SUH

I very much enjoyed reading this excerpt. It was fun listening back to 'Under Hill' after reading it.  I would give an arm and a leg to read the whole book! Imagine being able to listen along to the complete Hobbit scores while reading along to these kinds of insights.
 
I wonder if Doug's analysis points out the melodic similarities between the Goblin Town melody and the Lake Town melody. Seems like Shore was drawing a intentional comparison between the two haphazard dwellings. They follow the same melodic shape - with an initial rise then three sets of three repeated notes before falling to a final lower note.
 
And will there be any other interesting connections and nuggets we've yet to discover!

I very much enjoyed reading this excerpt. It was fun listening back to 'Under Hill' after reading it.  I would give an arm and a leg to read the whole book! Imagine being able to listen along to the complete Hobbit scores while reading along to these kinds of insights.
 
I wonder if Doug's analysis points out the melodic similarities between the Goblin Town melody and the Lake Town melody. Seems like Shore was drawing a intentional comparison between the two haphazard dwellings. They follow the same melodic shape - with an initial rise then three sets of three repeated notes before falling to a final lower note.
 
And will there be any other interesting connections and nuggets we've yet to discover!

I very much enjoyed reading this excerpt. It was fun listening back to 'Under Hill' after reading it.  I would give an arm and a leg to read the whole book! Imagine being able to listen along to the complete Hobbit scores while reading along to these kinds of insights.
 
I wonder if Doug's analysis points out the melodic similarities between the Goblin Town melody and the Lake Town melody. Seems like Shore was drawing a intentional comparison between the two haphazard dwellings. They follow the same melodic shape - with an initial rise then three sets of three repeated notes before falling to a final lower note.
 
And will there be any other interesting connections and nuggets we've yet to discover!

I very much enjoyed reading this excerpt. It was fun listening back to 'Under Hill' after reading it.  I would give an arm and a leg to read the whole book! Imagine being able to listen along to the complete Hobbit scores while reading along to these kinds of insights.
 
I wonder if Doug's analysis points out the melodic similarities between the Goblin Town melody and the Lake Town melody. Seems like Shore was drawing a intentional comparison between the two haphazard dwellings. They follow the same melodic shape - with an initial rise then three sets of three repeated notes before falling to a final lower note.
 
And will there be any other interesting connections and nuggets we've yet to discover!

I very much enjoyed reading this excerpt. It was fun listening back to 'Under Hill' after reading it.  I would give an arm and a leg to read the whole book! Imagine being able to listen along to the complete Hobbit scores while reading along to these kinds of insights.
 
I wonder if Doug's analysis points out the melodic similarities between the Goblin Town melody and the Lake Town melody. Seems like Shore was drawing a intentional comparison between the two haphazard dwellings. They follow the same melodic shape - with an initial rise then three sets of three repeated notes before falling to a final lower note.
 
And will there be any other interesting connections and nuggets we've yet to discover!

It's a fun little tenth anniversary piece. Shore was writing the Tauriel and Kili material almost ten years ago to the day on May 19th 2013. He started writing the score proper on May 28th 2013, beginning with the entrance to the Woodland Realm.
 

I thought I’d share some thoughts on this score.
 
I originally listened to the title track ‘The Fabelmans’ a couple of times before seeing the film. I adore this piece. It’s one of those Williams tunes that you feel like you’ve known for many years despite haven’t just listened to it for the first time. It is very gentle but hints towards a deeper sadness.
 
I have to say I was most disappointed when seeing the film and hearing it only appear once in the score to the film (aside from the end credits). And when it plays it is mostly hidden under dialogue. I knew the film would be sparse on score, but I thought this melody would be the main theme of the film and would reprise at several key moments throughout. It captures the essence of Sammy’s story so beautifully.
 
What I was able to enjoy in the film was the second theme heard in ‘Mitzi’s Dance’. It’s not as hummable as the first one, but when I heard it in the dance scene I was mesmerised. As John William’s describes it, it is music to put you in a trance like state.
 
Despite my disappointment with the use of the title theme in the film, I was thrilled with the OST album. It is short but well balanced between the two main themes, with the classical pieces interspersed. It makes for a terrific listening experience. I must say, every time I listen to it I get quite emotional, with the music speaking to the emotion of a broken family and a potential farewell to the Spielberg/Williams collaboration. It feels like a goodbye in musical form.
 
And then I remember how lucky we are to be getting an entirely new Indiana Jones score soon. I feel like I’m in John Williams heaven right now! And to think we may also be getting a whole new Williams-Mutter collaboration album. I can’t wait to see which tracks have been picked for the next one. The previous album was such a terrific way for Williams to revisit works from across his career, and we got some stunning new arrangements. And we’ve been so well treated these past years with the three Star Wars sequel scores, thinking those could be his final blockbuster scores. Then when that door was seemingly closed, we were surprised with his brilliant new Obi Wan theme. I’m amazed by how he’s still able to produce such wonderful themes to add to his already plentiful musical legacy.

The main theme has that special Williams's quality that if it comes on, your attention is immediately rapt.  You describe it well as gentle but hinting at sadness.  The theme would be mawkish by many other composers, but Williams layers it with a bittersweet sadness that keeps you a bit off balance. 
 
I love the score, but I have to admit, it makes me uncomfortably sad--like thinking about a beloved childhood pet or friend that died and you never quite made peace with it.  

Here's a recording of the Berklee performance that someone posted to Soundcloud:
It's a really lovely piece.

I thought I’d share some thoughts on this score.
 
I originally listened to the title track ‘The Fabelmans’ a couple of times before seeing the film. I adore this piece. It’s one of those Williams tunes that you feel like you’ve known for many years despite haven’t just listened to it for the first time. It is very gentle but hints towards a deeper sadness.
 
I have to say I was most disappointed when seeing the film and hearing it only appear once in the score to the film (aside from the end credits). And when it plays it is mostly hidden under dialogue. I knew the film would be sparse on score, but I thought this melody would be the main theme of the film and would reprise at several key moments throughout. It captures the essence of Sammy’s story so beautifully.
 
What I was able to enjoy in the film was the second theme heard in ‘Mitzi’s Dance’. It’s not as hummable as the first one, but when I heard it in the dance scene I was mesmerised. As John William’s describes it, it is music to put you in a trance like state.
 
Despite my disappointment with the use of the title theme in the film, I was thrilled with the OST album. It is short but well balanced between the two main themes, with the classical pieces interspersed. It makes for a terrific listening experience. I must say, every time I listen to it I get quite emotional, with the music speaking to the emotion of a broken family and a potential farewell to the Spielberg/Williams collaboration. It feels like a goodbye in musical form.
 
And then I remember how lucky we are to be getting an entirely new Indiana Jones score soon. I feel like I’m in John Williams heaven right now! And to think we may also be getting a whole new Williams-Mutter collaboration album. I can’t wait to see which tracks have been picked for the next one. The previous album was such a terrific way for Williams to revisit works from across his career, and we got some stunning new arrangements. And we’ve been so well treated these past years with the three Star Wars sequel scores, thinking those could be his final blockbuster scores. Then when that door was seemingly closed, we were surprised with his brilliant new Obi Wan theme. I’m amazed by how he’s still able to produce such wonderful themes to add to his already plentiful musical legacy.

I thought I’d share some thoughts on this score.
 
I originally listened to the title track ‘The Fabelmans’ a couple of times before seeing the film. I adore this piece. It’s one of those Williams tunes that you feel like you’ve known for many years despite haven’t just listened to it for the first time. It is very gentle but hints towards a deeper sadness.
 
I have to say I was most disappointed when seeing the film and hearing it only appear once in the score to the film (aside from the end credits). And when it plays it is mostly hidden under dialogue. I knew the film would be sparse on score, but I thought this melody would be the main theme of the film and would reprise at several key moments throughout. It captures the essence of Sammy’s story so beautifully.
 
What I was able to enjoy in the film was the second theme heard in ‘Mitzi’s Dance’. It’s not as hummable as the first one, but when I heard it in the dance scene I was mesmerised. As John William’s describes it, it is music to put you in a trance like state.
 
Despite my disappointment with the use of the title theme in the film, I was thrilled with the OST album. It is short but well balanced between the two main themes, with the classical pieces interspersed. It makes for a terrific listening experience. I must say, every time I listen to it I get quite emotional, with the music speaking to the emotion of a broken family and a potential farewell to the Spielberg/Williams collaboration. It feels like a goodbye in musical form.
 
And then I remember how lucky we are to be getting an entirely new Indiana Jones score soon. I feel like I’m in John Williams heaven right now! And to think we may also be getting a whole new Williams-Mutter collaboration album. I can’t wait to see which tracks have been picked for the next one. The previous album was such a terrific way for Williams to revisit works from across his career, and we got some stunning new arrangements. And we’ve been so well treated these past years with the three Star Wars sequel scores, thinking those could be his final blockbuster scores. Then when that door was seemingly closed, we were surprised with his brilliant new Obi Wan theme. I’m amazed by how he’s still able to produce such wonderful themes to add to his already plentiful musical legacy.

I thought I’d share some thoughts on this score.
 
I originally listened to the title track ‘The Fabelmans’ a couple of times before seeing the film. I adore this piece. It’s one of those Williams tunes that you feel like you’ve known for many years despite haven’t just listened to it for the first time. It is very gentle but hints towards a deeper sadness.
 
I have to say I was most disappointed when seeing the film and hearing it only appear once in the score to the film (aside from the end credits). And when it plays it is mostly hidden under dialogue. I knew the film would be sparse on score, but I thought this melody would be the main theme of the film and would reprise at several key moments throughout. It captures the essence of Sammy’s story so beautifully.
 
What I was able to enjoy in the film was the second theme heard in ‘Mitzi’s Dance’. It’s not as hummable as the first one, but when I heard it in the dance scene I was mesmerised. As John William’s describes it, it is music to put you in a trance like state.
 
Despite my disappointment with the use of the title theme in the film, I was thrilled with the OST album. It is short but well balanced between the two main themes, with the classical pieces interspersed. It makes for a terrific listening experience. I must say, every time I listen to it I get quite emotional, with the music speaking to the emotion of a broken family and a potential farewell to the Spielberg/Williams collaboration. It feels like a goodbye in musical form.
 
And then I remember how lucky we are to be getting an entirely new Indiana Jones score soon. I feel like I’m in John Williams heaven right now! And to think we may also be getting a whole new Williams-Mutter collaboration album. I can’t wait to see which tracks have been picked for the next one. The previous album was such a terrific way for Williams to revisit works from across his career, and we got some stunning new arrangements. And we’ve been so well treated these past years with the three Star Wars sequel scores, thinking those could be his final blockbuster scores. Then when that door was seemingly closed, we were surprised with his brilliant new Obi Wan theme. I’m amazed by how he’s still able to produce such wonderful themes to add to his already plentiful musical legacy.

I thought I’d share some thoughts on this score.
 
I originally listened to the title track ‘The Fabelmans’ a couple of times before seeing the film. I adore this piece. It’s one of those Williams tunes that you feel like you’ve known for many years despite haven’t just listened to it for the first time. It is very gentle but hints towards a deeper sadness.
 
I have to say I was most disappointed when seeing the film and hearing it only appear once in the score to the film (aside from the end credits). And when it plays it is mostly hidden under dialogue. I knew the film would be sparse on score, but I thought this melody would be the main theme of the film and would reprise at several key moments throughout. It captures the essence of Sammy’s story so beautifully.
 
What I was able to enjoy in the film was the second theme heard in ‘Mitzi’s Dance’. It’s not as hummable as the first one, but when I heard it in the dance scene I was mesmerised. As John William’s describes it, it is music to put you in a trance like state.
 
Despite my disappointment with the use of the title theme in the film, I was thrilled with the OST album. It is short but well balanced between the two main themes, with the classical pieces interspersed. It makes for a terrific listening experience. I must say, every time I listen to it I get quite emotional, with the music speaking to the emotion of a broken family and a potential farewell to the Spielberg/Williams collaboration. It feels like a goodbye in musical form.
 
And then I remember how lucky we are to be getting an entirely new Indiana Jones score soon. I feel like I’m in John Williams heaven right now! And to think we may also be getting a whole new Williams-Mutter collaboration album. I can’t wait to see which tracks have been picked for the next one. The previous album was such a terrific way for Williams to revisit works from across his career, and we got some stunning new arrangements. And we’ve been so well treated these past years with the three Star Wars sequel scores, thinking those could be his final blockbuster scores. Then when that door was seemingly closed, we were surprised with his brilliant new Obi Wan theme. I’m amazed by how he’s still able to produce such wonderful themes to add to his already plentiful musical legacy.

I thought I’d share some thoughts on this score.
 
I originally listened to the title track ‘The Fabelmans’ a couple of times before seeing the film. I adore this piece. It’s one of those Williams tunes that you feel like you’ve known for many years despite haven’t just listened to it for the first time. It is very gentle but hints towards a deeper sadness.
 
I have to say I was most disappointed when seeing the film and hearing it only appear once in the score to the film (aside from the end credits). And when it plays it is mostly hidden under dialogue. I knew the film would be sparse on score, but I thought this melody would be the main theme of the film and would reprise at several key moments throughout. It captures the essence of Sammy’s story so beautifully.
 
What I was able to enjoy in the film was the second theme heard in ‘Mitzi’s Dance’. It’s not as hummable as the first one, but when I heard it in the dance scene I was mesmerised. As John William’s describes it, it is music to put you in a trance like state.
 
Despite my disappointment with the use of the title theme in the film, I was thrilled with the OST album. It is short but well balanced between the two main themes, with the classical pieces interspersed. It makes for a terrific listening experience. I must say, every time I listen to it I get quite emotional, with the music speaking to the emotion of a broken family and a potential farewell to the Spielberg/Williams collaboration. It feels like a goodbye in musical form.
 
And then I remember how lucky we are to be getting an entirely new Indiana Jones score soon. I feel like I’m in John Williams heaven right now! And to think we may also be getting a whole new Williams-Mutter collaboration album. I can’t wait to see which tracks have been picked for the next one. The previous album was such a terrific way for Williams to revisit works from across his career, and we got some stunning new arrangements. And we’ve been so well treated these past years with the three Star Wars sequel scores, thinking those could be his final blockbuster scores. Then when that door was seemingly closed, we were surprised with his brilliant new Obi Wan theme. I’m amazed by how he’s still able to produce such wonderful themes to add to his already plentiful musical legacy.

I thought I’d share some thoughts on this score.
 
I originally listened to the title track ‘The Fabelmans’ a couple of times before seeing the film. I adore this piece. It’s one of those Williams tunes that you feel like you’ve known for many years despite haven’t just listened to it for the first time. It is very gentle but hints towards a deeper sadness.
 
I have to say I was most disappointed when seeing the film and hearing it only appear once in the score to the film (aside from the end credits). And when it plays it is mostly hidden under dialogue. I knew the film would be sparse on score, but I thought this melody would be the main theme of the film and would reprise at several key moments throughout. It captures the essence of Sammy’s story so beautifully.
 
What I was able to enjoy in the film was the second theme heard in ‘Mitzi’s Dance’. It’s not as hummable as the first one, but when I heard it in the dance scene I was mesmerised. As John William’s describes it, it is music to put you in a trance like state.
 
Despite my disappointment with the use of the title theme in the film, I was thrilled with the OST album. It is short but well balanced between the two main themes, with the classical pieces interspersed. It makes for a terrific listening experience. I must say, every time I listen to it I get quite emotional, with the music speaking to the emotion of a broken family and a potential farewell to the Spielberg/Williams collaboration. It feels like a goodbye in musical form.
 
And then I remember how lucky we are to be getting an entirely new Indiana Jones score soon. I feel like I’m in John Williams heaven right now! And to think we may also be getting a whole new Williams-Mutter collaboration album. I can’t wait to see which tracks have been picked for the next one. The previous album was such a terrific way for Williams to revisit works from across his career, and we got some stunning new arrangements. And we’ve been so well treated these past years with the three Star Wars sequel scores, thinking those could be his final blockbuster scores. Then when that door was seemingly closed, we were surprised with his brilliant new Obi Wan theme. I’m amazed by how he’s still able to produce such wonderful themes to add to his already plentiful musical legacy.

I thought I’d share some thoughts on this score.
 
I originally listened to the title track ‘The Fabelmans’ a couple of times before seeing the film. I adore this piece. It’s one of those Williams tunes that you feel like you’ve known for many years despite haven’t just listened to it for the first time. It is very gentle but hints towards a deeper sadness.
 
I have to say I was most disappointed when seeing the film and hearing it only appear once in the score to the film (aside from the end credits). And when it plays it is mostly hidden under dialogue. I knew the film would be sparse on score, but I thought this melody would be the main theme of the film and would reprise at several key moments throughout. It captures the essence of Sammy’s story so beautifully.
 
What I was able to enjoy in the film was the second theme heard in ‘Mitzi’s Dance’. It’s not as hummable as the first one, but when I heard it in the dance scene I was mesmerised. As John William’s describes it, it is music to put you in a trance like state.
 
Despite my disappointment with the use of the title theme in the film, I was thrilled with the OST album. It is short but well balanced between the two main themes, with the classical pieces interspersed. It makes for a terrific listening experience. I must say, every time I listen to it I get quite emotional, with the music speaking to the emotion of a broken family and a potential farewell to the Spielberg/Williams collaboration. It feels like a goodbye in musical form.
 
And then I remember how lucky we are to be getting an entirely new Indiana Jones score soon. I feel like I’m in John Williams heaven right now! And to think we may also be getting a whole new Williams-Mutter collaboration album. I can’t wait to see which tracks have been picked for the next one. The previous album was such a terrific way for Williams to revisit works from across his career, and we got some stunning new arrangements. And we’ve been so well treated these past years with the three Star Wars sequel scores, thinking those could be his final blockbuster scores. Then when that door was seemingly closed, we were surprised with his brilliant new Obi Wan theme. I’m amazed by how he’s still able to produce such wonderful themes to add to his already plentiful musical legacy.

I thought I’d share some thoughts on this score.
 
I originally listened to the title track ‘The Fabelmans’ a couple of times before seeing the film. I adore this piece. It’s one of those Williams tunes that you feel like you’ve known for many years despite haven’t just listened to it for the first time. It is very gentle but hints towards a deeper sadness.
 
I have to say I was most disappointed when seeing the film and hearing it only appear once in the score to the film (aside from the end credits). And when it plays it is mostly hidden under dialogue. I knew the film would be sparse on score, but I thought this melody would be the main theme of the film and would reprise at several key moments throughout. It captures the essence of Sammy’s story so beautifully.
 
What I was able to enjoy in the film was the second theme heard in ‘Mitzi’s Dance’. It’s not as hummable as the first one, but when I heard it in the dance scene I was mesmerised. As John William’s describes it, it is music to put you in a trance like state.
 
Despite my disappointment with the use of the title theme in the film, I was thrilled with the OST album. It is short but well balanced between the two main themes, with the classical pieces interspersed. It makes for a terrific listening experience. I must say, every time I listen to it I get quite emotional, with the music speaking to the emotion of a broken family and a potential farewell to the Spielberg/Williams collaboration. It feels like a goodbye in musical form.
 
And then I remember how lucky we are to be getting an entirely new Indiana Jones score soon. I feel like I’m in John Williams heaven right now! And to think we may also be getting a whole new Williams-Mutter collaboration album. I can’t wait to see which tracks have been picked for the next one. The previous album was such a terrific way for Williams to revisit works from across his career, and we got some stunning new arrangements. And we’ve been so well treated these past years with the three Star Wars sequel scores, thinking those could be his final blockbuster scores. Then when that door was seemingly closed, we were surprised with his brilliant new Obi Wan theme. I’m amazed by how he’s still able to produce such wonderful themes to add to his already plentiful musical legacy.

It's basically The Woodland Realm + Beyond the Forest + Feast of Starlight
 
https://www.radiofrance.fr/francemusique/podcasts/le-concert-du-soir/week-end-howard-shore-compositeur-du-seigneur-des-anneaux-8958467
 
 

Btw, one odd thing I noticed while working on these videos, is that Bilbo's Fussy Theme is almost identical in melody to The History of the Ring...

Terrific work Monoverantus. These are your best ones yet. I think your tracks work best when you replace the score entirely rather than layering parts on top of the pre-existing score tracks.
 
The Fussy Bilbo theme played in a more foreboding way works great in that scene. As does the Istari theme - a personal favourite of mine, I got a real kick out of hearing it over the scene of Gandalf and Saruman in Isengard. I'm hoping there may be some unreleased Shore cues containing more of the Istari theme in future Hobbit Complete Recordings or a Rarities Archive. 
 
The Council of Elrond entrances was fun; the Woodland Realm Theme has such an evocative melody that using it for Legolas’s entrance is brilliant and gives a sense that he carries a legacy with him. Using the Dwarven Entrance Theme for Gimli was an inspired choice and pairs great with that shot of him!
 
The dwarven themes during the Mines of Moria sequence was something I didn’t know I needed, but wow! The House of Durin theme for the tombs is just perfect. I’d love to hear more scenes with Erebor, Thorin and The House of Durin themes (or even Dain’s theme if it would make sense anywhere!).

Terrific work Monoverantus. These are your best ones yet. I think your tracks work best when you replace the score entirely rather than layering parts on top of the pre-existing score tracks.
 
The Fussy Bilbo theme played in a more foreboding way works great in that scene. As does the Istari theme - a personal favourite of mine, I got a real kick out of hearing it over the scene of Gandalf and Saruman in Isengard. I'm hoping there may be some unreleased Shore cues containing more of the Istari theme in future Hobbit Complete Recordings or a Rarities Archive. 
 
The Council of Elrond entrances was fun; the Woodland Realm Theme has such an evocative melody that using it for Legolas’s entrance is brilliant and gives a sense that he carries a legacy with him. Using the Dwarven Entrance Theme for Gimli was an inspired choice and pairs great with that shot of him!
 
The dwarven themes during the Mines of Moria sequence was something I didn’t know I needed, but wow! The House of Durin theme for the tombs is just perfect. I’d love to hear more scenes with Erebor, Thorin and The House of Durin themes (or even Dain’s theme if it would make sense anywhere!).

I did a final compilation of scenes with Hobbit themes. Thanks again to @A Farewell to Kings for the inspiration, this has been a fun pastime these last few weeks.
 

Interesting idea, but a bit too bombastic imo. I'd like to see other experiments with Hobbit themes in LotR.

I'd have thought the reason was simpler - Shore created albums he was happy with at the time and no one would do an expansion without his blessing.
 
I'm sure we've had this discussion before when they first came out, but instead of that stupid regular/special edition thing where both were 2-CD releases, Shore should've done single disc OSTs and CR-style releases (perhaps digital-only) and just closed the book in one fell swoop.

Also a release of whatever Shore may or may not have had cooking for The Rings of Power that wasn't used...