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Product details
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Track Listings
| 1. A Storm Is Coming: Hope and Memory. Minas Trith (featuring Ben del Maestro) |
| 2. The White Tree: The Steward of Gondor (featuring Billy Boyd) |
| 3. Minas Morgul: The Ride Of The Rohirrim: Twilight And Shadow (featuring Renee Fleming) |
| 4. Cirith Ungol |
| 5. Anduril |
| 6. Shelob’s Lair |
| 7. Ash And Smoke |
| 8. The Fields Of The Pelennor |
| 9. Hope Fails |
| 10. The Black Gate Opens (featuring Sir James Galway) |
| 11. The End Of All Things (featuring Renee Fleming) |
| 12. The Return Of The King (Featuring Sir James Galway, Viggo Mortensen & Renee Fleming |
| 13. The Grey Havens (featuring Sir James Galway) |
| 14. Into The West (performed by Annie Lennox) |
Product Description
Amazon.co.uk Review
Elegant and eloquent, Howard Shore's score for The Return of the King shies away from excessive epic bombast. The composer weaves into the fabric familiar leitmotifs from the earlier two scores--such as the heroic "Fellowship" theme and the stirring "Rohan" theme--but now they are presented with a reflective sense of finality. Shore's distinctive orchestral palette for the trilogy has always featured voices--either solo or choral--as a key musical colouring, and here the professionals (including soprano Renee Fleming) are joined by Billy Boyd and Viggo Mortenson, who provide small but effective contributions.
There is martial music, naturally, while the Mordor sequences--such as "Minas Morgul" and "Shelob's Lair"--elicit some terrifying orchestral drama. But the score's overall tenor is more meditative than either of its predecessors, ultimately emphasising the poignancy of farewells more than exterior spectacle as it reaches a suitably and satisfyingly Wagnerian climax in "The Grey Havens". Only the obligatory song tie-in, "Into the West" (sung by Annie Lennox), is a middle-of-the-road disappointment after all that has gone before.
This single disc presents only selections from a much larger work. Hopefully, the complete scores for all three films will soon be released with the same sort of lavish attention paid to John Williams' comparable Star Wars cycle. Only then will the magnitude of Howard Shore's achievement be fully evident: at the very least, like Williams a generation earlier, Shore has given musically aware filmgoers a brief respite from wall-to-wall product-placed pop and thudding drum machines. --Mark Walker
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