Dear Mr Shore, Freiburg has a wonderful, newly-built concert house and a very good symphonic orchestra...please?

About these Kong-news: darkness crept back into the forest of Skull Island, rumor grew of a Shadow in Ape form, whispers of a Nameless...errr...well, yes, somehow like that!

quote:

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Originally posted by Sabsi:
...wants to release his version of the [b]KingKong-Soundtrack and would like to return to Middleearth and collaborate with PJ again for The Hobbit![/B]

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quote:

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Originally posted by Sabsi:
As you probably know, there were two concerts in Switzerland, called 'Music of Howard Shore'. Both featured the 21st Century Symphony Orchestra, conducted by Ludwig Wicki.

The first concert scheduled was in Lucerne on March 16, 2007 at 7:30pm - and I was there!!

First, there was a Q & A with Howard Shore.
The most important things: He plays 6 different instruments (trumpet, saxophone, piano, clarinet, flute and cello), wants to release his version of the [b]KingKong-Soundtrack and would like to return to Middleearth and collaborate with PJ again for The Hobbit!

Then he signed autographs (here is a picture of him) - I even got the chance to take a picture with him and to ask him, what he thinks about it, that his music was used on "The Simpsons" and how that happened. He answered: 'They asked me, an I said yes [of course, what else - what was I thinking ]. I think it's an honor to be in the Simpsons, isn't it?'

Then the concert began. It featured his music from 'The Fly', 'Dead Ringers', 'Naked Lunch', 'M. Butterfly', 'Mrs. Doubtfire', 'Prelude to A Kiss', 'Nobody's Fool', 'Big', 'Silence of the Lambs', 'Se7en' and 'The Aviator'.

After ‘The Aviator’, there was much applause and Ludwig Wicki called him on the stage - which caused even more applause...

Ludwig Wicki left the stage and Howard Shore CONDUCTED the 'Symphonic Suite of The Fellowship of the Ring' HIMSELF!
I do not deny that my heart has greatly desired this..
I mean, the LotR-Soundtrack, conducted by Howard Shore himself! How cool is that?

The 'Symphonic Suite of FotR' featured the Fellowship-Theme (the one you can hear after Gandalf's 'to the Bridge of Khazad-Dûm') and 'The Breaking of the Fellowship'. The boy, who was singing 'In Dreams' was very nervous (who wouldn't?) and a bit out of tune, but Howard smiled at him, making him more comfortable, and even sang along!

When he finished, the hall exploded. Everybody was on his/her feet and he was moved to tears (so was I - I was sitting in the 5th row, so I could see him pretty good - here is a picture of him on the stage).
He had to come back on the stage again for several times because the applause wouldn't stop.

If you ever get the chance to meet him: take it!

He is so sweet, down-to-earth and patient (he signed everything he was asked to and even when my friend needed a hundred years to take that picture - she pressed the power-button instead of the shutter and my camera takes a VERY long time to get ready again - he just stood next to me, talked to me and smiled into the camera)! *sigh* [/B]

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Dear Sabsi

I'v just visited this Forum to get some interessting Up-Dates on the upcoming third installement of the Complete Recordings.
BTW, here is the whole Interview I've done with Howard Shore ond 14. of March 2007 in the Hotel Palace in Lucerne.
http://outnow.ch/Specials/2007/MusicOfHowardShore/Interview-Shore.E/

It was an amazing experience to meet Howard Shore. He was very tired, when I was interviewing him, but still in the mood for a chat.;-) Did you know, that he has two dogs and next time, when they're becoming puppies, he'd like to keep another two. A true dog-fan. Just like me... I'm having a picture of my dog as desktop wallpaper for my laptop, which brought us to that topic. Anyway...
What would interesst me, Sabsi. Have you made any more pictures. I've had the pleasure to moderate the whole Q & A-Show before the concert and I've fu** up my camera. Pitty!
It would be really nice, if you could help me with some pictures. Have you taken pictures of the Q & A Show? I’d be very pleased, if you could contact me: basilboehni@hotmail.com; basilboehni@bluewin.ch; Mobile: 079 725 72 61.
BTW, my name is Basil Boehni, I'm writing for the local newspaper (the interview should be printed very soon).

Cheers
Basil

I’ve got a handful of emails from the good populace of this board that I promise I’ll return this weekend. Draft two of the ROTK liners go in next week, though draft three will likely be close on its heels. As for the discs themselves, unused music is currently being tracked down and reinserted into the appropriate spots. Most of this is done, actually, but there still are a few pieces to be dealt with.

As for Michael’s comment re: the yet-to-materialized book, the plan has always been to get the book out after the boxed sets, so as not to abuse the pocketbooks of the core audience members. As the single all-encompassing boxed set became three film-specific boxed sets, the timeline expanded. I suppose under a different model, you wouldn’t yet know that the book was even coming, but there’s an openness and trust long associated with this production, and we’ve followed that lead as much as possible because it creates a pretty pleasant atmosphere. I hope that being privy to the process doesn’t simply engender impatience, though I can absolutely understand the tendency. I do promise we’re all hard at work--much to the lament of our social lives!

-Doug

Why, you ... ahem.

Doug said so himself sometime in 2005. At least, he was sitting close to the written score of KK, but the beauty that is the complete Fellowship kinda distracted him! (Understandable...)

But, boy, the mere possibility of KK, with news apparently from Howard Shore himself: *Kühni giggles like a small school girl*

And Doug...social life is severely overrated... :razz:

No problem with that here, Doug. Patience is good.

Once again, thank you for all your updates.

quote:

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Originally posted by Doug Adams:
PS – So HS is talking about Kong, eh? There’s some staggeringly beautiful and heartfelt writing in there.

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That's how it feels to hear that.
First shocked that you commented about it, then happiness that you think it's great writing, and finally ANGER ANGER AND HATRED THAT IT WASN'T USED AND THAT WE HAVEN'T BEEN ABLE TO LISTEN TO IT YET!!!!!

Alright I'll try to calm my self by saying at least there's one more huge project to be heard from Mr. Shore that we can all look forward to.

I think I know the answer to this, but Doug, if you were asked by HS to work on liner notes and such for his KK CR(as I'll temporarily call it), would you want to be a part of that? And also, does the KK score reflect the writing of LOTR at all, or is it way different?

Has anyone ever noticed that the first couple bars of Howard Shore's "Gondor in Ascension / Aragorn" theme are virtually identical to Miklos Rozsa's theme for Christ in Ben-Hur?

Now, considering that most agree that Aragorn is something of an analogy of Christ, and Gondor of the Kingdom of Heaven... could this have been an intentional doing by Howard Shore? After all, he has been known to provide (whether the viewer grasps it or not) additional depth and insight into the ideas and scenes put forth onscreen (one example being his placement of Gollum's Pity theme over Bilbo's "it's my precious" in FotR).

CK<HR size=1></BLOCKQUOTE>

I'm not suggesting anything specific, but I thought you might be interested in what Tolkien had to say about his works, and I quote:

"We have come from God and inevitably the myths woven by us, though they contain error, will also reflect a splintered fragment of the true light, the eternal truth that is with God. Indeed, only by myth-making, only by becoming a "sub-creator" and inventing stories, can Man ascribe to the state of perfection that he knew before the fall."
--------------------------------------------

On a different note, I'd asked if anyone from here will be making it to NY on April 17th. No one responded, so I thought I'd ask again

quote:

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I agree that JRR Tolkien hated analogies, and this (Aragorn/Christ) seems a bit far-fetched to me.

CK

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I know he hated them, but the truth is that there are so many parallels between Aragorn/Gandalf and Christ that I think it is nearly pointless to refute.

But my observation of the thematic similarity very well might be a little far-fetched.

I think you might be confusing allegory with analogy... JRRT repeatedly denied any allegorical intent or accident: "...There is no 'symbolism' or conscious allegory in my story.... That there is no allegory does not, of course, mean that there is no applicability..." 1957 letter # 203 to Christopher and Faith T.
And: "... I hope 'comment on the world' does not sound too solemn.... I have no didactic purpose, and no allegorical intent. (I do not like allegory (properly so called: most readers appear to confuse it with significance or applicability) but that is a matter too long to be dealt with here...." letter 215 to Walter Allen
And most famously in the Foreword to the Second Edition: "...I cordially dislike allegory in all its manifestations,... I think that many confuse 'applicability' with 'allegory': but the one resides in the freedom of the reader, and the other in the purposed domination of the author...." A very apt comment for one whose myth involved as his main villain a dominator par excellence and whose myth repeatedly evokes moments of responsible free choice!

Yes, Gandalf has Christ-like elements, but so does Frodo and even Sam and in Aragorn as the King who is to come again we can find quite a bit of applicability (provided we are not confusing the hesitant Aragorn of the film with JRRT's own depiction!)...

Analogy was a favorite methodology of medieval theologians ever since Augustine (and something Orthodox Christians find rather to be a dead end, since despite claims about "the Great Chain of Being", God is really beyond any being!) and JRRT as a medievalist and Roman Catholic surely knew more than a little about that. So analogy might not have been so repugnant to him as allegory (which, relies more on a systematic set of tit for tat and, further, -- and this I think would be another of JRRT's objections to it -- it's real focus is not on the reality of the allegorical images, but on what they allegorize! His love of myth involved a sense of its being taken as a more intense reality rather than just a shadow (!) of one.

quote:

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Originally posted by Shire Bagginz:
P.S. Although I was obviously shocked and pissed to hear that HS was fired from KK...

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I have to step in here with one of my favorite corrections. If you "heard" that Shore was "fired" from King Kong, you didn't hear it from any official source, only media speculators. As the official statements say nothing about Shore being fired, let go, or otherwise being released from the project against his will, such language seems irresponsible. ALL that is known for SURE is that -- for whatever reason/s -- things didn't work out, and all parties remain cordial and open to future collaboration.

Incidentally, on the subject of Kong, I don't know what exactly Shore said ... but it shouldn't be all that surprising that the man who cares enough to personally oversee the LOTR Complete Recordings would be interested in the idea of getting Kong out to his fans.

Indeed, Shore's level of creative engagement with the people who listen to and enjoy his music is a rare and wondrous thing. When I had the great pleasure of meeting him in Chicago two years ago, he was amazingly friendly, open and good-humored. And he stayed at the post-concert event, signing autographs, posing for photos and chatting until each and every fan was satisfied. He appeared to be sincerely enjoying himself, and was literally among the last to leave. Not only an artist, but a true gentleman.

P.S. Timdalf -- Not everyone is conversant in Augustinian philosophy or Orthodox Christian theology. If you don't mind my asking, are you Orthodox yourself? Or have you spent time at a seminary? Or do you just like to read? Just want to know if I should be wishing you "Kalo Pascha" soon.

quote:

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Originally posted by Wedge:

I have to step in here with one of my favorite corrections. If you "heard" that Shore was "fired" from King Kong, you didn't hear it from any official source, only media speculators. As the official statements say nothing about Shore being fired, let go, or otherwise being released from the project against his will, such language seems irresponsible. ALL that is known for SURE is that -- for whatever reason/s -- things didn't work out, and all parties remain cordial and open to future collaboration.

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Well, his score wasn't used...so that means he wasn't part of the project anymore, because his services were not needed anymore. To me that means he was fired, or let go, or he quit, or whatever. Doesn't really matter, the point is, I was pissed to hear he wasn't working on the project anymore. The official statement did make it seem that the whole situation happened in the most positive way it could have happened, which was nice to hear.

>>>P.S. Timdalf -- Not everyone is conversant in Augustinian philosophy or Orthodox Christian theology. If you don't mind my asking, are you Orthodox yourself? Or have you spent time at a seminary? Or do you just like to read? Just want to know if I should be wishing you "Kalo Pascha" soon.<<<

Glad to fess up... yes, I have been Orthodox for over 35 years, and yes I am a grad of an Orthodox Seminary, and I like to read!!! I spent most of my time with beloved Orthodox (White) Russians, but now am with Orthodox Greco-Americans... So, thanks for you kind wishes... And in a few days we will be greeting all and sundry with the "greatest greeting ever heard by mankind!"

PS: I am a convert from the Episcopalians... And the subject of the (unfortunately) deleterious and crucial influence of Augustinian theologizing on the Western church is an important and fascinating one, indeed!!!

It has long puzzled me how JRRT could be so enamoured of Anglo-Saxon culture yet remain an RC which church did so much -- post-Conquest -- to erase that ethos! Obviously his mother's tragic end had much to do with it... I suspect his Northern ethic and his mythology deep, deep down are expressions of an inevitable ambivalence. His firm expressions in it of free will are quite un-Augustinian!!

I have it on extremely reliable authority that CS Lewis himself actually considered conversion to Orthodoxy late in his life... The consequences of that (not least on JRRT) leave one most intrigued, to say the least!

Meanwhile, back to the music!

Timdalf

>>>On a different note, I'd asked if anyone from here will be making it to NY on April 17th. No one responded, so I thought I'd ask again.<<<

At this point I intend to be there together with several members of the NE Tolkien Society... As you might expect, in my case look for "an elderly chap... not so big grey beard... pointy hat..." (I'll leave the rest of the Timdalf gear back at home...)

-Glamdring: 3:32 to end

The monstrous choral see-sawing still is at the top of favorite musical moments from the entire trilogy.

-Elven Rope: 1:27 to 1:58

Wonderfully bleak material.

-Lost in Emyn Muil: 1:26 to 2:07

Pity that this choral stuff didn't make the cut.

-My Precious: 1:19 to 1:44

I love "The Way to Mordor" theme; so very quiet, so very foreboding.

-Uglúk's Warriors: 1:14 to end

Grand stuff. Prime example of how I like my crescendi.

-The Three Hunters: 4:42 to 5:32

Evil Times with choir...oooohhhh!

-The Banishment of Éomer: 2:21 to 2:51

This is how I love music stacked on top of itself.

-Night Camp: 2:14 to end

I love the stepwise ascending motif (sounds like something from The Score) and those wild aleatoric horns!

-The Plains of Rohan: 3:53 to end

This is how I like despair...quiet.

-Fangorn: 1:58 to 3:26

The skip-beat ostinato in high strings plus muted (?) trumpets makes for high tension material.

-The Dead Marshes: 1:54 to 2:15

I love the strings and female soloist bending their way up and up during these portamentos.

-"Wraiths on Wings": from 0:31 onwards

How I was longing for this stuff on the OST. The thumping arrival of the Nazgûl reminds a bit of the finale of Se7en. And, of course, "The Revelation of the Ringwraiths".

-Gandalf the White: 5:37 to end

One word: Shadowfax.

-The Dreams of Trees: 1:33 to end

[...]

-The Heir of Númenor: 4:39 to 4:59

There are many divisi in this score, but this one, which goes 12 ways, is just great.

-Ent-Draught: 0:48 to 1:18

Drunken Hobbit material...

-Edoras: 1:57 to 2:32

[...]

-The Court of Meduseld: 2:15 to 3:00

Metanna! >8D And extended this time.

-Théoden King: 3:10 to 4:34

Théodred's funeral has some surprisingly beautiful material in it. In a very sad way, of course.

-The King's Decision: 0:55 to 1:43

[...]

-Exodus from Edoras: 5:13 to end

Some very creepy material to be heard here.

-The Forests of Ithilien: 2:15 to 2:53

There's a very funny and very sick twist on Gollum's theme, complete with coraking English horns and bass clarinets. Sounds like inside my head sometimes. :|

-One of the Dúnedain: 2:34 to 5:04

"Evenstar" is probably the loveliest theme to emerge from Shore's LotR music. A love theme unlike anything else I've ever heard.

-The Wolves of Isengard: 1:22 to 2:40

The first great battle music in T2T, and what a ride it is!

-Refuge at Helm's Deep: 1:03 to 1:23

A sad rendition of the Fellowship fanfare.

-The Voice of Saruman: the entire track

The first twenty seconds, covering the Leni Riefenstahl-like pan over Isengard's army, have the phattest low brass sound of all LotR. I absolutely love it!

-Arwen's Fate: 1:05 to 1:29

More of the "amorphous" and atmospheric writing Shore has employed "between the themes". Some people can't stand it, but for me, it's a major reason why LotR works so well. It just sounds ancient.

-The Story Foretold: 1:13 to 2:54

A reprise of the low, foreboding music from Fellowship's prologue...it works just as well this time around.

-Sons of the Steward: 5:47 to end (all 14 seconds)

Strangely, it's not the use of the Gondor Theme that is my favorite part of music in this track, but the low, shivering horn call at the very end, signalling the danger that Men pose to Middle-Earth when the Ring is involved.

-Rock and Pool: 2:32 to end

[...]

-Faramir's Good Council: 1:30

And the Seduction of the Ring tells us that Frodo has now really fallen under the Ring's spell, and how very thin the thread is upon which everything hangs.

-Aragorn's Return: 0:00 to 1:06

Some of the best Aragorn-related music yet.

-War is Upon Us: 1:00 to 1:30

[...]

-Where Is the Horse and the Rider?: 3:04 to 4:04

The music under Théoden's monologue (the one with strong backlighting), with it's simple ascending in minor modes, is one of the highlights of the entire score for me. It's also great material to hum/whistle/sing an improvised counter-melody to!

-The Host of the Eldar: 0:00 to 0:41

Finally! Elvish battle music!

-The Battle of the Hornburg: 1:55 to 2:28

The build-up from here on, with heavy snare drums, is just great!

-The Breach of the Deeping Wall: EVERYTHING!

Heeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee....... Bam, ba-ba-bam, ba-ba-bam, DUH, DUH, DUHM, ba-ba-bam, ba-ba-bam, DUH, DUH, DUH, dee dee dee-dee, dee-dee dee-dee dee dee, dee-dee dee-dee dee dee, and so on... I wish I could play snare drum like that!

-The Entmoot Decides: 0:36 to 1:23

The Shire Theme in minor...chilling stuff.

-Retreat: 3:17 to 4:04

The begin of the final action music. Pity those brass players!

-Master Peregrin's Plan: 0:45 to 1:05

[...]

-The Last March of the Ents: 0:00 to 1:09

Rithannen i geven, thangen i harn,
na fennas i daur ôl dur ristannen,
Eryn echuiannen i ngeladih dagrar ristar thynd,
cua tawar dambedir enyd i ganed.

>8D

-The Nazgûl Attack: 1:45 to end

OH MY GOD!!! When I first heard this (I didn't know it was coming...), I kinda hovered below the ceiling. And I cried. Tears of joy.

-Théoden Rides Forth: What to choose? 2:03 to 3:38

If all crescendi were like this!

-The Tales That Really Mater: 10:16 to 10:48

Sniff.

-"Long Ways To Go Yet: 0:00 to 1:13

The instrumental prelude to 'Gollum's Song'. It's a fantastic song!

# # #

I shall go to bed now and let you discuss whether I should be murdered in my bed.

CK

I shall go to bed now and let you discuss whether I should be murdered in my bed.

CK

[Message edited by Christian Kühn on 04-04-2007]<HR size=1></BLOCKQUOTE>

Hmmm...Christian, u might be able to answer a question I have. Or anyone else can do so too.

I had my very first listen of TTT:CR and 2 things struck me:

1. The music that plays over the scenes of Arwen in Gondor mourning over a dead Aragorn is not in there. Is is because this was tracked Evenstar music? I really wouldn't mind hearing it "again" there, instead of during the end credits (minor nag though).

2. The Osgiliath scenes with the Ringwraith doesn't seem to feature any Warith music. Considering the choral piece used in the Dead Marshes, was this a missed opportunity?

Hey Doug, probably you can answer this second question better than anyone here.

And hows ROTK:CR coming along? Hope you have a good Easter all of you.

quote:

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Originally posted by Earl:

Hmmm...Christian, you might be able to answer a question I have. Or anyone else can do so too.

I had my very first listen of TTT:CR and 2 things struck me:

1. The music that plays over the scenes of Arwen in Gondor mourning over a dead Aragorn is not in there. Is is because this was tracked Evenstar music? I really wouldn't mind hearing it "again" there, instead of during the end credits (minor nag though).

2. The Osgiliath scenes with the Ringwraith doesn't seem to feature any Warith music. Considering the choral piece used in the Dead Marshes, was this a missed opportunity?

Hey Doug, probably you can answer this second question better than anyone here.

And hows ROTK:CR coming along? Hope you have a good Easter all of you.

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1. I don't the film at hand to compare, but here's what the Annotated Score tells us:

But Aragorn is not yet ready to claim that birthright. his mind is torn between his responsibilities inmiddle-earth, fears of his own potential weaknesses, and his love for Arwen. Beneath the Gondor theme the Rivendell arpeggios begin to flow, warm but somber, devoid of the lucent orchestrations that colored the lines in The Fellowship of the Ring. Lyric soprano Isabel Bayrakdarian enters singing “Evenstar” over female chorus divided three ways. The line, which moves from voice to alto flute, combines the ambrosial vocal tone of the elves with melodic contours directly out of The heroics of Aragorn theme—including the crucial down-and-back-up figure. Can Aragorn
lead the world of men without abandoning his love for Arwen? Should he love her at all? The Diminishment of the Elves (“Gilraen’s Song”) returns for the first time since Aragorn visited his mother’s grave, reminding him that he is a mortal man, and that even in the best of circumstances would eventually leave Arwen bereft. The theme colors its surroundings, migrating from female chorus to low strings. With a final sigh of the alto flute the Evenstar and Diminishment themes are intertwined, shrouding the future in
uncertainty. Will Arwen and Aragorn accept theirs as a love inevitably doomed to recede, or will they proceed down a path of uncertainty, sustained by their enduring affection?

"Ambrosial"...again, this part of your every-day vocabulary, Doug!

As for #2, while the Nazgûl theme (The Reelevation of the Ringwraiths) isn't stated per se, their sound and orchestrations certainly is.

Hope that helps.

So: Everything you wrote - especially
“Mettanna” (Glamdring & The Court of Meduseld),
Éowyns Funeral Song,
The Seduction of the Ring-Theme (Faramir’s Good Council),
The Nazgûl Attack (1:45 to end – brilliant..) and
The Three Hunters 4:42 to 5:32 (my favourite music moment from the entire trilogy…)

PLUS

The Banishment of Éomer 0:10 – 0:30

Night Camp 0:00 – 0:24 (I love the Nature Theme)

The Heir of Númenor 5:00 – 6:20

On of theDúnedain 5:04 – 30 (Gilraens Song…)

Refuge at Helm’s Deep 3:31 – 3:56 (soooo sad *sigh*)

Arwen’s Fate 0:00 - 1:05 (I love Sheila’s Voice!)

War Is Upon Us 2:50 – 3:35 (“Echuiannen”…)

quote:

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1. The music that plays over the scenes of Arwen in Gondor mourning over a dead Aragorn is not in there. Is is because this was tracked Evenstar music? I really wouldn't mind hearing it "again" there, instead of during the end credits (minor nag though).

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This music was tracked. Christian provided a quote from the AS-TTT from the track where Evenstar was intended to be used: Evenstar (OST), One of the Dúnedain (CR). As an addendum, there is this bit in the "Unused Concept" sidebar:

quote:

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Isabel Bayrakdarian’s first statement of the Evenstar (Arwen & Aragorn) theme is not heard in the final film. Instead, the female chorus and the harp arpeggios carry the first moments of Aragorn’s flashback by themselves.
Her performance is heard in its entirety here on CD.

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If we move to the AS-TTT info on the scene Earl is asking about, the vision of Aragorn's Death, we find this statement (keep in mind that this track starts out with Aragorn's revival on the shore and Sheila Chandra's Breath of Life):

quote:

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In the film, Sheila Chandra’s second statement of the vocal line is replaced when the music jumps ahead to present the solo alto flute under Aragorn’s ride upon Brego. (m: he's talking about Aragorn's revival)
The flute solo having already played, Arwen’s discussion with Elrond is left unscored, though Chandra’s first phrases repeat as Arwen’s vision of the future begins. This vision then concludes with an edited in reading of The Diminishment of the Elves (“Gilraen's Song”).
(emphasis mine)

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Gandalf the White: 5:37-end

The first time I heard this, I happened to be waiting in my parked car with earphones on. When the track came near to 5:37, I just *knew* something amazing was coming. I really started to get glassy eyed around 6:00, and when that final performance of the Gandalf the White theme took flight, I just lost it....... rested my head on the steering wheel and cried. So amazingly beautiful.

quote:

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-"Long Ways To Go Yet: 0:00 to 1:13

The instrumental prelude to 'Gollum's Song'. It's a fantastic song!

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Has anyone else noticed a similarity to the section from Disc 3 - track 14: Long Ways to Go Yet 0:37-0:55.5 and Disc 2 - track 13: Sons of the Steward 1:03-1:30?

If you want to listen, download a zip file from here: http://www.geocities.com/magpie930/temp_sound_clips/comparison.z
(I interspersed the 1st phrase of each and then the second phrase.)

quote:

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As for #2, while the Nazgûl theme (The Reelevation of the Ringwraiths) isn't stated per se, their sound and orchestrations certainly is.

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But it's the same tone clusters played with a different kind of pace, isn't it? It's also used in ROTK.

My additions would be:

Uglúk's Warriors: 0:14 to 0:43
- fantastic texture in the pounding drums

The Plains of Rohan: 0:21 to 0:56
- great urgency and colour in here

Théoden King: 0:44 to 1:46
- makes the hairs stand on the back of my neck

The Heir of Númenor: 0:46 to 1:41
- great integration of the Fate of the Ring theme.

Did ye do one of these 'favourite moments lists' for Fotr:CR? I must have missed it.

quote:

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Originally posted by Magpie:
Has anyone else noticed a similarity to the section from Disc 3 - track 14: Long Ways to Go Yet 0:37-0:55.5 and Disc 2 - track 13: Sons of the Steward 1:03-1:30?

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Certainly. However, I hear it as much more a textural and orchestrational similarity than a real melodic one.

Also, I don't see a reason why Howard would apply Gollum's music here.

quote:

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Originally posted by NeoVoyager:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Originally posted by Magpie:
Has anyone else noticed a similarity to the section from Disc 3 - track 14: Long Ways to Go Yet 0:37-0:55.5 and Disc 2 - track 13: Sons of the Steward 1:03-1:30?
<HR size=1></BLOCKQUOTE>

Certainly. However, I hear it as much more a textural and orchestrational similarity than a real melodic one.

Also, I don't see a reason why Howard would apply Gollum's music here.

Footnote: One similarity that is definitely intentional (and I await an answer as to what exactly it means!) is the "Dreams of Trees" and "A Storm Is Coming" example.

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quote:

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Originally posted by Magpie:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>1. The music that plays over the scenes of Arwen in Gondor mourning over a dead Aragorn is not in there. Is is because this was tracked Evenstar music? I really wouldn't mind hearing it "again" there, instead of during the end credits (minor nag though).<HR size=1></BLOCKQUOTE>

This music was tracked. Christian provided a quote from the AS-TTT from the track where Evenstar was intended to be used: Evenstar (OST), One of the Dúnedain (CR). As an addendum, there is this bit in the "Unused Concept" sidebar:
<BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>Isabel Bayrakdarian’s first statement of the Evenstar (Arwen & Aragorn) theme is not heard in the final film. Instead, the female chorus and the harp arpeggios carry the first moments of Aragorn’s flashback by themselves.
Her performance is heard in its entirety here on CD.<HR size=1></BLOCKQUOTE>

If we move to the AS-TTT info on the scene Earl is asking about, the vision of Aragorn's Death, we find this statement (keep in mind that this track starts out with Aragorn's revival on the shore and Sheila Chandra's Breath of Life): <BLOCKQUOTE><font size=1 face=arial>quote:</font><HR size=1>In the film, Sheila Chandra’s second statement of the vocal line is replaced when the music jumps ahead to present the solo alto flute under Aragorn’s ride upon Brego. (m: he's talking about Aragorn's revival)
The flute solo having already played, Arwen’s discussion with Elrond is left unscored, though [b]Chandra’s first phrases repeat as Arwen’s vision of the future begins. This vision then concludes with an edited in reading of The Diminishment of the Elves (“Gilraen's Song”).
(emphasis mine)<HR size=1></BLOCKQUOTE>
I was in conversation with TheTennisBallKid at the time and I challenged his restatement of Doug's assertion that this was Chandra since I believed it to be Bayrakdarian. TTBK informed me I was wrong until I provided him with soundclips to listen to (I am obsessive). It is Bayrakdarian's vocals from Evenstar that are tracked... not Chandra's from Breath of Life.

(oh I wish we had preview... I just can't proofread in these little compose windows)[/B]

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Wow! Thanks for the explanation Magpie. I thought the Evenstar music in Arwen's vision of the future was tracked in since it didn't make it on the CR.

However, I wish they'd put it there anyway, since (like I said before) it does make a comeback at the end of the last track on the CR (the end credits music), and I'd prefer it if it was used for this scene instead, just for the sake of the "flow" of the movie. Afterall, weren't the CRs supposed to be about maintaining the fluidity of the narrative?

quote:

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Originally posted by gkgyver:
I think the CRs are meant to represent the narrative of the movie exactly how Shore wrote and recorded it, and that's not exactly how it ended up in the movie.

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Hmmm...point. SO does this imply that Mr.Shore wrote that piece specifically for the end credits as well (possibly with different orchestrations)? Or was it just tracked in there since it was well, end credit music.