The Two Towers COMPLETE RECORDINGS 3CD set

[Mr. Breathmask 555]

Baah!

[Trent B 337]

If you can't get it in a local store buy it from an online store then IE: Amazon, Axel or from wherever. Getting it from iTunes should be the last resort. Why anyone would want to settle for 128kbps compressed audio music is beyond me.

[tpigeon 3]

I had already wasted effort going to a couple of stores the day it was released (and the day after) and I didn't feel like waiting for it to be delivered by Amazon, who is always late with pre-orders of mine. I saw it at iTunes for a cheaper price while realizing that the DVD and liner notes really weren't that important to me. I payed about thirty bucks cheaper, which I see as a book or a couple DVDs. The bottom line is that, to my ears, the quality of the music is very good and virtually indistinguishable from the quality of a CD.

Ted

[gkgyver 1,645]

I detect no difference in sound quality between a purchase from iTunes and music from a CD

[tpigeon 3]

Yeah, yeah. I said it. Maybe the fact that I never listen to music on my home stereo system has something to do with it. I listen to film scores on headphones here at work, on my computer speakers at home, and on my car stereo system to and from work. I realize that none of these are "optimal" listening experiences, so maybe that has something to do with it. That and I'm not a technical person by any stretch when it comes to this stuff. I know a good recording when I hear it and I know when something sounds like a bootleg. iTunes, at least the version of it I have, gives me music that sounds the same to my ears as it would on a CD. If there is a difference, it's miniscule beyond miniscule.

Ted

[Joni Wiljami 1,206]

iTunes, at least the version of it I have, gives me music that sounds the same to my ears as it would on a CD. If there is a difference, it's miniscule beyond miniscule.

True. What I have bought from iTunes , I can't hear the difference to a CD.

[Marian Schedenig 8,175]

Baah!

The Two Towers

[Trent B 337]

Blasphemy I tell you!

[Red 75]

Is it really that rediculous?

[gkgyver 1,645]

No, actually it's ridiculous.

[Trent B 337]

No, actually it's ridiculous.

Indeed. I'm not much of an audiophile but I can tell the difference between compressed 128kbps music compared to an actual CD or 320kbps rips.

[Jim Ware 526]

I detect no difference in sound quality between a purchase from iTunes and music from a CD. Let me listen to the same album on both formats and I won't know the difference.

You're deaf.

True. What I have bought from iTunes , I can't hear the difference to a CD.

So are you!

[robthehand 3]

I would never pay to download music, if it was available on CD.

It's fine for iPod/computer listening (although I can still tell the difference), but on a good stereo system, even 320kbps MP3s are not enough, IMO.

[Richard Penna 3,673]

I would only pay to download music if I could get a 320 mp3 for something reasonable like 10-20p a track. Not that iTunes DRM infested crap.

[tpigeon 3]

I detect no difference in sound quality between a purchase from iTunes and music from a CD. Let me listen to the same album on both formats and I won't know the difference.

You're deaf.

Um, no.

Ted

[Jim Ware 526]

I was joking. I'm not really bothered if you can hear a difference or not. It's the music that matters.

[robthehand 3]

I am surprised that you can't hear the difference. Whether or not it bothers you is a different matter, but I do find it very surprising that you can't even hear the difference.

[tpigeon 3]

I know you were kidding, Jim. I was just having a bit of fun too. I don't know, maybe I'd notice if I heard a direct comparrison on a stereo system. But given my music listening conditions, I have nothing to complain about and I don't notice a problem with any the my downloaded music. It sounds the same as everything else to me.

Ted

[LongTallJodie 59]

I'd be hard-pressed to hear a difference on standard computer speakers or headphones too. Now, on the 5.1 Home Theater I have wired to my laptop... that's a whole other ballgame.

[Joni Wiljami 1,206]

I detect no difference in sound quality between a purchase from iTunes and music from a CD. Let me listen to the same album on both formats and I won't know the difference.

You're deaf.

True. What I have bought from iTunes , I can't hear the difference to a CD.

So are you!

8O

There is nothing wrong in my ears(not sure about my brains )

Ok , I maybe hear it but I don't care.

So many other things involved , Music ,acoustic , equipment...

[Elmo Lewis 6]

Ironically, this thread is the most fun read in the board lately.

[Red 75]

I would never pay to download music, if it was available on CD.

It's fine for iPod/computer listening (although I can still tell the difference), but on a good stereo system, even 320kbps MP3s are not enough, IMO.

Neither would I, which is probably why I never have.

[David Coscina 3]

I was never a TTT score fan....until now. HOLY CRAP! This music is outstanding. It's so much more dimensional with the extra music. I love the scoring for Tree beard. I just bought it off of iTunes so the quality isn't that great but I think I'm getting the actual disc set for x-mas so I can hang on until then. I am anticipating hearing the DVD surround version of the score on my system and blasting it.

[Trent B 337]

I never really was into the Lord Of The Rings music period. However I told myself that I would give the Lord Of The Rings music a shot with the complete recordings since we all know that the OST's kind of lack the best stuff. After hearing the Complete Recordings for Fellowship Of The Ring and now The Two Towers, I definitely like the music for Lord Of The Rings. I can't wait to hear the Complete Recordings for Return Of The King.

[ST-321 4]

I got this for my birthday today!!! I am a happy camper.

[Mr. Breathmask 555]

That's a great gift to get. Happy birthday.

[crocodile 7,988]

Happy Birthday again!

Karol

[Morlock 11]

No one here wished me anything on my birthday.....

Morlock- who turned 20 on November 12th

[Ollie 1,059]

Belated of course.

No one does on my Birthday either so you're not alone.

[Mr. Breathmask 555]

Same here.

Bastards.

[ChrisAfonso 186]

It still seems to be out of stock at amazon and axelmusic, and the local stores never had it yet... what's happened? Last year I found it in several stores on the day of release...

Looks like I'll have to shell out good money for an import...

[crocodile 7,988]

That's strange indeed. It isn't available in Germany yet? I got mine a few weeks ago.

Karol

[fommes 153]

I went and asked at a store where they had it last year, but they didn't know it was coming out. So they ordered a stack and I have one now. Possibly your local stores are just not aware of the release.

[Kendal_Ozzel 36]

Y'know, I saw one copy of FOTR at a Barnes & Noble a few weeks ago. That is the only time I have seen a real copy of one of these in a store.

[ST-321 4]

Thanks for the birthday wishes & happy late birthday wishes to Morlock, Mark Olivarez and Mr. Breathmask. May you all get great scores for your next birthdays.

[Ollie 1,059]

Y'know, I saw one copy of FOTR at a Barnes & Noble a few weeks ago. That is the only time I have seen a real copy of one of these in a store.

I have yet to see one in any store.

[Alan 689]

Wouldnt have thought it, but there is usually plenty of copies in stores here in Manchester.

HMV had 2 copies of TTT:CR on the day of release and they usually have at least one Fellowship aswell. Some of the other stores also sometimes have copies.

Now if only one of them would stock the HD-DVD drive for the Xbox I'd be happy!!

[gkgyver 1,645]

I decided to listen to the CR and write down my thoughts as I'm listening. I started with Two Towers. Here's chunk number one:

1. Foundations Of Stone

I never thought a simple arrangement of rising notes could create this much awe-inspiring anxiety. The lofty, majestic orchestration of the Ring theme says right here that this movie and score will be on a different scale than Fellowship. The lingering string line, punctuated by noble and slightly menacing brass reminds me of Sibelius a bit, and is perfect for giving the audience time to just be sucked into Middle-Earth again.

And even taking ROTK into consideration, the Dwarvish chorus here is amongst the most original and poignant in the trilogy. In general, I think TTT has the most interesting choir work.

2. Lost In Emyn Muil

First time for the Rohan theme. I understand why it's over the titles, I just find it a little strange in context. And the introduction of the theme in the three hunters cue was as perfect as it could be. Personally, I don't think there is any one main theme for any of the three films, but it's certainly logical to put the theme over the titles that has most of the spotlight in the score.

3. Elven Rope

A warm, slightly journey-weary, reminder of Fellowship on clarinet, and a first glimpse of Gollum. It's one of these pieces in which themes just flow so organically into each other. Another choir piece (which I prefer to the film version) that sets this score apart from FOTR right there. Gollum's cembalon theme is a theme I've never warmed up to. I appreciate its intention and love the ingenius connection to the instrumentation of the Shire, but it doesn't do anything inside of me. However, the fight music is great. Has Howard Shore ever done anything like this before these films? I don't blame people for questioning his involvement back then.

4. My Precious

There are many more variations on Gollum's pity theme to come, first time History of the Ring and Gollums theme meet. The cor anglais work in these scores is yet another little piece in the puzzle why I adore them that much. More workout for the Menace theme. In other guises, like this one, it's really good, I just don't find much in the minimalistic version with just the dulcimer.

5. Ugluk's Warriors

Hearing the Shire on bassoon is as good a time as any to say that I really, REALLY love the bassoon work in LOTR. There is something about the way Shore uses them that makes his sound very distinguishable.

Never, PJ, NEVER omit a choir from any piece again!

6. The Three Hunters

Fellowship is back. That produced some major goosebumps in the theater. The revealing shot of the plains of Rohan, with the theme over it ... movie magic.

So far, the score has done an excellent job of giving the film a slightly different atmosphere while maintaining the old themes and spinning them slightly differently.

The trademark low brass Mordor sound, or, how to do ostinati right, Mr. Zimmer. Simplistic theme, but so incredibly effective!

A piece where the extended version really adds to it.

One of my favourite choir pieces in the films, mainly because of the winds, and the juxtaposition of men and women.

7. The Banishment Of Eomer

An odd Wild West touch to the fanfare cue at the beginning, but so very rousing. Followed by one of those intriguing subdued Howard Shore moments. Scoring the film and not scoring the film at the same time, following the dramatic arc of the music. Some find his trademark swelling/ebbing chords annoying. I find it extremely satisfying to listen to this subtle work, building and building - to the Isengard material thrown against the Fellowship theme, with choir. A unique moment in the films. I just love thematic plays like this.

8. Night Camp

Nature Theme. Still not sure about its intentions. The alternate, with the Fangorn music, would have fitted better thematically IMO. The Orc material is explored further, to great effect. No idea why there had to be music tracked into the film for the Riders' attack, with several earth shattering alternates at hand. Completely unnecessary, but sadly not the only instance in the film.

9. The Plains Of Rohan

Another one of these sneaky little motifs here, the Riders Of Rohan motif (which would have been introduced one cue earlier, had it not been replaced in the film). I'm a fan of leaving the brass/wind without string backup, I love the pure sound of it, like in this cue.

I also find it amazing that, with all the countless beautiful themes Howard Shore wrote, he still is able to write in good melodies/figures that appear once and never again. The three hunters mourning for Merry and Pippin would be such an instance.

10. Fangorn

Another one omitted from the film. What a shame. Another one of those trademark Howard Shore cues. Nobody does it quite like him. Wonderful play on Aragorn's music, seguing into the introduction of Fangorn's music. And yet another piece of tracking in the film. How on earth can you leave out a cue like this? Excellent 5/4 chase music. And the "Treebeard's Stride" motif could have given Treebeard more impact on film. I think it needed that. This would have been an awesome introduction in the film, but Pj had to ruin it by removing half of it. Even the bassoon solo, one of the nicest and most original things in the film. Also carries the spirit of Tolkien.

11. The Dead Marshes

Maybe my favourite sequence in the film (musically). Love the timpani in the beginning. Gollum's music comes to live a little more, made me feel genuinely sad for him. Then the music for the marshes. Awe-inspiring, slightly menacing while still maintaining a flair of ominous wonder. The depiction of the voices in the score is marvellous. It's just such a rich piece in all registers, dynamic ... closing out with Gollum's pity music, and more of great bassoon sounds. Not sure why it repeats the beginning portion at the end. Deleted scene maybe?

12. Wraiths On Wings

Ok, why this piece of music had to be removed in favour of something glued together in the editing room is the greatest mystery of this whole score. This cue gives the Nazgul music an additional nasty twist, and moves it towards the sound Howard Shore gives them in ROTK. Not with a driving rhythm, but more with a self-conscious, menacing, imposing quality.

13. Gandalf The White

Another awesome setpiece, had someone told PJ to leave it intact. The aleatoric orchestra is such a nice depiction of Fangorn. Often I think Shore's music goes far and beyond what is on screen, and depicts Tolkien's world how it should be displayed, and not necessarily what the movie shows us. Gandalf the White's theme and music. Unmistakable. The fight on Zirak-Zigil should have been scored with this, and the fluttering tones add a lot to it later on. Again, lengthy portions of this setpiece are beautiful without being particulary thematic. The short brass fanfare is not on here, but on the OST, and I think that could have been included, even though the silence gives more impact to Shadowfax' arrival I think.

People often forget the OST version of this piece, which is more fairy tale-y and emotionally more neutral. Interesting that the melody for Shadowfax' arrival here begins with Rohan's opening pitches.

14. The Dreams Of Trees

A wonderful addition to the film, both scene and music. And I think they should have left it in the theatrical release. More or less the concert suite of the "Small Stones" motif. And this lyrical side of Treebeard was sorely lacking in the theatrical cut.

15.The Heir Of Numenor

I wonder if Howard Shore really put these score together step-by-step as he often describes it, or if his humility just doesn't let him say that he planned some things from the very beginning. Because I really doubt he would just put in a theme for the Ring's destruction and then accidentally rediscover it while working on ROTK.

Mordor music gets a workout. Another perfect blend of film score and standalone music. One of the more unique variations of the Ring theme at the end. A fleeting moment, but showing precisely what goes through Gollum's head at this point - it's the Ring that drives his actions, not concern for his master.

And more bassoon.

16. Ent-Draught

I always enjoy the lighter Hobbit moments of Merry and Pippin, score-wise because Sam and Frodo's music is by nature a bit heavier. Again, fleeting moments of melodic beauty. Maybe Howard Shore worked on the Siege Of Gondor piece while scoring this?

In general, the music for Fangorn and the hobbits' story there is highly underrated.

[TheTennisBallKid 17]

TTT:CR really was quite revelatory, in terms of how much music had been edited out of the film, and a great deal of that music is among the scores highlights.

It's my favorite of the trilogy, so I look forward to the rest of your thoughts on it.

[Incanus 5,713]

Well your thoughts conincide very much with mine Georg and your write-up inspired me to take a listen of the CRs first thing tomorrow.

8. Night Camp

Nature Theme. Still not sure about its intentions. The alternate, with the Fangorn music, would have fitted better thematically IMO. The Orc material is explored further, to great effect. No idea why there had to be music tracked into the film for the Riders' attack, with several earth shattering alternates at hand. Completely unnecessary, but sadly not the only instance in the film.

I love the Nature's Theme at the beginning, also because it certainly fits the telling of the legend a bit better with a certain mythical quality and also presages the part the two Hobbits will play in the reawakening of Nature's power in the story, part of the mechanism of the eucatastrophe. I feel the moment is not so much about Fangorn itself or the Ents but about the wonder of Nature and its mythical aspect, hence the Reclamation of Nature theme. I love the clarinet variation of it, somewhere between earthy and Hobbity and still so magically related to Nature music of the scores.

14. The Dreams Of Trees

A wonderful addition to the film, both scene and music. And I think they should have left it in the theatrical release. More or less the concert suite of the "Small Stones" motif. And this lyrical side of Treebeard was sorely lacking in the theatrical cut.

Another lovely piece with a sense of delicate lyricism, showing the different aspect of Treebeard, the dreamy horn line at the end especially affecting and emotional in my opinion.

15.The Heir Of Numenor

I wonder if Howard Shore really put these score together step-by-step as he often describes it, or if his humility just doesn't let him say that he planned some things from the very beginning. Because I really doubt he would just put in a theme for the Ring's destruction and then accidentally rediscover it while working on ROTK.

Mordor music gets a workout. Another perfect blend of film score and standalone music. One of the more unique variations of the Ring theme at the end. A fleeting moment, but showing precisely what goes through Gollum's head at this point - it's the Ring that drives his actions, not concern for his master.

And more bassoon.

I remember watching TTT EE for the first time and seeing this scene and hearing the score. I immediately noted the subtle thematic line appearing under Gandalf's speech and went and listened to the RotK OST that had just been released a few weeks prior and was floored to find that indeed there was the Destruction of the Ring motif. I love the salvatory musical idea and how Shore planted the dramatic seed in this scene. And no doubt, how much Shore might profess that many things about the musical architecture were happy conincidences, there is such a careful thought and work and structure here for that to be entirely true for a large part of the music of the three films. The complexity of this web and construct still amazes me and is as you say something more than a regular film score, delving far deeper than most of them.

Oh and I do love the track with all the thematic juggling of the Mordor motifs and the very unique and brilliant work on the woodwind writing, bassoon scoring being indeed some of my favourite material as well.

[gkgyver 1,645]

17. Edoras

 

A piece with very different tones and shades and themes flowing into each other. I prefer the solo hardanger opening actually. The encounter of Eowyn and Grima is one of the most enticing moments in the film for me. The juxtaposition again of beautiful tones over rumbling low voices is very touching. The forlorn statement of the Rohan theme was a classic movie magic moment while watching it for the first time, again with the bassoons. Eowyn's theme is one of the most flexible of the whole palette of themes in LOTR IMO.

 

18. The Court Of Meduseld

 

I never identified this as Grima's theme until Doug told me so, actually. I never caught that the action motif in the middle is in 5/4 as well. I love the combination of 5/4 Isengard, Gandalf the White theme and powerful chorus. That was one of those unexpected moments in the theatre.

 

19. Theoden King

 

This is like a highlight piece from beginning to end, like a concert suite of Rohan themes. I dare anyone to name more than a handful of themes that are similarily intense and awesoome like the Rohan theme. When the trumpets hit the highest note, it's absolutely exhilarating.

Once again, those pure brass tones for Theodred's funeral. The choir is reminiscent of the piece for the burning Westfold, maybe intentionally so? Eowyn's singing is beautiful, much more welcome than some of the inclusions in the FOTR CR.

Theoden standing in front of Theodred's tomb with this music must have been one of the most chilling experiences I ever had on any film. The pairing of the acting and the cinematography and the music is superb. Too much vertical writing my ass.

 

20. The King's Decision

 

Some music to drive the story along. Not much to say, really.

 

21. Exodus From Edoras

 

Another one of those gorgeous one time melodies that are never explored any further. TTT really does feature great explorations of the Isengard music, naturally, given the content of the film. Grima's theme again. Howard Shore has, IMO, a quite unique sense for combining rhythm with harmony. Eowyn's theme really adds depth to her scenes, and while others may find it simplistic, I love the pure sound of the lower string octaves. It's beautiful how the hardanger has the chance to shine on its own here. And some more chilling writing for an instrument starting with "b".

 

22. The Forests Of Ithilien

 

Starting with one of my favourite little mood pieces from TTT. It resembles the music for the later discussion between Smeagol and Gollum. Fantastic play on Smeagol's theme, and some subtle use of the dulcimer. The way Howard Shore uses the lower woodwinds is really one of the reasons why his sound is so unique. I think.

Gollum's comedy piece is fun, but probably good that it wasn't in the film

I don't know, somehow the score manages to give each sequence a particular sound that you can remember, just like with this Ithilien piece. The music for the oliphaunts for example must be some of the most distinctive in the whole film.

A nice touch that the screechy brass moment for the capturing of Sam and Frodo here, and the later moment, when the Rangers pull a hood over Gollum's head is similar. Maybe the "Faramir's Dubious Intentions"theme

 

23. One Of The Dunedain

 

One of my favourite pieces in the whole film. So many little motifs and major themes on display here. This, again, feels like a concert piece. I don't quite understand why the Evenstar piece was tinkered with in the film. I find this a perfect example of how Howard Shore gave a scene, which is essentially nothing more than a love story some special dignity. Of course, as a film, Return of the King profited from that more than once.

The Diminishment of the Elves theme is one of the most evocative and sadly overlooked oftentimes.

 

24. The Wolves Of Isengard

 

This piece was butchered to death in the film, probably because it was a last minute addition and there was no time to do a rescore the way PJ wanted it. At least that's what I hope happened. The OST lack the hardanger, the CR version lacks the choir. The way to go is to have BOTH combined of course! Awesome chorus.

This should have been in the film. PJ doesn't know what's good for him.

Great tension building in 3 towards Aragorn's dive off the cliff. Some mean brass.

 

25. Refuge At Helm's Deep

 

For some reason I really love the little string piece at the beginning, especially the statement of Fellowship in minor. And the way the fanfare for the arrival emulates an air of hope before pulling the bottom of the orchestra away. I love how the Rohan theme is so instantly recognisable upon hearing the skip-beat and the two 16th notes.

 

26.The Voice Of Saruman

 

Oh Jesus, so many great additions to the score were cut from the film, sometimes I question PJ's senses. Awesome battle cry of Isengard music.

 

27. Arwen's Fate

 

Sheila Chandra's song was always an odd little inclusion for my taste. Unquestionably, it fits into the slightly exotic Elven world, but at times it pushes it into that direction a bit too strongly I feel. The piece Howard Shore wrote for the vision of Arwen's future is so sad and dramatic, another stand alone piece, and again it is not in the film. Going through it track by track makes me realise just how much was edited away. I mean, the Evenstar solo fits the film, but in no way is it significantly better than this piece. On the contrary, it flows seamlessly into

 

28. The Story Foretold

 

The airy and sad chorus for the Elves leaving is one of the most chilling moments in TTT. My favourite statement of Rivendell music actually. The winding celli are sublime. This is followed by the belated prologue. Strangely, it works in the film. I understand why executives wanted to have a prologue, but putting this at the beginning of the film would have killed the audience. It would have sent the message "seen and heard that already". Cor anglais again ...

 

29. Sons Of The Steward

 

This would have been a great addition to the theatrical cut, but I understand why it wasn't there. Some evil times workout in the beginning. Some of the wind orchestration I love so much about these scores. Faramir's dream should have been included, it could have cleared up some things in this film as well as in ROTK. I adore how the music breathes in and out, follows a clear structure, seemingly unimpressed by the film. Often you have the feeling in films that the film chases to music along, but not here.

Gondor's theme on bright solo trumpets, recalling former splendour, is a rare listen. I think it appears like this only twice in the entire trilogy. Once here, and the second one in ROTK, when Gandalf speaks of Gondor's former glory. It's these little details that make the scores so special.

 

30. Rock and Pool

 

In many ways a typical Howard Shore piece. It's great how the fluttering winds and the harp reflect the image of the pool without overdoing it and going into the realm of clichee. You probably won't find better Howard Shore mood builders than this piece. And here we have the mean brass again for the capturing of Gollum.

 

31. Faramir's Good Council

 

TTT is really all about exploring music for Gollum, Rohan and Isengard. Everything else is second to that. This is excellent examination for Gollum. And, of course, the seduction theme is cut from the film. Bastards.

 

32. Aragorn's Return

 

Finally a majestic reading of Aragorn's theme, and at the same time Gondor's theme second phrase. The king has returned. And he's here to fight. Clever little addition in the middle, echoing the Riders Of Rohan motif.

 

33. War Is Upon Us

 

Another minor highlight for me. Yes, it is just some rhythmic pulsing, but I lovee the brass and the cold, harsh inevitability of it, that war is coming. The Ent/Fagorn music really fills the spot for fantasy music because otherwise, there isn't much genuine fantasy music in these films.

 

34. Where Is The Horse And The Rider?

 

Another major highlight cue. Two moments that gave me chills and made me teary-eyed in the theatre. One is the sad Rohan theme for the children being called to fight, and the other the powerful chorus over Theoden citing his poem. I never thought a simple series of string figures can be that captivating. "To whatever end ..." I'm getting goosebumps right now.

The heroic trumpet for Aragorn ... does PJ know how much of the impact his films had are due to Howard Shore's music? So why does he constantly cut it for Christ's sake?

 

35. The Host Of The Eldar

 

A brilliant thematic variation completely out of left field. Elvish battle music ... if the Hobbit is only vaguely in this category of quality, I'm going to wet my underpants. Genius thing to recall the doors of Durin music. And a perfect mood setter for the battle. It says that it's not about an ultra cool battle that is about to start, it is about the story.

 

36. The Battle Of The Hornburg

 

From this piece onwards, I would consider practically every track a strong highlight.

From the moment of the deep string note, you're in for some of the best battle music ever conceived. Reduced orchestra for the maximum effect. Love the 5/4.

 

37. The Breach Of The Deeping Wall

 

Great expansion of the Orc sound. With the high strings, it sounds like a perverted Olympic race. More Elvish war greatness. Just a great collection of motifs.

 

38. The Entmoot Decides

 

There is a little alternate take of this cue on the ROTK EE documentary about the score, with soft horns, that I like better. Some more Aragorn motif, sounding like a defeat.

 

39. Retreat

 

Haldir's Lament was, and is, a very nice addition to the overall sound of the Helm's Deep battle. I think his death is really one of the few deviations from the book that actually work completely. One of my favourite Fellowship statements in all the films follows, in driving 3/4, and the spine tingling Cruelty Of The Orcs motif on brass. There is nothing in the scores I love more than the unrestrained sound of heroic brass, like in the last third of this piece. The final fanfare of Rohan/Aragorn is another bit of thematic genius.

 

40. Master Peregrin's Plan

 

Another little cue that is sadly overlooked, being surrounded by other brilliant cues. Love the anxious Shire variation, and the barely noticeable "Small Stones" motif. Nobody can convince me Howard Shore really believed the audience would catch something like that upon first viewing. Things like that, IMO, are added out of the sheer joy of creating a coherent piece of music.

 

41. The Last March Of The Ents

 

Pure, simple, hair-raising movie magic going on here. The Nature theme with chorus, Treebeard's words made another tear form in my eye. There are very, very few scores that capture the essence of the story that perfectly.

 

42. The Nazgul Attack

 

The Nazgul harmonies are instantly recognisable. For me, this track is basically a build-up to the grand finale. The Gandalf The White music in the end could have been in the film, but I feel like the tracked Nature theme fits the emotion at least just as well. But that may be because the theme is just so damn brilliant.

 

43. Theoden Rides Forth

 

Once more, I don't get why this piece was tinkered with. Does it really make that much of a difference to start it three seconds later? IMO one of the best finale cues ever done. Ben Del Maestro is awesome, and the marriage of music and film is almost a transcendental experience. You have this epic conclusion to Helm's Deep that makes you shiver all over, and then it goes on with the Isengard demolition, which adds relentless adrenaline to it. Critics can blow "too much vertical writing" at their asses. This is an absolute powerhouse of movie scoring.

 

44. The Tales That Really Matter

 

If the previous one is one of the best finale cues ever, so is this one. A thematically beautiful, meaningful, emotionally hooking and soul-touching piece of music. Actually, to describe this (and a few other pieces from the trilogy) with the word "music" is almost a little too lazy.

There are SO many themes included in this; Shire, Frodo, Gondor, Gollum, Treebeard, Fellowship ... and they work together so flawless. And I don't get why people think there is no thematic developments in the scores. The Shire music here sounds different than the one from Fellowship, and noticeably so.

There is a wonderful sense of impending doom at the end, with Gollum's music, when his Pity theme and the song mingle. And of course the clash of the Menace and Ring theme.

 

45. Long Ways To Go Yet

 

You know, there are over 10 hours of music in LOTR, but if I had to pick a moment when music and imagery just create something inexplicably special, I would name the opening of Gollum's Song with the boys choir. I don't even know how to name the atmosphere it creates. The music together with the camera panning over the Morgul vale and Gorgoroth, and the quiet, calling low brass chords under the choir over the image of Mordor ... that is simply sublime scoring. Best transition from movie to credits, hands down.

It also creates a sense of satisfaction, I don't know how you could end the middle part of a trilogy better. My favourite song of the three as well. Emiliana Torrini has a stunning voice.

Then the credits. IMO the one weakness of the scores, no actualy, proper end credits suite. However, TTT comes closest with Eowyn's theme and the Rohan fanfare. The Evenstar on solo oboe is gorgeous, but I'm not sure why the Leave Taking and Seduction themes are there. Better to make the end credits finale short and sweet than selecting random pieces from the film.

 

Overall, Two Towers is maybe the most interesting score of the three because it handles such interesting material. Without it, neither FOTR nor ROTK would have the same impact. It is certainly the gloomiest of all three scores, and that plays into Howard Shore's cards of course.

For me, there are many pieces in here that I consider among the best of the trilogy. It certainly has the best character-related music, with Eowyn's themes, Aragorn's themes, Gollum's themes thoroughly explored.

And it has some of the very best setpiece music, with the Dead Marshes and Helm's Deep.

[#SnowyVernalSpringsEternal 10,265]

Good review, though the "why did PJ cut/butcher this cue" gets old really fast.

[Faleel 5,340]

Good review, though the "why did PJ cut/butcher this cue" gets old really fast.

it is more thoughts or an analysis than a review though.

[Incanus 5,713]

And Georg's thoughts made me once again realize how difficult it is for me to choose absolute favourite score from these three, in part because I consider them all part of a larger whole and in part because they all have such strong highlights.

[Richard Penna 3,673]

On 8/16/2012 at 7:34 PM, gkgyver said:

43. Theoden Rides Forth

Once more, I don't get why this piece was tinkered with. Does it really make that much of a difference to start it three seconds later? IMO one of the best finale cues ever done. Ben Del Maestro is awesome, and the marriage of music and film is almost a transcendental experience. You have this epic conclusion to Helm's Deep that makes you shiver all over, and then it goes on with the Isengard demolition, which adds relentless adrenaline to it. Critics can blow "too much vertical writing" at their asses. This is an absolute powerhouse of movie scoring.

Yes, the edit in that cue in the film is very jarring if you're really going 'with it' - I can't imagine editing that scene and deciding that snipping the music is the way to fix it.

What does 'vertical writing' mean? Is it that most of the demolition part comprises of rising figures?

On 8/16/2012 at 7:34 PM, gkgyver said:

25. Refuge At Helm's Deep

For some reason I really love the little string piece at the beginning, especially the statement of Fellowship in minor. And the way the fanfare for the arrival emulates an air of hope before pulling the bottom of the orchestra away. I love how the Rohan theme is so instantly recognisable upon hearing the skip-beat and the two 16th notes.

I love that little moment too - it somehow manages to transition perfectly from the sadness of Aragorn's demise to the relief of having reached Helm's Deep.

I need to listen to all 3 CRs actually - I've only ever listened to FotR in full.

[gkgyver 1,645]

Good review, though the "why did PJ cut/butcher this cue" gets old really fast.

Old? You're old!

[Jay 37,310]

I enjoyed reading your thoguhts very much gkgyver. I haven't seen the film in a while and had forgotten how much music was changed there.

[gkgyver 1,645]

Also, I finally figured out a major problem I have with ROTK as a film.

I find that you frequently feel like the actors are on a set, due to excessive digital enhancements. Cases in point: Sam's wedding (just compare it to the look of Bilbos birthday), the coronation, the Grey Havens ...

Both Fellowship and Two Towers feel a lot more real.

[Incanus 5,713]

Let's just hope The Hobbit won't suffer from the SW Prequels look because of PJs decision to use so extensive green screen and no miniatures in the film series. Sure he uses quite impressive sets as we have seen the production videos but I would have loved to have some new cool bigatures in the films.

On 8/17/2012 at 7:48 AM, Richard Penna said:

On 8/16/2012 at 7:34 PM, gkgyver said:

43. Theoden Rides Forth

Once more, I don't get why this piece was tinkered with. Does it really make that much of a difference to start it three seconds later? IMO one of the best finale cues ever done. Ben Del Maestro is awesome, and the marriage of music and film is almost a transcendental experience. You have this epic conclusion to Helm's Deep that makes you shiver all over, and then it goes on with the Isengard demolition, which adds relentless adrenaline to it. Critics can blow "too much vertical writing" at their asses. This is an absolute powerhouse of movie scoring.

Yes, the edit in that cue in the film is very jarring if you're really going 'with it' - I can't imagine editing that scene and deciding that snipping the music is the way to fix it.

What does 'vertical writing' mean? Is it that most of the demolition part comprises of rising figures?

Well harmony is often said to refer to the "vertical" aspect of music, as distinguished from melodic line, or the "horizontal" aspect. I am not sure if GK is refering to this but he is pretty spot on with his thoughts on this particular track, a thoroughly satisfying opening of the finale that ends with The Tales That Really Matter. Despite having to weave these two grand musical sequences of Helm's Deep and the destruction of Isengard together Shore does it without losing the momentum and dramatic impetus. Only thing in the whole sequence which is musically a bit halting is the appearance of the cold anticipatory opening pitches that usually presage the Seduction of the Ring as we cut to Osgiliath in the middle of the Ents wreaking havoc at Isengard.

Shore not only juggles so many musical ideas and takes them to a satisfying conclusion but also provides truly a transcendent moment of musical and visual coupling that taps both to the visual aspect but also the deep underlying themes of Tolkien's writing, which makes the music so resonant. The way Shore captures the beautiful aesthetic of Tolkien's writing and translates it into music while not forgetting the film medium at any point is something I have marvelled and been extremely happy about in these scores.

[KK 3,307]

Let's just hope The Hobbit won't suffer from the SW Prequels look because of PJs decision to use so extensive green screen and no miniatures in the film series. Sure he uses quite impressive sets as we have seen the production videos but I would have loved to have some new cool bigatures in the films.

As sad as it is to see the bigatures leave the Middle-Earth universe, I don't see much use for it in The Hobbit. LotR had some big sets to cover like Barad-dur, Minas Tirith, Helm's Deep, etc. But we don't have any big sets of that proportion. At least they're still building real sets.