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The Lord of the Rings: | ||||||||||||||
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hen Peter Jackson's three-film adaptation of The Lord of the Rings was first announced, die-hard fans of the illustrious story were concerned not only with how the motion pictures would look, but also with how they might sound. Music plays an important role in author J.R.R. Tolkien's fantastical realm, and crafting accompaniment that embodies the essence of the tale while appropriately accenting the sweeping narrative would undoubtedly be a colossal challenge. In his score to The Fellowship of the Ring—the initial installment in the eagerly awaited cinematic trilogy—composer Howard Shore nicely captures both the ambiance and spirit of the legendary saga.
The album's 18 tracks offer a suitable mix of melodic styles and textures. "Concerning Hobbits" is an amiable, Celtic-inspired cue that wonderfully suggests the happy-go-lucky nature of the diminutive Middle-earth denizens. This cheerful motif becomes more agitated on "The Black Rider," which introduces an ominous chorus and threatening horns. Darker tones dominate many subsequent selections, including "A Knife in the Dark" and "A Journey in the Dark," just as ethereal elements appear on sweet tunes like "Many Meetings"—a charming number that employs strings and woodwinds to echo the pleasing Hobbit theme—and the mystical "Lothlorien." At the same time, cuts such as "Flight to the Ford" and "Amon Hen" open with haunting, gossamer voices before transforming into brassy, percussive works.
The soundtrack also showcases two pieces written by famed New Age vocalist Enya. A tune titled "The Council of Elrond" incorporates "Aniron (Theme for Aragorn and Arwen)," a melody that features Enya performing in the Sindarin language, while the CD's closing cut, "May It Be," spotlights her singing in English and Quenya. Both compositions were orchestrated by Shore and blend in smoothly with the other cues on the collection.
One CD to rule them all
In a recent Film Score Monthly magazine interview, the composer revealed that he spent over a year researching the mythology of The Lord of the Rings, studying not only Tolkien's trilogy but also the influence of the books upon Western society. That lengthy examination clearly had a significant impact on the music, as The Fellowship of the Ring score skillfully conveys the tale's mythic tone while remaining at once fashionable and timeless.
Low horns and resonant bass rule "The Shadow of the Past," a marvelous tune which evokes images of looming evil and, through the addition of formidable voices and booming percussion, delineates the dangers associated with the ring. "The Bridge of Khazad Dum" conjures up comparable tense feelings, emphasizing via rich brass and deep male chants the deadly drama that takes place in the mines of Moria. A lighter, palliative air governs "The Breaking of the Fellowship," which utilizes a calming flute and lovely boy's choir to symbolize both a respite from the foregoing spectacle and the anticipation of adventures yet to come. Enya's two melodies are similarly enchanting, with her delicate vocals adding a mystical, waiflike layer to Shore's lush, emotional motifs.
Although unquestionably appropriate for the film, the Celtic elements are now and again reminiscent of James Horner's Titanic themes, just as the menacing choral interludes at times recall, among other works, some of John Williams' cues for The Phantom Menace. However, rather than being overtly derivative, these components authentically augment the score's atmosphere. A multitude of compositions have been written over the years celebrating The Lord of the Rings; The Fellowship of the Ring soundtrack joins their ranks as a genuinely solid, suggestive and satisfying sonic interpretation of the first book in Tolkien's influential trilogy.
While there is much to savor on this CD, it'll also be fascinating to hear how Shore enhances and develops these impressive melodies over the course of the next two movies. I'm looking forward to a provocative and stirring aural journey! — Jeff
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