The result is a uniquely all-encompassing vision created from centuries of stylistic tendencies, each treated with the utmost respect. The rural and simple hobbits were rooted in a dulcet weave of Celtic tones.
Overview[ edit ] Shore was chosen by the filmmakers who also looked into James Horner  when they found themselves temporarily-tracking parts of the assembled footage to pieces from his existing scores.
The films were also temp-tracked sparsely with pieces from the scores to Braveheart  and Last of the Mohicans. Shore visited the set and met with the filmmakers and various people involved in the production including conceptual designers Alan Lee and John Howe who would contribute to his Symphony and Doug Adams' book on the scoreactors Elijah Wood, Sean Astin and Andy Serkis, screenwriter Philippa Boyens who became Shore's principal librettist for the score and others, and saw assembled footage of all three films.
Howard Shore, composer of The Lord of the Rings series' film score Shore agreed to take the project in early He envisioned the scores to all three films as a through-composed cycle, a grand opera told in three parts, [note 1] involving a large network of leitmotivslarge choral and orchestral forces including additional " bands " of instruments besides the main orchestrafrequent use of singing voices, both in choirs and through a wide ensemble of vocal soloists.
The score uses a neo-romantic, century style and structure, derived from Shore's desire to have the music sounding antiquated, but he nevertheless married it to modern and at times avant-garde techniques including atonal sections, unusual instrumental choices and orchestral set-ups, aleatoric writing, sprechstimme voices and syncopated rhythms, as well as borrowing from eastern scales, medieval styles of music, contemporary film music idioms for specific setpieces, classical idioms for some of the music of the Shire, new-age and contemporary idioms for the end-credits songs, etc.
However, he insisted on staying away from electronic or synthesized music. Lord of the rings symphony orchestrated the music himself, and conducted all of the orchestral sessions and many of the choral and soloist sessions.
As a result, Shore spent nearly four years on the composition, compared to a period of 6—8 weeks per film, and a week or two of recording, as practiced by most film composers. Only a few minutes of finalized music were recorded each day to allow for input from director Peter Jackson and revisions to the music and performance  Jackson gave Shore direction and had each theme played to him as a mock-up and by the orchestra before approving it.
All of the music production which overlapped with the films' editing process was supervised by Jackson who often asked for significant changes to the music, which is unusual for film music.
Lord of the rings symphony began his work on the music early during the production of The Fellowship of the Ring in late and recorded the first pieces of music the Moria sequence  in spring of to a minute teaser of the film, as the film was still being shot.
The scored section also included a version of the Breaking of the Fellowship sequence, with an extended tin whistle solo, and a montage of footage from the following two films.
The rest of the score was recorded in London during the editing of the film in post production, and took over hours to record. Shore would later return to the finished film, recording additional music and revised takes for the extended DVD version in March A similar pattern was followed for The Two Towers which was scored at a faster pace than the other two and The Return of the King with Shore also, unusually, providing an original score with new themes for the trailer, as well with the final sessions taking place in Watford on 20 March Shore wrote the music effectively for the entire film length.
The music was performed primarily by the London Philharmonic Orchestra and three choirs: The New Zealand Symphony Orchestra contributed some of the early Moria music, written for an early edit of the film.
A wide variety of instrumental and vocal soloists, including members of the films' cast, contributed to the scores as well. The scores for The Fellowship of the Ring and The Return of the King won Academy Awards in andwith The Two Towers not being nominated simply because of a rule of the Academy to not nominate sequel scores that reuse old themes,  a rule that was undone specifically as to allow for the nomination of Return of the King.
Shore's music for The Lord of the Rings has become the most successful composition of his career and one of the most popular motion picture scores in history. Along with his Music of The Hobbit film seriesthe prequels to the Lord of the Rings, Shore wrote 21 hours of music.
Shore wrote a long series of interrelated leitmotifs that were used, developed, combined or fragmented throughout the three scores. The motifs are attached to places, cultures, characters, objects and occurrences, and are divided into sets and subsets of related themes.
Shore used his themes in defiance to the common practices of film music and even some theater works by strictly applying them for narrative purposes, never resulting to using them purely to suggest mood, although several intriguing instances still exist in his work: He replaced the Realm of Gondor theme used for the passage of the Argonath with a statement of The History of the One Ring theme, the main theme of the trilogy, to denote the film coming to a close; and he used the so-called Ringwraith theme which in fact applies more broadly to all the servants of Sauron [note 5] to the Orc armies of the prologue.
There is even significance as to the order in which themes appear in a scene or to when a theme is absent. The themes go through a series of variations of orchestration, tempo and harmony to denote changes to characters and the general progression of the plot. Again, the Fellowship theme gradually comes together before appearing in a string of full heroic statements as the whole company travels and struggles.
After Gandalf's demise, however, the theme appears fragmented, the harmony is changed and the instrumentation is reduced leading up to a dirge-like statement over the death of Boromir.
It is gradually remade during the next two films, leading up to a grand choral statement during the assault on the Black Gate. Each film, and particularly the first one, starts with an overture: The main Lord of the Rings theme appears on the main title, while the main theme of each individual episode appears on the second title.
Shore used the first film to introduce the principal themes, the second film to add more themes and develop the existing ones, and the third film to create conflict and crossovers between the existing themes and bring them to a resolution, creating in the process new themes for the Fourth Age.
Also across the three scores, Shore changed the soundscape: All of these themes were compiled into a menu by musicologist Doug Adamswho worked with Shore on the documentation of the score.
Furthermore, in creating The Hobbit scores Shore would not only add another 62 themes or more, but actually went on to reuse some isolated musical gestures from the Lord of the Rings scores, turning them into leitmotives after-the-fact, adding up to over leitmotives used in the Lord of the Rings trilogy alone, and when combined with motivs of The Hobbit.
There are also leitmotives which Shore only used in alternate forms of pieces from the soundtracks, and even several variations and diegetic pieces that can be added to this count, as well.
By comparison, John Williams ' hour composition to Star Wars features about fifty themes overall, and other film compositions such as James Horner 's Titanic featuring but a handful, thereby making Shore's work on the Lord of the Rings films by far the most thematically-rich of any cinematic work, and when coupled with his work on The Hobbit trilogy, even rivals Wagner's Ring catalog of leitmotivs, making it not the only the most thematically complex film score but one of the most leitmotivically-nuanced works in the history of orchestral music.
Many are provided with a clean audio example.
The themes within each family share a soundscape and melodic and harmonic traits, but there are also connections between themes of different families to imply dramatic connections and lend cohesiveness to the score as a whole.
Listed below are some 85 of the most clearly defined of those motivs:Search the world's information, including webpages, images, videos and more. Google has many special features to help you find exactly what you're looking for. Lyrics: 1. Savior, may I learn to love thee, Walk the path that thou hast shown, Pause to help and lift another, Finding strength beyond my own.
Savior, may I learn to love thee–. Choose your own package today! Mix and match Classical and POPS concerts, plus enjoy presale access and 10% off additional Classical, POPS and BBVA Family Series tickets!
In April , we were honoured to have Lord of the Rings visionary illustrator, John Howe come for a visit. His personality was as delightful as his works. For more, please visit our events page. Elijah Wood, Actor: The Lord of the Rings: The Fellowship of the Ring. Elijah Wood is an American actor best known for portraying Frodo Baggins in Peter Jackson's blockbuster Lord of the Rings film trilogy.
In addition to reprising the role in The Hobbit series, Wood also played Ryan in the FX television comedy Wilfred () and voiced Beck in the Disney XD animated television series TRON. With the performance of "American Portraits" behind us, we'd like to take a minute to say CONGRATULATIONS to Dr.
Boardman on being awarded the American Prize for Orchestral Programming, Youth Orchestra Division.