I sat down to listen to the score with some intrepidation I had listened to a few tracks which had been played on Classic FM and liked what I heard. To put some background on my opinion I thought the score for the Fellowship was adequate with moments of brilliance, though with cringe worthy moments as well. I loved the sounds of Lorien and the emotional solo after Gandalf's fall. I disliked the somewhat cliched music in Hobbiton and really did not like The Fellowship theme as played in Moria. Too much like a poor mans Indiana Jones for me I am afraid. So I don't come to this with blind love of every part of the previous score.
In fact when it was voted best score ever in the UK I balked. I mean a good score yes, but not a classic. This one, as I will try to impart, is somewhat different.
One thing which has crossed my mind is the wisdom of reviewing a score out of context. Since the function of a score is to add emotion and texture to the images of the movie, reviewing it without this knowledge is perhaps a little redundant
Really leaves it as a review of the music with some context given by what I know of the film. I suppose this is good and bad. Sometimes music in a film can be inappropriate at other times it can fit perfectly. I do not have the benefit of that knowledge at the moment. So perhaps it will balance out. I think another review would be wise after seeing the movie. I have only reviewed the tracks actually in the movie.
I am no musical expert so forgive any misintepretations of instruments. really this is just my honest feelings about this score. I tried to keep it spoiler free and so avoided speculating on what parts of the movie I was listening to.
Foundations of Stone
This first track in the soundtrack starts with the theme from the Argonath. Slightly darker than the one from The Fellowship of the Ring. The theme sweeps and then fading a little and transforming, it sounds somewhat sad.Then a pleasant take on the Fellowship theme develops, very subtle. Suddenly drums boom and brass conflicts with the rest of the orchestra. This builds in volume and a choir starts chanting. The sounds here are very discordant. Like Wagner doing the soundtrack to The Omen. It ends in a crescendo ...this is the sounds of Gods struggling in mortal combat.
The Taming of Smeagol
The Shire theme with the Hobbits no doubt pondering their impossible task. A rising ominous sound starts quietly and rises. This bit gives you the feeling you are being watched. Then it erupts into a loud struggle between the instruments, somewhat chaotic and veering. This track trails to a piteous silence.
The Riders of Rohan
In contrast to the last track Rider of Rohan starts with dramatic leaping, very militaristic. This is powerful music; horns blare and build, strings kick in and then silence again. The melody that emerges is a noble one, very proud without overstating its case. Peaceful again…………..a proud sound emerges.
Actually it reminds me of a desert or epic plain. But it has a celtic or European edge to it. The solo (done I am told with a Norwegian fiddle called a hardanger ) is quite amazing and is truly laden with the sadness of mortal men It cut through my cynicism like a hot knife. If you have ever dug a ditch into fresh earth, then that smell of the soil is that this gives.
I think this track truly captures the essence of the Rohan. Then a change, it builds again, visions of grandeur emerge, thudding underpins this part like the sound of hoofs far off. It ends with the strings fading.
The Passage of Marshes
Eldritch and strange sounds, this is Lovecraftian. You feel like something horrible is nearby. Creepy music builds up, as if a something terrifying is approaching an unsuspecting walker. Then the whole orchestra comes in. This sounds like a realization of where you really are, finally seeing the true horror. Hundreds of voices erupt, whispering and calling. This must be the voices of the long dead souls from their stagnant tombs. Quite a remarkable piece of music. Genuinely disturbing. Half way through it drops off into a much more melancholic sound and end with this.
Uruk-hai
A somewhat forlong Fellowship theme, distant then building to the full Fellowship theme but with deeper rumblings and in a lower octave. Next a little light moment tinged with sadness, the Fellowship theme is weak here. Then something different rentless,pounding and discordant horns, I think, this is military music. The same theme when the Fellowship are being tracked by the Uruk-hai down the Anduin, but far more powerful. The track ends with this unstoppable sound fading into the distance.
The King of the Golden Hall
The hardanger again I think. this conjures up a sad place bereft of happiness. The solo reiterates this and does not sound hockey as per some of the Fellowship, but genuinely sad …………..its majestic but pragmatic. It has a nordic medieval feel to it I think.
Then something sinister and dark emerges. There is conflict here, something at work. This then fades to an oboe (I think) with a choir rising. It very much puts me in mind of the sun setting on a tragic day. Even a touch of a funeral about this last part.
The Black Gate
Huge noise very powerful with indications of danger abound If I were to use one word to describe this piece it would be, magnitude. Deep rumblings accompany an almost marching sound The tension builds with the strings speeding up, Then quiet again with the strings playing a high confused sound. It ends with these soft strings. I guess evoking the feeling you have after a wild storm.
Evenstar
Isabel Bayrakdarian's sings much of this song. The melody here is quite beautiful with a serene sadness. Like a grave discovered in a beautiful garden after many years.
This is honestly one of the saddest pieces of music I have heard. If you had any doubts that the tragic tale of Aragorn and Arwen could be put to music then forget them. Even if the visuals do not match, this does it for me.
They say elven minstrels can conjure visions in the mind of the listener. I think Mr Shore must have an elvish air about him. If I was not sat in my office typing this review it would bring tears to my eyes. The same feeling I got when I first read the very back of the appendices. "And when that ship passed an end was come in Middle-earth to of the Fellowship of the Ring".
The White Rider
A rush of choral voices begin this track. This is Moses on the Mountain . Very biblical, it breaks off into to a repeating melody on the strings......then an angelic fluttering flute with the choir rising. Something remarkable has happened at this point you would think.Then the choir alone building a somewhat tragic theme again and then returning to what I can only describe as the messianic visions that this track evokes.
Treebeard
A somewhat sinister sounding starts this part of the soundtrack. Choral dissension builds, very much the sounds to accompany a chase or a flight. Then the oddest part in the whole score, it almost sounds like something Japanese. Very strange, if it is to accompany Treebeards appearance then it is excellent. Very much the sound of creature who has being going about it's business in the e same slow and thoughtful way since the beginning of time. I like this a lot. It then gets a little more creepy, tension builds again........ something is about to happen; then it ends.
The Leave Taking
This track begins with a somber theme mingled with some of The Argonath melody from Fellowship. A choir sings and the Lorien theme emerges. As it was in the last score, this music is divine. Ethereal yes unnerving, I could listen to this all day. There is, however, something ruinous in this too. Decaying maybe and indeed it ends somewhat depressingly.
Helms Deep
A rush, this is music that hails impending peril, I think the need for action and hasty preparations. Actually the melody is very reminiscent of Holst’s pieces from the Planet Suite. Next the choir again, halfway it changes to a more hopeless sound. Despair mingled with nobility from Riders of Rohan track. A solo from the hardriger again (I think) and rhythmic drumming. This is a great piece of music. Ends with uncertainty and Elisabeth Fraser's solo, which is unearthly.
The Forbidden Pool
Soft strings with an edge and deep resonate tones, my speakers woofer grumbled. This is a strong theme with a lot of cello (I think). It gets a little edge about quarter way through..........expenctant.....then returns to theme. A lovely harp throughout . As mush of the score it is still laden with sadness, maybe lost grandeur. The feeling you get when you go to an ancient greek city. I went to Pompeii one evening, on holiday, and this music would have fitted the mood. You could almost see the long dead citizens going about their business.
The end soars, then a choir almost alone singing a pleasant melody (though a little like a school choir)
Breath of Life
Sheila Chandra's voice on this is quite beautiful. An arabesque angel singing you would think.The last part of this track builds deep drums and strings into a mighty march, quite astounding and unexpected. I don't know what is happening but it must be startling.
The Hornburg
This starts with the recurring Rohan theme. Triumph over adversity is the best way to describe this. A choir rises somberly and the volume increases. Again a slightly biblical feel then a low strings and horns with a marching sound. A marshalling of sorts I guess. Half way through the Fellowship theme peeks out for a subtle slow moment. Then an oboe pierces the gloom a little, only to be flattened by a relentless pounding. This is surely an approaching army. Discordant and unstoppable. Symbols crash and all hope fades. The end changes the tempo of the pounding but it does not stop.
Forth Eorlingas
The Climatic scene of the battle one imagines.
It begins with what I can only describe as a requiem mass, a low choir singing softly the music mounts gradually, reminds me of greek myths. The volume increases relentlessly then silence, a powerful theme develops, horn led.
Powerful but a hint of the tragic about it, about half way it drop into the Fellowship theme, which I do not like, but here it is a little more stately and understated, and has a twist of sorts, then back to the choir only a solo by Ben Del Maestro. It is quite beautiful and does move you even without images. Finally a strong wave of heart tugging strings awash with emotion. It ends with a clash of symbols This is the most powerful moment in the score in my opinion.
Isengard Unleashed
An eerie solo backed with a choir, a hint of the far east again I think. Then strings move in and the the volume increases greatly. A slightly discordant sound with pounding drums and the Uruk-hai theme from the Fellowship appearing in a new form. Lower and grinding, then back to the lighter more retrospective feel, with a trumpet sounding then silence and a rhythmical pulse of strings. The choir restarts and the music builds again, subtlety then the soloist again.
Next it gets louder and builds to a crescendo with discordant horns and trumpets. This is not comfortable music to listen to. Soon the throbbing is relentless and louder. The choir is high faster and faster it sounds like it can't build any more.. but it does. Elizabeth Fraser and Ben Del Maestro sing on this track.
Samwise the Brave
A soft little melody develops then The Shire theme is intermixed a little. Full orchestration breaks out and the strings build into a repeat of the, "I wont leave you mr Frodo", type stuff. This music sounds sad but resolute. Resigned I suppose, the Fellowship theme does irritate a little though it reminds me that this is a complete work for all three movies.
The music now moves and sounds almost western. It reminds me of some war films I have seen. Unexpectedly something a little sinister appears and departs and the strings return, but a little darker.
Gollum's Song
This starts with a dreamy choir sound (a tad synthetic). The singing voice is excellent. But the lyrics are very cliched. I think for matters concerning Middle-earth it is perhaps better not to understand the words. But that is just me.
It reminds me of Portishead without the beats. It is a good song, just not sure how it fits with score. Not well I think, actually almost James Bondish, as others have said. The man with the golden ring indeed!
On a few listening's I grew to like this a lot, but as I say I don't think it fits well into score overall. But as a song it is superb.
Conclusions
To me this score as a piece of music is a leap in quality from The Fellowship of the Ring. Perhaps partly to do with the difference in the two parts of Tolkien's novel. The Two Towers is a somewhat transitional epic. The characters all face many dangers and great battles are fought. The score very much reflects this.
It is laden with tragedy and struggle. I am very much enamoured by the melancholy of this score. It is not depressing though, but heavy with history and the pains of war and love. Even if there was no movie I would not hesitate to recommend this as an albulm of great music. Unlike The Fellowship's score it transcends the movie and stands firmly on its own feet.
Many people hailed the score to The Fellowship of the Ring as a classic, somewhat hastily I think. So I won't say that about this soundtrack, time will be a judge of that I suppose. But to me it is one of the best pieces of contemporary classical music I have heard. I once read Howard Shore wanted the soundtrack to the movie to appear as if it was discovered in an ancient ruin. Buried for millenia and then discovered and orchestrated by him. With the score to the Two Towers he has succeeded.
Truly a heartfelt masterpiece.
The score can be ordered via Amazon.
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