The Music of the Hobbit (Now with possible Spoilers)

[Voronwë the Faithful]

Does anyone know who is responsible for naming the tracks?

[Voronwë the Faithful]

Here is what Earl of TORN says:

Here's what someone had asked Doug about the FOTR Complete Recordings:



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"There is also the track labelled "Farewell Dear Bilbo" which is a quote lifted from the movie, stated by Gandalf as Bilbo leaves Bag End. The music that is presented in this track, however, is underscored for another scne that was added for the extended edition, in which Bilbo talks with Frodo about the death of his parents. The last part of this track underscores the dragon shaped firework fiasco. So the track title doesn't match the music. Just a little nit pick of mine, that's all. Maybe there is an explanation for it."


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And here's what Doug responded with:



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"I think the idea had always been to use track names in a somewhat nonlinear fashion here, partially as an artistic conceit, partially as a nod to the history of the project. Most of the tracks that made it to the 2001 OSt were drawn from the books, but didn't really correspond to the titles Howard used on the cue sheets. (I know, I know, we try to avoid the word "cue" whenever we can, but since "cue sheet" is a technical term, I'll let it slide...) Several of these compositions ended up shuffled around as the film was edited once, edited again as a big chunk of material was cut out, then edited a third time as this material was added back in to the DVD cut of the film. Shore of course rewrote his compositions to fit each different film edit, but the pieces' titles stuck.

When it came time to create the track titles for the box set, Sore returned to his original titles (since he couldn't reuse the original titles) some of which had been moved around just a little bit due to the film's continual editing. So the pieces may no longer encompass the lines for which they were originally named, but shore was always very careful to make sure there was some relevance to the scene at hand, and that the reference to either the text of the book or the film was accurate.

So there you go... the titles are nods to Tolkien; to Jackson's Walsh's and Boyen's dialogue; and to the history of Shore's original compositions' titles.

Incidentally, for the Two Towers track titles, Shore came up with a list of several possibilities for each track, then ran it by myself, his assistant Alan, and Philippa Boyens. Howard noted his favourites in cases where he had some, but we were all allowed to pitch ideas and offer suggestions. In the end, I believe there are at least a few titles that originated with each of us."


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[Voronwë the Faithful]

Here is what Earl of TORN says:

Here's what someone had asked Doug about the FOTR Complete Recordings:



--------------------------------------------------------------------------------
Quote
--------------------------------------------------------------------------------


"There is also the track labelled "Farewell Dear Bilbo" which is a quote lifted from the movie, stated by Gandalf as Bilbo leaves Bag End. The music that is presented in this track, however, is underscored for another scne that was added for the extended edition, in which Bilbo talks with Frodo about the death of his parents. The last part of this track underscores the dragon shaped firework fiasco. So the track title doesn't match the music. Just a little nit pick of mine, that's all. Maybe there is an explanation for it."


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And here's what Doug responded with:



--------------------------------------------------------------------------------
Quote
--------------------------------------------------------------------------------


"I think the idea had always been to use track names in a somewhat nonlinear fashion here, partially as an artistic conceit, partially as a nod to the history of the project. Most of the tracks that made it to the 2001 OSt were drawn from the books, but didn't really correspond to the titles Howard used on the cue sheets. (I know, I know, we try to avoid the word "cue" whenever we can, but since "cue sheet" is a technical term, I'll let it slide...) Several of these compositions ended up shuffled around as the film was edited once, edited again as a big chunk of material was cut out, then edited a third time as this material was added back in to the DVD cut of the film. Shore of course rewrote his compositions to fit each different film edit, but the pieces' titles stuck.

When it came time to create the track titles for the box set, Sore returned to his original titles (since he couldn't reuse the original titles) some of which had been moved around just a little bit due to the film's continual editing. So the pieces may no longer encompass the lines for which they were originally named, but shore was always very careful to make sure there was some relevance to the scene at hand, and that the reference to either the text of the book or the film was accurate.

So there you go... the titles are nods to Tolkien; to Jackson's Walsh's and Boyen's dialogue; and to the history of Shore's original compositions' titles.

Incidentally, for the Two Towers track titles, Shore came up with a list of several possibilities for each track, then ran it by myself, his assistant Alan, and Philippa Boyens. Howard noted his favourites in cases where he had some, but we were all allowed to pitch ideas and offer suggestions. In the end, I believe there are at least a few titles that originated with each of us."


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[Voronwë the Faithful]

Magpie at TORN (who knows more about Shore's Middle-earth music than anyone not named Doug Adams) says this about "Beyond the Forest":

Beyond the Forest is (from the 30 second sample) achingly beautiful and puts to mind a combo of Asëa Aranion by Sissel and Earl's unwitting guess of Bilbo's Song.

It comes after the end of movie song in the track listing which probably means it's run during the credits (like In Dreams was after May it Be?)

But it's possible it was written for a scene and then not used so it was added to credits to give it some 'play' (Asëa Aranion which got batted around a few scenes before being cut from the film but endeding up in fan club credit scroll for ROTK)

The melody has some of the familiarity of Shire music (to my ears, anyhow) - not to say I *hear* Shire themes but the Shire feels like home. Like the place that is familiar after one has been out in the world.

But there's also an exotic edge to it. I really want to hear more.

And I'm quite curious about the soloist.

So if she is right (and I would guess she probably is), it probably will not appear during the scene shown in my avatar.

Pity.

[Passdagas the Brown]

I suppose not. Though based on the reports from the 20-minute sneak peak, the black (or blue) emperors scene is definitely in.

[Dave_LF]

You can hear the melody from Beyond the Forest starting just as the Kingsfoil clip starts to fade out. Not sure what that means, but it would be very funny if this piece everyone seems to love ends up being the Tauriel theme. And that would even make sense, since her story seems to be about venturing physically and mentally beyond the isolation of the forest.

[Passdagas the Brown]

Who knows? Tauriel could end up being my favorite character.

[Voronwë the Faithful]

[Passdagas the Brown]

I can already envision the start of my review:

"This movie was terrible, but Tauriel and her theme music saved it from disaster, just as she saved Kili's life."

[Voronwë the Faithful]

A tweet from Doug Adams:

The examples of the #Smaug score all come from the first 30 seconds of each track. The most thrilling and moving music is still to be heard.

[sinister71]

I can already envision the start of my review:

"This movie was terrible, but Tauriel and her theme music saved it from disaster, just as she saved Kili's life."

PtB I am seriously hoping that was sarcasm, and you have not joined the dark side in my absence. My views on Tauriel have not changed or diminished in any way in my short hiatus

Her character descriptions keep getting worse as do the clips of her line delivery.

As far as the DOS soundtrack I like somethings and others seem like variations of things I have heard before. from what I have heard though I do not like it as much as the AUJ soundtreack

[Passdagas the Brown]

More than sarcasm. A downright joke!

Though I don't believe there are any dark sides in this debate.

[TheTennisBallKid]

I particularly liked "A Feast of Starlight". .

Me, too. It reminds me of Shore's score for The Yards, which was sort of forerunner to the Arwen/Aragorn music from TTT. One of my favorites of his non-LOTR works.

Only listened to these once, but it sounds promising.

[Voronwë the Faithful]

Glad to be in such great company!

[Elentári]

The Hobbit.com homepage has been updated - and it features "A Feast of Starlight" as the background track...

http://www.thehobbit.com/

[Voronwë the Faithful]

I guess ttbk and I are the only ones to really like that one!

[Dave_LF]

I don't feel like I've heard enough of any of them to make those kinds of judgments yet, but I agree it shows promise. It certainly has a different quality than much of what we've heard so far (I mean that in a good way).

[Voronwë the Faithful]

It's interesting that I have heard that type of thing stated as both praise and criticism.

[Dave_LF]

Well, attitude toward change and difference is one of the major human personality variables.

[Elentári]

I guess ttbk and I are the only ones to really like that one!

I assume you missed out the word "not"...either that or I'm suffering from a dose of invisibility again...