by Paul Tonks
THE LORD OF THE RINGS: THE RETURN OF THE KING
WEA Records, Released November 24th
If FELLOWSHIP OF THE RING was the upbeat, melodic, adventurous spirit and THE TWO TOWERS the enraged fighting spirit, then THE RETURN OF THE KING is the series’ softly awed and humbled spirit at peace. I think the large proportion of gentle material through this album will surprise a lot of listeners. In the pleasant sense of being surprised that is. Anyone who’s read director Peter Jackson saying this is his favourite of the movies, and is the one that makes him cry, it is this aspect of Howard Shore’s contribution that will pay off on the journey to the Grey Havens. A feeling of loss is the end result.
None of which is to say this album isn’t shot through with heroic flourishes, sinister unease or stirring action. From the very beginning there is a distinctly softer tone established however.
“A Storm Is Coming” is an unexpectedly delicate beginning. A gentle solo fiddle plays out the traditional start for the Ring Theme. Slowly the piece whips up a froth and moves into the material particular to the Dark Riders. This pattern of light to dark proves to be characteristic of much of the album.
You have 75 minutes of music taken from over 3 & ½ hours here. I attended the final recording session with the London Philharmonic Orchestra, and so know that a great deal of action material from the big battles isn’t featured. Instead this has been carefully pulled together from scenes that feature emotionally significant moments.
I’ve no wish to spoil the experience for the score series’ many fans. So if you don’t want to learn what I think are the highlights, skip the next few paragraphs!
SPOILER TERRITORY COMMENCES:
“Minas Tirith” introduces the bold theme for Gondor, as heard over the second half of the movie trailer. It’s a truly grand fanfare for what must be the first sighting of the city. Billy Boyd’s vocals in “The Steward Of Gondor” are quite lovely (as are the Pan Pipes opening the cue). I’m hard pressed to decide who has the more distinctive vocal style between him and Viggo Mortensen singing in Elvish for the 10 minute “The Return Of The King.” This also features one of several touching performances from both soprano Renée Fleming and flautist Sir James Galway. And culminates in a warm return to all the sprightly Hobbiton material.
Without doubt, one of the greatest surprises was “Shelob’s Lair.” Immediately sinister and laced with scurrying unpredictability, Shore told me he applied some of the technique he used in recording The Master Musicians of Jajouka (from THE CELL) to how he conceived this sequence. It’s a stylistic shocker. But think back to the emergence of the Watcher in the Water outside the Moria Gate…SPOILER TERRITORY ENDS
There are many highlights. As a standalone cue, I’m torn between the ascending heroism of “The White Tree”, the bold return to Rohan’s material for “The Ride Of The Rohirrim”, or the choral splendour of “The Fields Of The Pelennor.” I suspect having seen the film, for many it’ll be “The Grey Havens” that lingers in popularity the most. Many main themes meet and depart. Leaving the audience to the unique vocals of Annie Lennox and the closing “Into The West.” Opinions of this song will be interesting to follow. Personally, I find it quite affecting.
The Extended Edition DVD of THE RETURN OF THE KING will add lots of new material to this score. And there will be the complete score CD Box Set to follow next year. So for the series’ music, this is not quite the end of all things!
FULL TRACK LISTING:
1. “A Storm Is Coming” 2:52
2. “Hope & Memory” 1:45
3. “Minas Tirith” 3:37
4. “The White Tree” 3:25
5. “The Steward Of Gondor” 3:53
6. “Minas Morgul” 1:58
7. “The Ride Of The Rohirrim” 2:08
8. “Twilight & Shadow” 3:30
9. “Cirith Ungol” 1:44
10. “Anduril” 2:35
11. “Shelob’s Lair” 4:07
12. “Ash & Smoke” 3:25
13. “The Fields Of The Pelennor” 3:26
14. “Hope Fails” 2:20
15. “The Black Gate Opens” 4:01
16. “The End Of All Things” 5:12
17. “The Return Of The King” 10:14
18. “The Grey Havens” 5:59
19. “Into The West” 5:47
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