Hi everyone,
I've received a number of questions regarding Bilbo's material in the AUJ score, so perhaps a simply sketched guidebook is in order. Below is a listing of Bilbo's major thematic connections. These titles are just placeholders for the moment, so don't start canonizing them just yet!
Adventure
The theme heard at 0:15 in the whistle in "The World is Ahead" relates to Bilbo's adventure. (A-B-C#-E-E-G#-G#-A-E-C#-E-D). This theme is first heard in "My Dear Frodo" at approximately 0:37 and comes right on the heels of a gesture in the strings and woodwinds that hints at the History of the Ring theme without ever fully articulating it (Bb-D-F over Bb-major; F-F# over B-minor, etc.) In my opinion, really sets the tone for the score to come. SPOILERS: You also hear this theme near the end of the film when Bilbo leaps in to protect Thorin from Azog.
Baggins/Took
This two-part theme is easily heard in "Dreaming of Bag End." The Baggins phrase appears at 0:10 and the Took phrase takes over at 0:33. It's kind of a single theme and kind of not, which is why I've been hedging my bets and referring to it as one-and-a-half themes. It relates to Bilbo's two primary impulses in the story: the urge to return home and the urge to go adventuring. As his character develops, the two halves begin to function independently. The Took phrase is often orchestrated for solo French horn, which is an unusually bold sound for Hobbit-based music.
Fussy
The "Fussy" Bilbo theme is the triple-meter figure that alternates between D-minor and A-major. That major chord is what I'm on about in the Tracksounds podcast (which you can hear HERE, if you haven't already). It's a more classical sound that we're used to in Middle-earth ... more a part of historically functional harmonies, whereas Middle-earth usually traffics in modes or chromatic leaps. It's just a bit stuffy and put-upon sounding. This theme shows up about half-way through "Axe or Sword," but you also hear in the Trolls sequence.
Saturday, January 12, 2013
Tuesday, January 8, 2013
Hilary Summers Interview
I'm very late with this, but Earl over at TheOneRing.net interviewed Hilary Summers regarding her experiences working with Howard Shore on "Gilraen's Song" in The Fellowship of the Ring. An excerpt:
Do check it out at your convince right HERE!
HILARY SUMMERS
At the time they were looking for vocalists I’d been working a lot with Michael Nyman and had done a few soundtracks with him, and the agent or ‘fixer’ who had been in the sessions happened to take my details. Luckily for me she was asked if she knew anyone with a low voice and she sent a demo cd over to Howard Shore and I was booked. A fax was sent with the music (only a solo line and the text) and I went to the recording session and did my stuff.
Monday, December 31, 2012
Tuesday, December 25, 2012
Sunday, December 16, 2012
Notes
Hi everyone,
I promised everyone that I would talk a little more Hobbit after the film was in theaters. It's now out in the world breaking records and setting tongues wagging both here and elsewhere, so maybe it's a good time to chime in. In dramatic fashion, then, let's begin back in 2001 ...
In the first act of Fellowship Gandalf and Bilbo sit on a grassy hill in the Shire, enjoying a bit of pipe-weed. After the whistle plays a lovely bit of the Shire theme, violins ascend and, over a C-major chord, resolve a mild Lydian dissonance: F#-G -- and presto, we're off to Bilbo's birthday party.
In the first Hobbit film we also see Bilbo with his pipe, and once again he blows a smoke ring that drifts across the screen. This time however, the ring holds in the center of the shot right. Now the orchestra is in D-major and the whistle rises along with the strings on the same figure we heard in Fellowship: D-G-B; E-A-C#-E; C#-E ... and as the title come up the same mild Lydian dissonance emerges: G#-A.
The dissonance in The Hobbit is more pronounced than it was in Fellowship. It's in a higher key; it begins with a subito piano; the resolution is delayed by a few extra beats. But most importantly, it means something different this time. Bilbo's prophetic line ("... and nothing unexpected ever happened") coupled with the ring imagery has redefined the G#-A. In Fellowship it was a bucolic cadence. In The Hobbit, it's an unmistakable movement from the sharp fourth of the chord to the fifth. It is a veiled reference to The History of the Ring theme.
That's the funny thing with film music -- there's always a film to consider. In this case, the film allowed Howard Shore to slightly reshape a musical phrase, yet impart something completely different. Lydian harmonies are traditionally used to represent something wondrous and almost supernaturally beautiful. It's in E.T.'s theme. It's the Christ theme from Ben-Hur. Heck, Beethoven used it in his fifteenth string quartet, in a movement he began with the words: "Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart" ("A Convalescent's Holy Song of Thanksgiving to the Divinity"). But here in The Hobbit, it's chilling. It's a harbinger -- a reminder that this "simple" little story is headed down a dark path. Shore uses a subtle combination of modulation, orchestration, phrasing, and imagery to redefine a musical phrase that is over a decade old. Does that now mean that we go back to Fellowship and hear that phrase differently? No, the F#-G in Fellowship still means the same thing it always did -- but then that's part of the whole game, too. It that weren't such a pure, lovely phrase, then the chill it acquires in The Hobbit wouldn't be quite as effective.
And of course, there's the whole issue of the timeline. Technically, the Hobbit's use of this theme would occur just slightly before Fellowship's, right? This is, of course, speaking strictly as part of Tolkien's timeline of events. But as a piece of storytelling, where does it fit? If you imagine a massive six-score listening marathon a few years from now (wow!), what order do you approach it in? The Hobbit is sort of nestled inside Fellowship -- it's neither strictly before or after. I think that's a brilliant choice because it doesn't bind the creators to either working backward or forward. Rather, The Hobbit exists in its own little narrative bubble.
This requires some nonlinear thinking from listeners because musical material is going to be developed in a very different way. Sometimes familiar themes and phrases are treated as call-backs, sometimes as introductions. And sometimes they mean something new. The Hobbit is just as narratively/motivically driven as Rings was, but the narrator is not meant to be quite so invisible this time out. Sometimes he simply tells the tale, sometimes he tips his hat in acknowledgement because he knows that we understand the deeper meaning of something. Sound familiar? This was Tolkien's own approach to writing The Hobbit. His narrator didn't fall back on an understanding on The Lord of the Rings, of course; it didn't yet exist. But he could, at times, address the reader directly and give them credit for comprehending things beyond the borders of the page. When Shore quotes A Hobbit's Understanding in this new score, part of this theme speaks directly to the moment, while another part of it speaks to a listening audience that understands how this resonants against what we have already heard.
That said, there are a couple of themes in The Hobbit: AUJ that have people scratching their heads. Well ok, some people are scratching their heads, some are crying bloody murder and calling for the reinstatement of the Spanish Inquisition. This puts me in a tricky spot because I inevitably feel compelled to explain these things, however I'm not always going to be allowed to tell you everything right away. I started my public work on The Lord of the Rings with the Complete Recordings. The films were out and people had heard most of the music in one form or another. It was a nice, easy way for me to break into all this because I could say anything I wanted to. I couldn't really give anything away. Sure, I held on to a few surprises, but nothing heavy. This time, I'm involved while the movies and scores are being created. There were a good number of thematic connections I couldn't even describe in the liner notes, because those connections would give away plot elements from the next two pictures. I received a lot of notes from the studio -- and you know what, they were very intelligent notes! Edits and rewrites are a part of every creative endeavor; they always have been, they always will be. I owe the people at the studio a huge debt because they trusted me to make contemplative music theory a part of a mass-marketed mega-release. That took a lot of faith! The Complete Recordings were (and are) a huge hit, but they appeal to a very specific niche market. The Hobbit: AUJ is more on the level of a pop album in terms of its wide appeal. I still can't believe they let me open up a discussion on modes, tonalities, clusters, music examples, etc. I even worked two classical music in-jokes/references into the liners ... I'm not sure if anyone has found them yet. One's pretty obvious.
Suffice it to say, the score in the film is, by and large, exactly what Shore put on the page. For the most part, this is the score I heard when I first watched/heard the film. I loved it then, and I love it now. To me, it's the perfect return to Middle-earth, every bit as carefully shaped and considered as our beloved Rings scores. I know people discovered some alternate compositions en route, but take it from someone who has dedicated huge amounts of time and energy into researching alternate music from Middle-earth: this is all just part of the process. And those 'head-scratcher' moments that I've already received several hundred emails about? Yep, they're considered, too. And they mean things. Some of those things I can't talk about yet ... meaning I'm still not allowed! Anyway, I'm extremely glad that we have some puzzling going on around here! We've been so well-informed for the past few years, it's actually pretty invigorating to have to stumble around a bit.
That said, as some of you have noticed, I have asked someone to step in and moderate comments. It is always ok to question things. However, accusations, demands, assumptions, and expressions of entitlement can get pretty unattractive. I've said before that I consider my work on these projects to essentially be a musical performance. I'm not a writer, I'm a musician. I just happen to be performing on a laptop, but it's still a form of musical expression as far as I'm concerned. I need to come at that process from a positive place, so I've asked someone to temporarily keep house so that shouting doesn't crowd out my headspace. I know, what a diva, huh? :) This will not be a permanent change. Let's just all take a deep breath, ok? Spoilers for The Hobbit: AUJ are now officially permitted. Unpleasantness still isn't.
Here, by way of making it up to you, a little bit of a hint. The music of Azog has caused something of a stir this weekend. Why does his last scene in the film include music we've previously associated with Mordor? I can't fully answer that question, but I can lead you a bit: Azog's primary theme is a descending pair of thirds (G-Eb-F-D) with a chromatic snap at the end (Eb-D-Db). Musically, Azog has a connection to Mordor's musical world from his first appearance on. His final scene is very much in line with this approach. Why this consistent connection? We shall see ...
And you thought I was kidding when I said we had a long journey ahead of us!
I promised everyone that I would talk a little more Hobbit after the film was in theaters. It's now out in the world breaking records and setting tongues wagging both here and elsewhere, so maybe it's a good time to chime in. In dramatic fashion, then, let's begin back in 2001 ...
In the first act of Fellowship Gandalf and Bilbo sit on a grassy hill in the Shire, enjoying a bit of pipe-weed. After the whistle plays a lovely bit of the Shire theme, violins ascend and, over a C-major chord, resolve a mild Lydian dissonance: F#-G -- and presto, we're off to Bilbo's birthday party.
In the first Hobbit film we also see Bilbo with his pipe, and once again he blows a smoke ring that drifts across the screen. This time however, the ring holds in the center of the shot right. Now the orchestra is in D-major and the whistle rises along with the strings on the same figure we heard in Fellowship: D-G-B; E-A-C#-E; C#-E ... and as the title come up the same mild Lydian dissonance emerges: G#-A.
The dissonance in The Hobbit is more pronounced than it was in Fellowship. It's in a higher key; it begins with a subito piano; the resolution is delayed by a few extra beats. But most importantly, it means something different this time. Bilbo's prophetic line ("... and nothing unexpected ever happened") coupled with the ring imagery has redefined the G#-A. In Fellowship it was a bucolic cadence. In The Hobbit, it's an unmistakable movement from the sharp fourth of the chord to the fifth. It is a veiled reference to The History of the Ring theme.
That's the funny thing with film music -- there's always a film to consider. In this case, the film allowed Howard Shore to slightly reshape a musical phrase, yet impart something completely different. Lydian harmonies are traditionally used to represent something wondrous and almost supernaturally beautiful. It's in E.T.'s theme. It's the Christ theme from Ben-Hur. Heck, Beethoven used it in his fifteenth string quartet, in a movement he began with the words: "Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart" ("A Convalescent's Holy Song of Thanksgiving to the Divinity"). But here in The Hobbit, it's chilling. It's a harbinger -- a reminder that this "simple" little story is headed down a dark path. Shore uses a subtle combination of modulation, orchestration, phrasing, and imagery to redefine a musical phrase that is over a decade old. Does that now mean that we go back to Fellowship and hear that phrase differently? No, the F#-G in Fellowship still means the same thing it always did -- but then that's part of the whole game, too. It that weren't such a pure, lovely phrase, then the chill it acquires in The Hobbit wouldn't be quite as effective.
And of course, there's the whole issue of the timeline. Technically, the Hobbit's use of this theme would occur just slightly before Fellowship's, right? This is, of course, speaking strictly as part of Tolkien's timeline of events. But as a piece of storytelling, where does it fit? If you imagine a massive six-score listening marathon a few years from now (wow!), what order do you approach it in? The Hobbit is sort of nestled inside Fellowship -- it's neither strictly before or after. I think that's a brilliant choice because it doesn't bind the creators to either working backward or forward. Rather, The Hobbit exists in its own little narrative bubble.
This requires some nonlinear thinking from listeners because musical material is going to be developed in a very different way. Sometimes familiar themes and phrases are treated as call-backs, sometimes as introductions. And sometimes they mean something new. The Hobbit is just as narratively/motivically driven as Rings was, but the narrator is not meant to be quite so invisible this time out. Sometimes he simply tells the tale, sometimes he tips his hat in acknowledgement because he knows that we understand the deeper meaning of something. Sound familiar? This was Tolkien's own approach to writing The Hobbit. His narrator didn't fall back on an understanding on The Lord of the Rings, of course; it didn't yet exist. But he could, at times, address the reader directly and give them credit for comprehending things beyond the borders of the page. When Shore quotes A Hobbit's Understanding in this new score, part of this theme speaks directly to the moment, while another part of it speaks to a listening audience that understands how this resonants against what we have already heard.
That said, there are a couple of themes in The Hobbit: AUJ that have people scratching their heads. Well ok, some people are scratching their heads, some are crying bloody murder and calling for the reinstatement of the Spanish Inquisition. This puts me in a tricky spot because I inevitably feel compelled to explain these things, however I'm not always going to be allowed to tell you everything right away. I started my public work on The Lord of the Rings with the Complete Recordings. The films were out and people had heard most of the music in one form or another. It was a nice, easy way for me to break into all this because I could say anything I wanted to. I couldn't really give anything away. Sure, I held on to a few surprises, but nothing heavy. This time, I'm involved while the movies and scores are being created. There were a good number of thematic connections I couldn't even describe in the liner notes, because those connections would give away plot elements from the next two pictures. I received a lot of notes from the studio -- and you know what, they were very intelligent notes! Edits and rewrites are a part of every creative endeavor; they always have been, they always will be. I owe the people at the studio a huge debt because they trusted me to make contemplative music theory a part of a mass-marketed mega-release. That took a lot of faith! The Complete Recordings were (and are) a huge hit, but they appeal to a very specific niche market. The Hobbit: AUJ is more on the level of a pop album in terms of its wide appeal. I still can't believe they let me open up a discussion on modes, tonalities, clusters, music examples, etc. I even worked two classical music in-jokes/references into the liners ... I'm not sure if anyone has found them yet. One's pretty obvious.
Suffice it to say, the score in the film is, by and large, exactly what Shore put on the page. For the most part, this is the score I heard when I first watched/heard the film. I loved it then, and I love it now. To me, it's the perfect return to Middle-earth, every bit as carefully shaped and considered as our beloved Rings scores. I know people discovered some alternate compositions en route, but take it from someone who has dedicated huge amounts of time and energy into researching alternate music from Middle-earth: this is all just part of the process. And those 'head-scratcher' moments that I've already received several hundred emails about? Yep, they're considered, too. And they mean things. Some of those things I can't talk about yet ... meaning I'm still not allowed! Anyway, I'm extremely glad that we have some puzzling going on around here! We've been so well-informed for the past few years, it's actually pretty invigorating to have to stumble around a bit.
That said, as some of you have noticed, I have asked someone to step in and moderate comments. It is always ok to question things. However, accusations, demands, assumptions, and expressions of entitlement can get pretty unattractive. I've said before that I consider my work on these projects to essentially be a musical performance. I'm not a writer, I'm a musician. I just happen to be performing on a laptop, but it's still a form of musical expression as far as I'm concerned. I need to come at that process from a positive place, so I've asked someone to temporarily keep house so that shouting doesn't crowd out my headspace. I know, what a diva, huh? :) This will not be a permanent change. Let's just all take a deep breath, ok? Spoilers for The Hobbit: AUJ are now officially permitted. Unpleasantness still isn't.
Here, by way of making it up to you, a little bit of a hint. The music of Azog has caused something of a stir this weekend. Why does his last scene in the film include music we've previously associated with Mordor? I can't fully answer that question, but I can lead you a bit: Azog's primary theme is a descending pair of thirds (G-Eb-F-D) with a chromatic snap at the end (Eb-D-Db). Musically, Azog has a connection to Mordor's musical world from his first appearance on. His final scene is very much in line with this approach. Why this consistent connection? We shall see ...
And you thought I was kidding when I said we had a long journey ahead of us!
Monday, December 10, 2012
Sunday, December 2, 2012
Saturday, November 24, 2012
Thursday, November 22, 2012
Thanks
Happy Thanksgiving to everyone in the States, and to those celebrating abroad.
I thought a little holiday treat was in order, so please enjoy Howard Shore discussing The Hobbit with Classic FM.
Back soon,
Doug
I thought a little holiday treat was in order, so please enjoy Howard Shore discussing The Hobbit with Classic FM.
Back soon,
Doug
Tuesday, November 13, 2012
Wednesday, November 7, 2012
Sounds Official
Hi everyone,
Ok, here's the deal: The Hobbit's official website currently has some music playing in the background; some music that may be of great interest to blog readers. Or it may not, I'm not going to say!
If you would like to talk about that music, please feel absolutely free to do so. I won't be chiming in at this time, but I might somewhere down the line. However, links to anything other than The Hobbit's official website will be deleted. This includes, but is not limited to, YouTube, SoundCloud, or extraction instructions. These links will deleted and repeat offenders risk being banned.
This is probably all an overreaction on my part. In fact, I'm almost sure it is! But I'm still not sure what gets me into hot water and what doesn't, so I'm playing it safe.
So, this is my best solution. Stop by the official site, turn your ears on, and come back here and chat. Speculate, analyze, identify, but don't link beyond the official site. And don't mind me grinning in the corner holding my peace. I'll pipe up later ... :)
Thanks, you guys are the best!
D
Ok, here's the deal: The Hobbit's official website currently has some music playing in the background; some music that may be of great interest to blog readers. Or it may not, I'm not going to say!
If you would like to talk about that music, please feel absolutely free to do so. I won't be chiming in at this time, but I might somewhere down the line. However, links to anything other than The Hobbit's official website will be deleted. This includes, but is not limited to, YouTube, SoundCloud, or extraction instructions. These links will deleted and repeat offenders risk being banned.
This is probably all an overreaction on my part. In fact, I'm almost sure it is! But I'm still not sure what gets me into hot water and what doesn't, so I'm playing it safe.
So, this is my best solution. Stop by the official site, turn your ears on, and come back here and chat. Speculate, analyze, identify, but don't link beyond the official site. And don't mind me grinning in the corner holding my peace. I'll pipe up later ... :)
Thanks, you guys are the best!
D
Tuesday, November 6, 2012
Geek League Top 10
GeekLeagueofAmerica.com has placed The Music of the Lord of the Rings Films on their "Ten Great Books About Movies" list, which is a very fine honor indeed!
I'm telling you, folks, you will want to read this book very closely before Hobbit time! It pays to invest oneself in the details ...
But enough of my hackneyed sales pitch. Big thanks to the Geek League. Their Music of LOTR entry is below; you can read their full list right HERE.
It saddened me not to include a Lord of the Rings book on my initial draft of this list. There is simply no book available that covers LOTR’s extensive production from beginning to end in a fashion that I recommend. The Extended Edition Blu-ray/DVD collections and Costa Botes’ fly-on-the-wall documentaries really do the best job covering all of it. I would be remiss, however, if I didn’t include Doug Adams’ (no, not that Doug Adams) mind-blowingly extensive account of Howard Shore’s scores of the films. Loaded with illustrations from Alan Lee and John Howe, this book covers all three films and the musical themes developed therein.
Adams is a musicologist, so this isn’t light reading. It talks about what goes into scoring these films, both from extensive interviews with Howard Shore as well as musical theory, and requires a little music acumen to totally comprehend the finer points of the text. It also comes with an exclusive rarities CD that features original concept recordings and versions of themes that didn’t make it to the big screen. Doug Adams is working on a new book for The Hobbit and like Rinzler’s ROTJ book, my pre-order is ready to go.
Thursday, November 1, 2012
The Hobbit: An Unexpected Journey Soundtrack Album Coming December 11
THE HOBBIT: AN UNEXPECTED JOURNEY SOUNDTRACK 2-CD SET DUE DECEMBER 11TH
FROM WATERTOWER MUSIC
Featuring Original Music by Academy Award™ Winner Howard Shore
With An Original Song Performed by Neil Finn
2-CD Special Edition Soundtrack Also Available
WaterTower Music has announced the release of The Hobbit: An Unexpected Journey Original Motion Picture Soundtrack at all retailers on December 11th. The soundtrack will be available both digitally and as a 2-CD set. A Special Edition of the soundtrack featuring six exclusive bonus tracks, seven extended score cues, and deluxe liner notes will also be available December 11. The Hobbit: An Unexpected Journey features original score by Academy Award® winner Howard Shore recorded at famed Abbey Road studios by the London Philharmonic Orchestra. Additionally it includes an original song entitled "Song of the Lonely Mountain," written and performed by Neil Finn (Crowded House). The Hobbit: An Unexpected Journey, the first of a trilogy of films from Oscar-winning filmmaker Peter Jackson (The Lord of the Rings Trilogy), will be released in the U.S. on December 14, 2012.
Shore’s music for The Lord of the Rings Trilogy has been performed in concerts throughout the world. In 2003, Shore conducted the New Zealand Symphony Orchestra and Chorus in the world premiere of The Lord of the Rings Symphony in Wellington, New Zealand. Since then, the work has had over 140 performances by the world’s most prestigious orchestras, and has even been the subject of a book, The Music of The Lord of the Rings Films.
"I have looked forward to returning to the imaginative world of Middle-earth for quite a while," says Shore. "I read all of the books by Tolkien, including The Hobbit, when I was in my twenties, and his deep love of nature and all things green resonates deeply with me."
"It’s a thrill for us to work with Howard Shore on The Hobbit: An Unexpected Journey soundtrack" stated WaterTower Music head Jason Linn, "His reputation and body of work have long inspired us, and we look forward to another successful partnership as we embark on the next chapter of our journey together."
One of today’s most respected, honored, and active composers and music conductors, Howard Shore previously worked with director Peter Jackson on The Lord of the Rings Trilogy, which stands as his most towering achievement to date. He won three Academy Awards for his music for those films, two for Best Original Score, and one for Best Original Song. Shore has also won numerous other honors for his film work, including four Grammys and three Golden Globe Awards.
The Hobbit: An Unexpected Journey Original Motion Picture Soundtrack on WaterTower Music in the United States and Decca Records outside the United States. It will be available on December 11, 2012. The track listings for the 2-CD Standard and 2-CD Deluxe versions are as follows:
THE HOBBIT SPECIAL EDITION TRACKLIST
DISC 1:
My Dear Frodo
Old Friends (Extended Version)
An Unexpected Party (Extended Version)
Blunt the Knives performed by The Dwarf Cast
Axe or Sword?
Misty Mountains performed by Richard Armitage and The Dwarf Cast
The Adventure Begins
The World is Ahead
An Ancient Enemy
Radagast the Brown (Extended Version)
The Trollshaws
Roast Mutton (Extended Version)
Roast Mutton (Extended Version)
A Troll-hoard
The Hill of Sorcery
The Hill of Sorcery
Warg-scouts
DISC 2:
The Hidden Valley
Moon Runes (Extended Version)
The Defiler
The White Council (Extended Version)
Over Hill
A Thunder Battle
Under Hill
Riddles in the Dark
Brass Buttons
Out of the Frying-Pan
A Good Omen
Song of the Lonely Mountain (Extended Version) performed by Neil Finn
Dreaming of Bag End
Dreaming of Bag End
EXCLUSIVE BONUS TRACKS:
A Very Respectable Hobbit
Erebor
The Dwarf Lords
The Edge of the Wild
Sunday, October 21, 2012
Dad Mode
Hi folks,
A brief -- and admittedly preemptive -- comment regarding certain lines of questioning. Please do not use this blog to discuss anything that is not commercially available. We're going to have a ton to discuss later this year, but we will wait until materials are distributed through legitimate commercial channels. Discussion of any materials other than these -- which includes but is not limited to press kits, awards promos, scoops from your crazy Uncle Frank who played the nose flute solo in the score's finale, etc. -- is strictly prohibited.
We're all heading back to Middle-earth in just a few short weeks/months. Let's arrive together, yes?
Now I gotta get back to work ... :)
A brief -- and admittedly preemptive -- comment regarding certain lines of questioning. Please do not use this blog to discuss anything that is not commercially available. We're going to have a ton to discuss later this year, but we will wait until materials are distributed through legitimate commercial channels. Discussion of any materials other than these -- which includes but is not limited to press kits, awards promos, scoops from your crazy Uncle Frank who played the nose flute solo in the score's finale, etc. -- is strictly prohibited.
We're all heading back to Middle-earth in just a few short weeks/months. Let's arrive together, yes?
Now I gotta get back to work ... :)
Wednesday, October 17, 2012
Celebrate Howard Shore's Birthday with the LOTR Symphony
Thursday is the sixty-sixth birthday of composer Howard Shore. Classic FM will be celebrating with an 8 pm airing of The Lord of the Rings Symphony. Please see the note below from Kyle Macdonald, Classic FM's Community Manager.
And happy birthday!
*****
At Classic FM we're doing as much as we can to champion great movie soundtracks. Tomorrow at 8pm we'll play Howard Shore's immensely popular Lord of the Rings Symphony, in full.
Thursday is the composer’s 66th birthday and his LOTR score has also recently been voted by our listeners as their number one Soundtrack, in our Movie Music Top 100.
It's an astonishing piece and we'll broadcast it in its entirety, without interruption. Shore's Symphony is based on themes from the phenomenally-successful Lord of the Rings trilogy.
HERE is a link to our programme on Thursday.
We're also celebrating with a gallery of Howard Shore and his movie soundtracks.
We'd be delighted if you would share this with your fans and followers.
Best regards,
Kyle Macdonald Community Manager
And happy birthday!
*****
At Classic FM we're doing as much as we can to champion great movie soundtracks. Tomorrow at 8pm we'll play Howard Shore's immensely popular Lord of the Rings Symphony, in full.
Thursday is the composer’s 66th birthday and his LOTR score has also recently been voted by our listeners as their number one Soundtrack, in our Movie Music Top 100.
It's an astonishing piece and we'll broadcast it in its entirety, without interruption. Shore's Symphony is based on themes from the phenomenally-successful Lord of the Rings trilogy.
HERE is a link to our programme on Thursday.
We're also celebrating with a gallery of Howard Shore and his movie soundtracks.
We'd be delighted if you would share this with your fans and followers.
Best regards,
Kyle Macdonald Community Manager
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