
 
It is also a question of dynamics I believe, the roaring chorus perhaps not the right vehicle for all situations and Shore often supports the Nazgûl scenes with the secundal harmonies in the brass at varying levels of intensity.

The language barrier is between HGW and music.

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I agree with BloodBoal's sensible post.
 
But the statement SUH underlined does seem to indicate he wasn't that fond of what he recollected, and it wasn't necessarily expressed in the most respectful way. Especially in an industry which dictates a certain level of subtlety, where even the slightest comment against your colleagues is generally frowned upon.

Absolutely. I've done liners for albums where I've had to pin down developmental arcs well before the score has even finished being composed. It's often a case of asking the composer, "Well, what do you think might happen?" You have to choose your words incredibly carefully, because you could easily tie yourself to something that makes no sense later. The first Hobbit was particularly tricky. Neither the film nor the score was done when I did the notes. And it was only part one of three, so the initial themes could have gone in almost any direction in future installments. Since I wanted to be able to revisit everything more comprehensively down the line, I tried to avoid naming anything or giving anything more than general structural parameters. But even that was difficult since I had maybe four different sketched out or mocked up versions of the end of the score, and no one knew yet what the final draft would sound like. I wouldn't trade the experience for the world -- and I worked with amazing, supportive people -- but it was a difficult gig!
 
By the way, I'm told that much of the issue with the lead time these days is that CD manufacturing plants are closing down left and right. If you want to press something in semi-large numbers, you basically need to reserve a time months and months in advance ... and that time may or may not be near the actual release window. It's usually not. And woe be he who gets behind schedule and can't deliver materials to the manufacturers on time. You either pay through the nose to adjust the date (which in the case of the niche film score market likely means bye-bye profits) or you get the next available spot, which could -- and likely would -- delay the project by months. 
 
As they say: Creativity is easy. Logistics are hard!
 
 

The ROTK album was finalised in early October 2003, while writing and recording of the score continued well into November.

Luke's first onscreen words:  "Bio Hexacrypt!"

Why nobody is clicking "like" on all of my good-ass posts in here, I frankly have no idea.

Seems like a good time for my twice-yearly shout into the void that I would love to have this book (and Doug's other books) in Kindle/eBook format, and would ~~~~REBUY~~~~ the previous book in digital.   Bless ya all.
 
 
$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$

It would, wouldn't it? 

That's like picking your least favourite of six different cheesecakes.

The Return Journey is actually pretty much what I hoped it would be, with the lovely Shire expansion.

I did listen to the full finale of RotK again though, after a LONG time.
Still as mindblowing as ever.
 
I remember discussion about the longevity of these scores 15 years ago. It sounds absolutely timeless.