Listening to ROTK: A Storm is Coming

[TheTennisBallKid]

The Leave Taking:
[0:00]Strings quietly play "The Diminishment of the Elves" as Arwen embraces Elrond; it leads into a rising chord that transitions to:[0:31]The Rivendell theme for female choir, with the arrepegios on strings as Arwen and the other elves leave for the Havens.[0:49]Father and daughter exchange glances; the choir continues to sing "Elbereth Gilthoniel", but the arrepegios are replaced by a variation on the Evenstar theme.[1:13] The Lothlórien theme enters, as Galadriel establishes a telepathetic connection with Elrond. As she monologues, the female choir, accompanied by sarangi, sings...[2:00]...they drop the melody, and rise to a crescendo..[2:19] A chilling rendition of The Nameless Fear is heard; the will of the Ring is strong, and it is working its way back into the hands of men.[2:54]The History of The Ring plays as we see Faramir taking the hobbits to Henneth Annun.[3:10]The theme is cut off suddenly, and a dark low brass passage plays as we see Barad-dûr, then some melancholy woodwinds, and then the track ends with an ascending string phrase. Do we leave Middle-earth to it's fate? Do we let them stand alone?

The statement of "The Diminishment of the Elves" that opens the track is really the denouement of the unused cue "Arwen's Fate" (heard in Breath of Life), and I'll discuss it more when we get to there...

Arwen's departure from Rivendell (and her father), is represented here by a rendition of the Rivendell theme that has a somewhat slower tempo than usual for the arrepegios; it then shifts to a lovely variation on the Evenstar theme as they lock eyes...both knowing that she is taking her love for Aragorn out of the world with her.

What follows is a bit like a rehash of the prologue, the Lothlórien theme with all its mysticism transfering us back to Galadriel, and her role as narrator. Its lyrics are very appropriate in this context:

Man sí minna? Who enters here?
Man ammen toltha i dann hen Amarth? Who brings to us this token of Doom?
I anann darthant dam morn That which has stood so long against the darkness
Si dannatha. will now fall.

Then we have The Nameless Fear, a motif that appeared in FOTR when Galadriel speaks of (you guessed it!) the nameless fear; the shadow in the East; the darkness that will cover Middle-Earth if the Ring has its will, and returns to its master. This little theme gives me chills, everytime....

...especially since it transitions right into The History of The Ring, as Faramir leads the hobbits on. It has a very uneasy feel here; men have a bad track record with the Ring. This does not forebode good...

....and that feeling carries over to the end of the track, as the brass, woodwinds, and strings all share this melancholy air.


A lovely, and dramatic, cue.


ttbk
Lyrics from: Magpie's Nest

[TheTennisBallKid]

Helm's Deep:


[0:00]As a warg pounces on poor Hama, the Isengard theme is stated on solo tuba. This leads into a rapid brass phase based on the Isengard theme.[0:12]As Legolas appears and lets loose his arrows a martial brass and percussion motif (previously heard while Éomer's riders attacked the orcs earlier in the film; unreleased) rises and builds.[0:24]As Aragorn races back to warn the caravan a trumpet sounds the alarm over heavy percussion.[0:53] The percussion continues with a deep drumroll; then:[0:56] As Théoden tries to convince Éowyn to lead the people to Helm's Deep and she tries to convince him to let her fight, the percussion is joined by an Old English choir.[1:11] As he rides off, a heroic brass motif that had been gathering itself comes to the forefrount. Choir and brass build to epic proportions and a crescendo as Aragorn locks eyes with Éowyn, then rides off.[1:36]The horn call from 0:24 is reprised and followed by a drum roll as they mount the hill, and see the wargs.[1:45]
Lyrics:

Hwær cwóm helm? Hwaer cwóm byrne? Where is the helm and the hauberk,
Hwær cwóm feax flówende? and the bright hair flowing?
Hwær cwóm hand on hearpestrenge? Where is the hand on the harp string,
Hwær cwóm scir fýr scinende? and the red fire glowing?

The horn call as Aragorn runs back to the group reminds me of a western; the bugle calls as a scout races back to the wagon train to warn them indians are attacking etc.

The use of Old English choir reaches a turning point in the score here; previously it had been only been used as an elegy. Now they fight. The combined brass, percussion, and choir make a very rousing call to arms.

Perhaps too rousing, as it was either re-recorded or re-mixed for the film; which has strings in place of the choir for most of the piece.


[1:46]After Théoden says that they will leave the dead, and as Legolas and Gimli stand stunned, a melancholy string phrase enters.[1:57]As the scene cuts to the refugues arriving at Helm's Deep, "The Missing" is given a sweeping rendition by the strings that builds to a peak at[2:25]A note is held as Éowyn enters the refuge.[2:31]Wistful strings lead to[2:40]A martial renditiom of the Rohan theme, for hardanger fiddle and deep percussion, as the camera pans over the fortress.[3:00]The last section of the theme is given an emotional rendering on strings as the two children are reunited with their mother.[3:06]The Rohan theme plays again as Théoden and his riders return, the strings holding the last notes very long as Éowyn realizes one rider in particular is not to be seen.[3:]After the unscored scene where Gimli confirms her fears, Elizabeth Frasier intones the solemn poem "The Missing", while Éowyn reacts in stunned silence.
Lyrics:

Héo dréag ðá losinga She felt the loss
Earla ðinga ðe héo forléas. Of everything that had been missed.

Excerpt from the longer:

Héo naefre wacode dægréd She never watched the morning rising,
Tó bisig mid dægeweorcum Too busy with the day's first chores,
Ac oft héo wacode sunnanwanung But oft she would watch the sun's fading,
Ðonne nihtciele créap geond móras As the cold of night crept across the moors.
And on ðaere hwile And in that moment
Héo dréag ðá losinga She felt the loss
Earla ðinga ðe héo forléas. Of everything that had been missed.
Héo swá oft dréag hire sáwle sincende So used to feeling the spirit sink,
Héo ne cúðe hire heortan lust. She had not felt her own heart's wish.

The Rohan theme is used, with the martial drumbeats, to show what they will defend, and then the sentimental strings show why they defend it.


ttbk
Lyrics From Magpie's Nest

[TheTennisBallKid]

[00:00]As Frodo insists that he has "to believe [Gollum] can come back.", a saddened oboe rendition of "The Pity of Gollum" plays.[00:11]High strings turn threatening as Sam asserts that Gollum cannot be saved.[00:20]Somber, darkened strings play as Frodo first aplogizes, then reach a peak as he claims the Ring as his precious then walks off.[00:43]

[00:46]As the travelers watch the Mumak pass by, low end strings paint a musical picture of the lumbering beats.[1:06]

[1:09]Faramir is informed that Gollum has been found; Low strings give a forboding atmosphere....[1:20]Faramir takes Frodo outside; Strings play ascending phrases, that rise each time they are repeated, there are also shimmering aleatory phrases occuring at the same time; the tension builds till:[1:38]Frodo looks over the side and sees Gollum; the Stinker theme enters on cymbalom.[1:46]"To enter the Forbidden Pool bears the penalty of death." Rapid string arrepegios....[2:00]Strings build to an interwined statement of The History of the Ring and The Pity of Gollum as Faramir asks if he should shoot.[2:26]He raises his hand, and a high string note is held for what seems an eternity...[2:36]Frodo wishes to save his life. Low strings play over violin counterpoint, which hints at The Pity of Gollum.[2:56]Violins plays an impassioned rendition of the theme as Frodo comes to him.[3:20]As Sméagol relucatntly picks up his food and follows Frodo, high strings throb tensely..[3:38]In the film, the tension is abated by a low brass passage as he is captured, but here we segue to...

[3:38]Faramir is questioning Gollum; "Where are you leading them? Answer me!"; shimmering strings again as Gollum cries, then...[3:50]Pity of Gollum recieves a tragic statement; "Why does it cry?"[4:00]The cymbalom rendition of the Stinker theme from 1:38 reaapears as Gollum curses "tricksy master"[4:13]The Pity of Gollum fades away, and tense strings build and build over the cymbalom....[4:38]A crescendo, then the music fades out before: "My... PRECIOUS!!"

[4:39]Boy choir seduces Faramir with The Seduction of The Ring.[5:10]As Frodo tears away, uneasy strings quietly fade...


Interesting here is the absence of Shore's trademark brass; this track is about tension, and the tension builds in the strings. The threat here isn't orcs, or other malevolent monsters of Middle-Earth; it's shifting and uncertain loyalties. Frodo, identifying himself with Sméagol over Sam (musically, the Sméagol theme is associated with him, as he shows Gollumish tendencies....this makes it all the more fascinating when he sees Gollum in the pool, and goes down to him. Talk about subtext. ); Gollum, struggling for mastery over Sméagol; The Ring, tempting Faramir with its alluring power....which he greatly desires...


The lyrics for the Seduction of the Ring are the same as when it tempted Aragorn and Boromir:

Code: Select all

 I tuo, i macil The strength, The weapon
Astaldoron mauri The needs of the valiant
nai Corma macilya Be the Ring your weapon
I tuo, i macil The strength, The weapon (repeated in the singing)
Á lelyat túrenna! Go to victory!

3:38-4:38 is not used in the film; it can be cued up fairly easily though, starting after Faramir asks "Where are you leading them?".

Most of the last section, from 4:55 on, is cut off by the "Ring noise"; the throbbing sound effect that pretty much replaces The Seduction of the Ring in the last two films. While I can't argue against the effectiveness of the effect (it does work), I find the musical motive more interesting and can't help wondering what Shore must have wanted to do with it by the time Frodo reached the Cracks of Doom. Oh well. Here I find it jarring, cutting off the music halfway through....




ttbk

[Erunáme]

Hey ttbk.

I've thought about this thread every time I see it and I'd like to pick up where I left off...but that's way back to Many Meetings in the FotR score. Should I post here or would you want to have a separate FotR score thread?

[TheTennisBallKid]

Well, it'd probably be less confusing in the long run to have a seperate thread...

So, unless someone objects to that, I can start a new thread, or you could start it if you'd like to...


And I'm absolutely thrilled; both to see you posting here again , and to get a chance to go back over FOTR, especially in light of the complete release. (I know *so* much more now) Wanna start with Orthanc and Rivendell?



ttbk

[Erunáme]

I'll let you start the thread. They're your babies anyway.

Sure you can start with Orthanc and Rivendell. I just wrote up something for Many Meetings...it should match up.

[TheTennisBallKid]

The White Rider(in Nature)

The White Rider -- that is, Gandalf -- becomes a mover and shaker of events in TTT, and as such he moves from falling under the more general musical depiction of the Fellowship theme to to having specific themes. The first of these, which I already have touched on, is related to both the Fellowship and Isengard themes; Gandalf both comes from the Fellowship, and stands in opposition to the other White Wizard.

A second theme -- which I haven't mentioned before, because I only recently became aware of its significance -- is related to Gandalf's role as an extension of Nature; or more specfically: the will of the forces that govern Nature. (as a result, the theme is musically akin to Shore's Reclamation of Nature, or "Moth" theme)

The first theme plays when he is moving against Saruman and Isengard; the second announces the presence of Nature's (Eru's) ambassador, embodied in the form of an old man...

It (along with everything else) won't come to its dramatic end for a few more tracks yet, but up to here it has appeared:

In the opening choral bombastic of Foundations of Stone, juxtaposed against the balrog music from the first film. (2:32 and 3:32)

In an unused musical cue for the end of his fight with the balrog, at the peak of Zirak-Zigil. This can be heard in the EE credits. (from 2:04:34-6:46 Region1; 1:59:33-2:01:42 Region2; or, I've uploaded it here.)

At the begining of The White Rider, when he reveals himself to Saruman in the Golden Hall. (0:00-0:10)

It travels hand-to-hand with choral lyrics from The Fight:

Cuiva Olórin Awake Olórin
Nárendur Servant of fire
Tira nottolya Face your foe
Tulta tuolya Summon forth your strength
An mauya mahtie For you must fight
Ter oiomornie Through endless dark
Ter ondicilyar. Through chasms of stone.
Mettanna To the end.
Nurunna! To the death!

TTBK

[TheTennisBallKid]

This track is a suite of three major dramatic cues related to Aragorn and Arwen, one of which was not used in the film.

Breath of Life:
[0:00]The cue starts as the hobbits and Treebeard watch the orcs stream out of Isengard, then shortly our attention is turned towards Aragorn, who is floating along the river, half-dead. Strings and sarangi begin the music, giving it a feel like much of the music from Lothlórien.[0:11]Aragorn comes to rest on the shore. Sheila Chandra, backed by choir, sings Arwen's theme. This continues as she kisses him, and bestows the Grace of the Valar.[1:02]As the solo fades out, Brego the Wonder Horse appears. As he nuzzles Aragorn, Arwen's theme continues; brass rising to the forefront.[1:32]Aragorn mounts. The solo voice returns, and sings a few more phrases before the scene fades to Arwen in Rivendell.[1:53]

The Arwen/Evenstar theme makes it's first appearance since "Evenstar" (which I need to revisit to correct some things...) as Arwen makes telepathetic contact with Aragorn; the use of sarangi here connects her to the more mystical elements of Elvish culture, as usually reflected in the Lothlórien theme. The choral text here is "Aragorn":

Uich gwennen na 'wanath ah na dhín. You are not bound to loss and silence.
An uich gwennen na ringyrn ambar hen. For you are not bound to the circles of this world.
Boe naid bain gwannathar, All things must pass away,
Boe cuil ban firitha. All life is doomed to fade…
Boe naer gwannathach, Sorrowing you must go,

In the film one of the choral lines from 0:11-1:03 is cut, so the choir doesn't enter the mix for about ten more seconds. All the lyrics at 1:32 were cut, as well.

Arwen's Fate:
[1:55]As Elrond begins his speech ("He is not coming back..."), woodwinds begin The Diminshment of the Elves.[2:33]The scene shifts to Aragorn's grave, the strings give the theme some weight here...[2:58]"You will linger on...". [3:29]The scene cuts back to Arwen again.[3:46]As she contemplates all this with teary eyes, the theme finishes, on high strings, that move to an almost painful end.[3:58]

The Diminishment of the Elves appears here for the first time chronologically since Aragorn's conversation with Elrond beside his mother's grave in FOTR ("Gilraen's Memorial", FOTR:CR; "Farewell to Lórien", TTT Special Edition CD). The next cue in the film, "The Leavetaking", opens with the denouement of this cue, the theme relaxing as father and daughter embrace.

The theme deals with the Elves' understanding of mortality, and of their departure from Middle-Earth.

This cue was completely dropped from the film and replaced by:

1. The opening of the album version of "Evenstar" which plays, and is then looped, as Arwen stands before Aragorn's grave and wanders under the trees etc.

2.. A section of "Gilraen's Song" -- which is either tracked from FOTR, or from a new recording made for TTT* -- when it cuts back to Arwen in Rivendell.

While "Evenstar" uses Arwen's theme, which does fit the scene to certain extent, The Diminishment of the Elves is closer to the main point: whether Arwen will leave Middle-Earth....or stay and become mortal. Neither is inappropriate for the subtext, but the latter digs a bit deeper. And the switch from Isabel Bayrakdarian to Hilary Summers is jarring.

My guess would be that it was decided to the leave the conversation unscored until the vision of the future for dramatic effect; a good silence. It works. The original cue is terrific though, I love the melancholy feel, and those high strings at the word. Syncing it up to the film is fairly simple: start the CD track (at about 1:55) right as Elrond says "He is not coming back", which is 22:12 into Disc Two of the EE, Region 1.

Hope Returns:
[3:58]Aragorn is wandering along on Brego.Low strings slowly ascend.[4:14]An ominous gong sounds, and an ostinato begins as he spots the army of Isengard.[4:21]Aragorn's theme is stated by brass....[4:34]....then strings....as he rides to Helm's Deep.[4:50]A partial statement of the Rohan theme plays as he arrives in sight of the fortress.

After a tense opening with a rising scale, the orchestra comes to life with a rousing rendition of Aragorn's theme as he rides to Helm's Deep ahead of Saruman's forces.

This is the second time Aragorn's theme appears on the album, the previous being 0:54-1:06 of The Uruk-hai. (which I did not make note of, and the phrase in Evenstar that I recognized as Aragorn's them -- isn't. Which just goes to show that I'm still putting the pieces of this puzzle together)

This is one of my favorite cues both on the album and in the film, and an excellent example of the music carrying the scene -- the pacing, the emotion....everything; without the music it's just some guy riding a horse through pretty, with it is a thrilling sequence wherein hope (Estel) returns to Rohan. I forgive PJ for the cliff-diving theatrics because of this cue, ok?



TTBK
*I haven't compared it to either the FOTR cue, or to another instance of a similar phrase occuring in TTT -- which might also be from FOTR...follow me so far? Anyway, it wasn't meant for this scene...

Choral lyrics from Magpie's Nest

[TheTennisBallKid]

The Hornburg is a suite covering the events leading up to the batle of Helm's Deep, and the first part of the battle.

[0:00]As Éowyn and the refugees make their way into the glittering caves, and families are seperated, the Rohan theme is stated nearly in full by horns and strings...[0:28]...then completed by a solo trumpet.[0:46]

Here is another poignant rendition of the Rohan theme, the mournful horn solo anticipating the sorrow the coming battle will bring.

[0:46]Théoden is dressing for battle and recites"Where is the Horse and the Rider?" while images of the Uruk-hai marching are juxtaposed against those of young boys and old men preparing to fight; the motif for Théoden that uses Old English chorals and an ascending horn figure (also in The White Rider and Helm's Deep) is stated, rising to a crescendo..[1:44]...then it moves into low string variations on Rohirric thematic material as Théoden asks "How did it come to this?"

The combination of music, visuals and poetry here is sublime. Bernard Hill's performance. The orcs marching, marching, marching... The young boys being armed. The somber mixed choir, delivering an elegy.

"How did it come to this?"

My goodness. Does cinema get any better than this?

The choral and horn motif -- which is, I believe, a variation on the motif from Helm's Deep, The White Rider, and The King of the Golden Hall -- continues to function as a theme for Théoden; this thematic strand will come to head in the next track...

Lyrics are from The Call(Where is the Horse and the Rider?):

Hwær cwóm helm? Hwaer cwóm byrne? Where is the helm and the hauberk,
Hwær cwóm feax flówende? and the bright hair flowing?

Timestamps

[1:52]The camera pans over the defenses of the Hornburg, then comes to rest on Aragorn, sitting on the steps outside the keep; a horn plays Aragorn's theme.[2:10]

Interesting variation on Aragorn's theme here, the sparse orchestration reflecting his mood...

[2:11]A string passage as he shows Haleth the quality of his blade[2:21]

This is not identical to the music used in the film. Probably an alternate take.

In the film this builds to hints at the Fellowship and Rohan themes, before moving into a determined reprise of Aragorn's theme as he prepares for battle, then...

[2:21]Quiet horn and string variations of the Fellowship theme as Legolas and Aragorn reconcile their differences...[2:50]
(the arrival of the Elves is not on the CD, though Hirgon has a DVD rip of that cue, and, of course, it'll be on the Complete Recordings set in just a couple months. )
[2:51]Solo oboe states a soft phrase from a variation on the Rohan theme usually used as a battle cry; here it's underscoring a shot of the women and children huddled in the cave.[2:59]An ascending string phrase plays twice as Aragorn looks out at the orc horde...[3:03]
[3:03]The first orc has fallen. An driving tympani ostinato begins as the Uruks charge...[3:06]...variations on the Rohan theme play...[3:11 "So it begins."...the ostinato continues...[3:15]....then is joined by a martial horn setting of the Lothlórien theme as Aragorn gives the order and the Elves fire. The Elves have joined the fight...[3:49]Reprise of the Rohan variation from 3:06 as Théoden orders a volley.

(the unreleased music in this section includes a reprise of the motif heard at Parth Galen when Boromir defends Merry and Pippin and as the Three Hunters chase the Uruks across Rohan.)

[4:08]A transition to later in the film, and now the percussion is the mechanical beat of Isengard, underneath a fast rendition of the Rohan theme as Aragorn dispatches some orcs....the music fades out as the scene moves to Fangorn.[4:36]


ttbk

[Voronwë the Faithful]

My goodness. Does cinema get any better than this?

Nope!

[TheTennisBallKid]

The Riders of Rohan Motif:

This is another sub-theme I've recently noticed. It is based off the main Rohan theme, but is shorter and is accompanied by an bass ostinato.

It is associated with the Riders of Rohan...riding.

It appears:

1. A sweeping brass rendition in the Extended Edition scene where Éomer rides to Edoras with Theodred. (An MP3 of this 19 second cue, taken from the DVD, with some minor sound effects, can be downloaded here. )

2. When the Uruk-hai camp is attacked. (possibly tracked from "Helm's Deep", but it's hard to tell under all the sound effects)

3. In a threatening and ambigious setting, when the Three Hunters encounter Éomer. (0:00-0:58; The Riders of Rohan)

4. When the Wargs attack. (0:24-0:53 & 1:36-1:41; Helm's Deep)

It will also feature prominently in the next track, and in ROTK....



TTBK

[Primula Baggins]

I have to watch these movies again. <hunger hunger>

[TheTennisBallKid]

You should...this really does add another layer to the experience.



ttbk

[Primula Baggins]

I know. I have been so busy, yet have been wanting more and more to see them again, and what really feeds that is these threads about the music!

The music serves the films brilliantly, obviously, but it is also something I love just for its own sake. I wish I had the time and passion to analyze it as closely as you do, ttbk, but second best is to be able to read your analyses.

Soon. I'll watch them soon. The last kid starts school September 8, and that's what I really need—time to watch each whole film in one day, uninterrupted.

I keep forgetting how much I love them. When I was sick, they were such a comfort.

[TheTennisBallKid]

Forth Eorlingas

This track, only partially used in the film, is the begining of the three part climax to the score.

[0:00]Aragorn has just suggested that they ride out "for [Théoden's] people." Gimli points out that the sun is rising (which recalls to mind Gandalf's promise to return on the fifth day at dawn); Old English lyrics from The Call are sung in rapid triplets throughout this whole piece, and are here juxtaposed against a slow choral statement of the White Rider (in Nature) theme, which is accompanied by an English Horn. This builds as the dialogue continues...then the White Rider theme drops out...[0:26]...and the triplets continue alone for a moment, Théoden has decided that "the horn of Helm Hammerhand will blow one last time in the deep."...[0:28]...as preparations are made to ride out, the choral motif for Théoden appears; again, juxtaposed against the triplets. It builds to a peak, and it fades right before Gimli blows the horn...[0:58]

This particular piece of music is one of the most interesting in The Two Towers; both for it's complicated intersection of thematic material, and because of how it was used -- and not used -- in the film.

The first 20 seconds appear in the film; but they appear when Gandalf is revealed in Fangorn. While the secondary White Rider theme is applicable to the scene, the Old English lyrics and thematic material associated with Rohan aren't, quite so much, and the piece was obviously not originally intended for the scene.

Where it was meant to go is just a matter of speculation until it gets officially confirmed, but the only logical place for it, both thematically, and logistically, is where I've suggested above.

In the film, this scene is scored with a statement of the Nature's Reclamation theme, the same rendition that was written for The Last March of the Ents. The decision by the filmmaker's to use the Nature theme is not wholly inappropriate here -- except for the fact that the choral lyrics are from a poem about the Ents -- Nature, through Gandalf, brings about the victory at Helm's Deep. But as originally conceived by Shore...

The use of the White Rider (in Nature) theme and corresponding lyrics from The Fight are more specfic to the dramatic forces at work in this scene; since it is Gandalf, as an extension of Nature, who is bringing aid to Rohan.

And even more importantly, the further development of the motif for Théoden gives a greater emotional impact by directly linking the underscore to his character. The Nature theme anticipates the Eucatastrophe; Théoden's theme indicates his resolve.

Of course, it also gives this part of the film a unique musical finale, instead of repeating what we had heard moments ago for the Ents. (though perhaps drawing a parallel between the two events was part of the reasoning behind the decision to use the Nature theme here)

And...I'll discuss the Nature theme, and this, more with the next track...

Lyrics are from The Call and The Fight:

0:00 - Choir I: Hwær cwóm helm Hwær cwóm byr Hwær cwóm feax flówende (2x)
Choir II: Tul cui ta ya tu
0:09 – Choir I: Hwær cwóm hand on hearpestrenge Hwær cwóm scínende (2x)
Choir II: o ol ya ló
0:18 – Choir I: Hwær cwóm helm Hwær cwóm byr Hwær cwóm feax flówende (2x)
Choir II: an rin mau ya
(at this point, the second choir switches to Old English)
0:28 – Choir I: Hwær cwóm hand on hearpestrenge Hwær cwóm scínende (2x)
Choir II: hwær cwóm helm hwær
0:37 – Choir I: Hwær cwóm helm Hwær cwóm byr Hwær cwóm feax flówende (2x)
Choir II: cwóm byr-ne hwær
0:47 – Choir I: Hwær cwóm hand on hearpestrenge Hwær cwóm scínende (2x)
Choir II: cwóm scir fyyr

[The music pauses for several seconds as the horn is blown, then...]
[0:59]As the door of the keep is battered down, and Théoden and company ride out, and through the streets, a forceful rendition of the Riders of Rohan motif is heard...primarily in the brass, punctuated by cymbal crashes....[1:12]...then on the strings, seguing into....[1:24]...a triumphant rendition of the Rohan theme as they charge down the rampart.[1:41]The White Rider (in Nature) theme is heard as Gandalf appears at the crest of the hill. [1:47]As Éomer and his men appear on the slope, the Fellowship theme is given a grand, full statement that moves into...[2:14]...the theme for Shadowfax and Gandalf last heard in The White Rider; here though, in addition to the string arpeggios and mixed choir, is Ben Del Maestro's soprano solo...one of the most stunningly beautiful moments in the score. It's a technique Shore uses several times throughout the films: calming orchestral thunder in order to juxtapose a single, pure voice against epic events (in this case, two thousand horsemen making an impossible charge down hill...)
From The Mearas:

2:14–Solo: for ðon hé wæs scea hé fæx wæs ford ealra mé du and hé fæx hlá
Chorus: for ðon hé waes Sceadufæx hlá

[2:42]Finally, as the sunrise appears and blinds the Uruks and the evil is driven from the valley, we get the climax of this storyline: a glorious, string heavy playing of the White Rider theme that shows Gandalf's relationship to the Fellowship and Isengard.


This entire piece is played as a relief from the tension that has built through the battle; there is not even a hint of any of the Isengard material here. Even before we see Gandalf and the calvary arrive, the Rohan theme is jubilant.

1:41-1:47 has an additional choral lyric layered over it in the film, probably from "The Fight", and probably not originally intended by Shore.

The cue from 0:59 on can be heard sans the boy soprano solo in the EE fancredit scroll (2:00:00-2:02:06); it sounds incomplete, but it's interesting to hear some more of the details underneath.



TTBK
Resources: Magpie's Nest: Forth Eorlingas (lyrics)
Doug Adams: LOTR Package Update? (April 13th) (discussion of the Nature themes)

[TheTennisBallKid]

[this cue is led into by two (as of yet) unreleased compositions: the development of the hobbit theme as Merry and Pippin discuss how the fires of Isengard will spread...and after the scene cuts to the fighting at Helm's Deep, an elegaic string piece that incorporates Aragorn's theme as Théoden calls for a retreat...

Aragorn tells Haldir to fall back, the music fades out...]

[0:00]Haldir has just been wounded; the camera cuts between Haldir dying, Aragorn rushing to his side and images of the dead Elves. Elizabeth Fraser, with counterpoint from a mixed choir, sings the Lothlórien theme....[0:39]

Lyrics are from Namárië:

ar ilyë tier undulávë lumbulë and all paths are drowned deep in shadow;
ar sindanóriello caita mornië and out of a grey country darkness lies

Rather than underscoring the action of the battle here, Shore gives an elegy for the fallen Elves. The melody is the Lothlórien theme, in the same setting that was used for Gandalf's Lament in Fellowship of the ring.Also reprised from Fellowship is Elizabeth Fraser's voice as the solo.

According to Shore the lament in Fellowship was diegetic; i.e., the Elves are actually singing it in the trees, rather than it being merely musical underscore. Thus, as the same voices are recalled here, we're hearing what will be sung in Lórien because of the death of the Elves.

[0:39]...horns creep in as Aragorn lets go of Haldir. [0:45]A rough statement of Aragorn's theme is heard as he fights his way to a ladder and leaps...[0:54]Quick rendition of the Riders of Rohan motif as the gate is defended...[0:57]...slight jump ahead to Aragorn and a few Elves running to the back gate, underscored by a brassy continuation of the Riders of Rohan motif.[1:08]

[Aragorn and Gimli, to the heroic strains of the Fellowship theme, defend the causeway...]

[1:08]A descending brass phrase (last heard during the Warg attack) plays twice over the Isengard 5/4 percussion as the Uruks prepare their ballistae to fire. [1:21]A small jump ahead, to the ladders being raised...the Isengard theme plays on the low brass, while the percussion continues. The music fades as Legolas manages to knock down one of the ladders...[1:37]

[variations on the Fellowship theme that I can only describe as...'swashbuckling' ...are heard as Legolas throws down a rope and hauls his friends up...]

[1:39]Deep brass and strings play a V phrase as Théoden calls for retreat...[1:47]A horn statement of the Rohan theme leads into...[1:55]...a quick three notes from Aragorn's theme as he is shown leading the men back to the keep....[1:58]...and then a final trumpet solo of the Rohan theme.[2:09]


*********************************************

[Treebeard has just discovered the fate of the forests next to Isengard. The Huorns have begun to move. But his business is with Isengard tonight...]

[2:09]"...with rock and stone." A low chord throbs several times....[2:18]As the Ents emerge from Fangorn a boys choir sings the Reclamation of Nature theme over light percussion...[2:58]"...the last march of the Ents." The Ents are now advancing towards Isengard; a boy soprano soars over a mixed choir, building to a crescendo and mixed right into...[3:12]

[3:12]...brass variations on the Reclamation of Nature theme accompanied by an agressive string ostinato as Treebeard hurls a large stone to free a fellow Ent from some Orcs and Merry and Pippin throw rocks...[3:18]...a trumpet phrase builds to...[3:27]...a trill as some scaffolding is cast into the caverns....[3:30]...while Saruman watches the destruction continue, the brass, strings and a percussion ostinato build to build...a peak.[3:48]"Break the dam. Release the river." Strings take up the Nature theme, and the percussion ostinato beats away.(there is a bit more music in the film than on the album here)[3:59] Isengard is flooded. Mixed choir joins a furious orchestra, building and building to incredible intensity...and fading out after a gigantic crescendo in order to transition to the next scene.


There are two main ideas at work here:

1. Choral lyrics from The Ents:

rithannen i geven Earth shakes
thangen i harn Stone breaks
na fennas i daur The forest [is] at [your] door
ôl dûr ristannen The dark sleep is broken
eryn... The woods...
...echuiannen ... have awoken
i ngelaidh dagrar The trees have gone to war
ristar thynd, cúa tawar Roots rend, wood bends
dambedir enyd i ganed The Ents have answered the call
si linna i 'waew trin 'ylf Through branches now the wind sings
Isto i dur i chuiyl Feel the power of living things
i ngelaidh dagrar The trees have gone to war

These have appeared earlier, at the Ent Moot (Treebeard; 0:00-0:53) and when Gandalf speaks in Fangorn about how "the Ents will wake up and find that they are strong."

Both of those instances use the more Ent specific thematic material rather than the Nature theme.

2. The Reclamation of Nature theme.

The Reclamation of Nature theme -represents Middle-earth's resistance to the evil and industrialization embodied by Sauron etc. In the score, it is used when the people of Middle-earth selflessly give their aid to this cause, choosing to place themselves and their lives in opposition to the encroaching Shadow and in line with the will of Nature.(which in turn leads you back to Eru... )It is linked to Tolkien's concept of Eucatastrophe...not that it is the "Eucatastrophe theme" per se....it's about the choice that enables the Eucatastrophe.

(Shore read the books! )

It has appeared, thus far:

1. For choir and boy solo when the Moth comes to Gandalf at Isengard.

2. In the low brass, when the Moth returns with Gwhair.

3. When Merry and Pippin distract the Orcs in order to allow Frodo to escape at Amon Hen.

4. A brief statement by solo woodwind when Merry and Pippin discuss the living trees of the Old Forest and Fangorn.


Returning to the track at hand and the Ents...

The boys choir is associated with purity in Shore's work...whether it be the false purity that the Ring seduces with....or the actual purity of Nature.

The flooding of Isengard is operatic, biblical...the full cleansing wrath of the natural world upon the the twisted metal and barren rock that Saruman would have made it.




ttbk

Magpie's Nest: Isengard Unleashed (lyrics)
Doug Adams: LOTR Package Update?; April 13, 2006 (discussion of Nature)

[TheTennisBallKid]

[...the scene with the Nazgûl begins with some variations on the Ringwraith material but is mostly left unscored, the wing-flapping/heartbeat sound effects and the "Ring noise" coming to the forefront. (and very effectively so)

There is a short brassy cue as Sam knocks Frodo down the stairs and Faramir drives off the fellbeast....then silence as Sam tries to get Frodo to recognize him...]

[0:00]The Shire Hymn chords begin with a solo flute. By rights they shouldn't even be there...
[0:27]A melody starts to come in on an oboe.... "It's like in the great stories..."
[0:43]Brass and strings (violins, especially) take up the Shire theme...the scene cuts to Helm's Deep. "How could the world go back to the way it was..."
[0:57]As we move to Isengard, the emphasis is shifted to the strings. The shadow is only a passing thing...
[1:27]The scale of the music moves down a bit as we return to Sam. "Folk in those stories had lots of chances of turning back..."
[1:43]A note holds as Frodo wonders what they were holding on to...[slightly longer in the film, with the reaction shot of Gollum...]
[1:49]Sam helps him to his feet, a quiet variation of the Hobbit theme..."That there’s some good in this world, Mr. Frodo. And it’s worth fighting for."
[here's a pause -- again, longer in the film, holding over Gollum...]
[2:04]A simpler and more straightforward rendition of the Shire theme -- with the characteristic woodwinds -- plays...Faramir approaches them."I think at last... we understand one another, Frodo Baggins."
[2:31]The Noble End plays as he releases them, knowing that it means his life will be forfeit. The music fades as we see Gandalf etc. coming up the hill at Helm's Deep.[2:54] [2:45-2:54 is in the TE, but the EE is slightly different as it segues to the Huorn scene]

This is probably the one scene in the trilogy that I'll say is overscored. Sam's speech is enough by itself, we don't need the swelling strings to tell us that it's beautiful. Tone down either the music or the words and I think it would work better. Perhaps leave it unscored till "there's some good in this world", and then bring in the Shire theme.

That said -- it's a lovely composition which plays fine on CD, largely a reprise of Fellowship's ending, utilizing similar development of the "Hobbit's Understanding" variation of the Shire theme. ("A Hobbit's Understanding" is the most complex variation of the hobbit material, and represents the hobbit's unique understanding of the world)

The simpler rendition of the Shire theme following Sam's line about the Good in This World states, without words, what they're fighting for. (the scoring documentary on Disc 4 gives further insight into this, showing the score being re-worked so the theme doesn't start until after the reaction shot of Gollum -- who does not have a home...)

The Noble End is the theme that first appeared in FOTR after Boromir has been wounded, and as he defends Merry and Pippin from the Uruks. It will re-appear in ROTK, most notably in "The Steward of Gondor". Here it is foreshadowing...

..................................
The TE ending flows better, I think, both as a film and musically. There are some interesting additions -- lighter renditions of the Fellowship, hobbit and Ent themes; the cue for the Huorns; some interesting development of the Pity of Gollum...but it all feels a bit anti-climatic.

The one cue that is in the TE but not on the CD is Sam and Frodo's conversation -- which has an absolutely gorgeous rendition of the Shire theme when Frodo tells Sam that he wouldn't have gotten far without him.

.....................................

[2:54]The underlying chords for Gollum's Stinker theme are played by the strings as he sulks along...
[3:04]Then the cimbalom joins in...
[3:24]The Slinker (Pity of Gollum) plays as he fantasizes of killing the hobbits and becoming the master of the Ring.
[3:36]Part of Gollum's dialogue is not on the CD and the ending (a harsh chord as he tells himself that it's too risky) is edited in early.[3:45]

...and the score ends on an ominous note, with Gollum's themes playing against each other....



ttbk

[yovargas]

This is probably the one scene in the trilogy that I'll say is overscored. Sam's speech is enough by itself, we don't need the swelling strings to tell us that it's beautiful.

Blasphemer! That scene is puuurfect.

(On a side note, there are a ton of FOTR scenes I find overscored.)

[TheTennisBallKid]

I knew that would get Yov in here.

(On a side note, there are a ton of FOTR scenes I find overscored.)

Such as?



ttbk

[yovargas]

A few of the early Bilbo/Frodo with Gandalf scenes. The "I figured out an ending to my book" music always bugs me. Overly sweet after the preceding angstiness.

And the general "it's soooo twee!" tone to a lot of the Shire music.

I'm also annoyed by the music in the big reveal at Moria. I still have a hard time hearing Sam's line over the swelling music.