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Rosenman's LOTR is better than Shore's.


Admiral Holdo

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Drop the torches and pitchforks, I was kidding.

Even still, it's better than people give it credit for. The main criticism is that it's too happy and cheery - so what? It was a studio-released family animated film from the 1970's, WTF were you expecting? Some also say that it's too much like Star Trek IV, but that's a criticism towards Trek IV (which obviously came later) and as such, is disregarded.

And of course people slam it because of the film it's attached to, and of course because of Shore's work for the later trilogy... hmm, judging a score primarily on unfairly placed standards - that's what idiots do, isn't it?

And it's one of Rosenman's best - tied with Fantastic Voyage and BTPOTA. Anyone agree?

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The main criticism is that it's too happy and cheery - so what?

Happy and cheery? It's one of the darkest scores I know.

Shore's score resembles Middle-earth more than Rosenman's, from the overall emotional scope (the movies he was composing for certainly were an advantage here) and the thematic complexity. Rosenman's score, on the other hand, wins hands down when it comes to purely musical writing and complex counterpoints. As pure music, it's the clear winner.

And in my opinion, Rosenman's LOTR is one the great masterpieces of film scoring.

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Well, I was referring to the theme primarily, but good point.

The theme may be "happy" in a way, but it has some kind of haunting depth to it. It's the first movie theme I remember whistling, years before I realized that music was often written specifically for films. I also remember being stunned by the music for the Rohirrim's final assault, and wondering what music was used for that scene.

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I would agree that Rosenman's is better in pure music terms. Aside from the cheery main theme, I do agree that there's some pretty dark stuff on the score with some very complex harmonic work going on. I love Rosenman's use of tetra-chords for the Ring Wraith's. Really scary.

Oh, the other thing that slightly annoys me is that Jackson's LOTR borrowed heavily from the 1979 version- especially FOTR where some scenes were framed and composed in the exact same manner. It's pretty blatant.

While I wouldn't say Shore is one of the greatest composers working currently, he is one of the greatest film composers working today.

Even something like Eastern Promises which is very beautiful is quite simple musically. Which is fine. All Shore needs to do is underscore the film adeptly which he does on almost every count- oddly, I found his scoring of LOTR to be one of the least effective projects- The Aviator is much more appropriate IMO.

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It's really nice. I think it's a great Shore score. Very evocative. But it's not as musically complex as something Williams would have written for the same film. But it doesn't have to be. As a film score, I'm sure, like all other Shore scores for Cronenberg films, it fits like a glove.

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Frankly, its unbelievable that some people on here (so called knowledgeable score fans) actually believe that Rosenman's lotr is superior to Shore's. One only has to think about the sheer scope of the latter work to realise that any attempt at realistic comparison is utter nonsense.

Its like comparing the Harry Potter movies to Lotr, as the media cynically attempted to do in the early days. Only an ignorant fool would suggest that Potter is some sort of equal to Rings and the same could be said of the comparisons made in this thread.

In terms of musical score, the Star Wars saga has more in common with Shore's lotr than Rosenman's quaint little effort ever will.

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Its like comparing the Harry Potter movies to Lotr, as the media cynically attempted to do in the early days. Only an ignorant fool would suggest that Potter is some sort of equal to Rings and the same could be said of the comparisons made in this thread.

The scores to HP 1 and 3 are vastly superior to anything in LotR,for the movies it's a different story

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Only an ignorant fool would suggest that Potter is some sort of equal to Rings and the same could be said of the comparisons made in this thread.

You ignore the opinion of "so called knowledgeable score fans" . I'm very interested to hear

who/what are you to make those Ultimate Declarations like Lotr films better than Potters or Shore's Lotr better than Rosenman's?

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Only an ignorant fool would suggest that Potter is some sort of equal to Rings and the same could be said of the comparisons made in this thread.

You ignore the opinion of "so called knowledgeable score fans" . I'm very interested to hear

who/what are you to make those Ultimate Declarations like Lotr films better than Potters or Shore's Lotr better than Rosenman's?

I'm merely a person who understands the simple difference between the words 'serviceable' and 'outstanding'. It ain't rocket science.

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The scores to HP 1 and 3 are vastly superior to anything in LotR,for the movies it's a different story

If you think that then you need your hearing checked.

Hedwig's Theme takes any theme in LotR and wipes it's ass with it

BZZZZ!!!!! WRONG!!!

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Actually King Mark could possibly be right.

John Williams is better then Howard Shore when it comes to melodic, thematic writing.

As a package though, themes, orchestration, orchestral coloring, style, atmosphere, instumentation, I prefer the Shore's LOTR work.

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The scores to HP 1 and 3 are vastly superior to anything in LotR,for the movies it's a different story

If you think that then you need your hearing checked.

Hedwig's Theme takes any theme in LotR and wipes it's ass with it

BZZZZ!!!!! WRONG!!!

Trent, didn't you recently claim that you had no interest in listening to the Potter scores?

Neil

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I kind of agree with the second statement, and think that the first one, while not necessarily being incorrect, has many 'ifs', 'whats' and 'buts' about it.

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I like "Hedwig's Theme", most people do. But to say that it is completely better than every theme in LOTR is just delusional and fanboyish. Williams is a better thematic writer, and a better composer overall, but come on!

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