Track-by-Track: Soundtrack Discussion and Analysis

[Lathriel]

Thanks for your support because next year I'll be going to university so I have to really pick what I want to do.

About track 8

It's one of my favourite tracks on the FOTR soundtrack.Of course the intor always takes my breath away. For me the rinwraith theme isn't the biggest part. I like the part where the trumpets sound announcing that the waters in the Ford have rissen. That part of the son isn't actually in the movie but I like it because I can simply see the horses in the wave as I listen to that part.

I also like it that the song starts very subtle. That it isn't a couple of voices that begin to sing but that it is just one voice and that slowly as you see more of Arwen in the movie more voices are added to make the dreamlike image more compact untill you see Arwen completely. I like it when a composer gets the music spot on with the image without being cheesy or overdoing it.

[dancing spawn of ungoliant]

Ah, this is a very beautiful piece. I like the lyrics at the beginning:
Tinúviel elvanui
Elleth alfirin [0.00-0.40]
(Tinúviel elven-fair
Immortal maiden)

It's nice how the lyrics sang during the first appearance of Arwen refer to Luthien. It is very calm and dream-like song until the brass come along. The soft ending ties the piece nicely together.
I had this impression that Peter Jackson actually played the gong himself in some of the tracks but I can't remember if it was this one. I think they showed it on one of the EE DVDs.

Just watched the LOTR symphony DVD and it was excellent. Makes me wish I was good enough to be involved in something like that.

Yeah, tell me about it! Despite I play in a very decent youth orchestra at the moment, there's no way I could get a profession out of that.

[Encaitare]

PJ played the gong when Eowyn is standing in front of Meduseld, then Aragorn looks away and when he looks back she is gone.

Thanks for pointing the elvish lyrics out; that's a nice tie-in with Luthien.

[dancing spawn of ungoliant]

Oh, right, now I remember. So the gong was in TTT then.
About track 8 and it's Elvish aspect... apart from the lyrics, I don't think it's particularly elven-like. But that doesn't really bother me. On screen there's emotionally a lot going on. There's this creepy feeling that the Ringwraiths are close and they might just jump out behind the nearest bush. Frodo is convulsing and gasping and it doesn't seem probable that Aragorn & co. could manage to escape.

But then: the next thing we know there's this elf lady in her fluffy gown looking, sounding and acting like an angel. I think this piece doesn't refer to Rivendell or Mordor as much as the emotions during Arwen's first scene. Of course there are clips from different themes but in the film the track (in my opinion) rather emphasizes emotions than reveals any new cultural matters. For me it works really well.

[Encaitare]

And so we enter the lovely world of Rivendell, fa-la-la-lally, down here in the valley.

Fortunately there is no silly rhyming, just pretty music.

We have a women's choir and strings, and even a harp which can just be heard underneath them. It all sounds very ethereal. The choir, I was delighted to learn, is singing "A Elbereth Gilthoniel," albeit only the first part:

A Elbereth Gilthoniel,
silivren penna miriel

O Elbereth Star-kindler
(white) glittering slants down sparkling like jewels

Complete lyrics can be found here.

The Rivendell theme is played by an English horn (neither English nor a horn ) at 0:28. I may have said this earlier or in some other thread, but interestingly, the first ascending notes of this theme are repeated in several different pieces. They are almost identical to the first four notes to the vocals in Gollum's Song, and to those in Aragorn's song at his coronation, when he says "sinome maruvan." Just a little something I've noticed.

Then the strings come in with the Shire theme, which is continued by a clarinet. In all this magical, floaty music, the clarinet sounds a little more down-to-earth, fitting with Frodo's meeting with Bilbo and his realization that he misses home more than he ever thought he would. It also sounds sadder than any of the other times we have heard the hobbit's theme, showing how Frodo is changed already.

At 2:06, the Rivendell theme is played by a flute (yay!), segueing once more into a full string version of the Shire theme. These two themes keep slipping into one another; the fate of the hobbits will be decided at Rivendell.

[Lathriel]

This is the first time in this soundtrack that this theme is heard. I lIke it how it has this flowing feel to it.
First the theme is alien to you but then you hear the Hobbit theme and it puts you at ease. There are no longer any threatening ringwraiths to be heard.
This song also begins to set the tone for the second half of the CD I think. Since we now depart from the ringwraith theme we get to know a whole bunch of new themes. In fact we don't hear the ringwraith theme untill ROTK.

Since we left the last track with Frodo being sick and a quiet, sad ending it is nice to here the beginning of this one. It is completely different and the music tells me that things are going well, and that we no longer have to fear for Frodo. This track along with the council of Elrond is really a short relief (As in the book) from evil. So not only the characters recover but the listener (reader) as well.

What I also like about this song is the title cause its taken straight from the book.In fact I like that about many of the titles on these soundtracks. Over 50% are of the names are titles from chapters.

I didn't know they sang Elbereth Gilthoniel. Thanks for telling me that Encaitare

This spiece of music also goes very well with the movie. It adds a feel of magic to the scene. It is really one of the last parts that is truly bright in this movie. After Rivendell evrything gets darker which you can clearly hear in the music.

[Encaitare]

The track opens with strings playing a more toned-down version of the Rivendell theme. Then, the lovely Enya has her first appearance on the soundtrack:

O môr henion i dhû:
Ely siriar, êl síla.
Ai! Aníron Undómiel.

Tiro! Êl eria e môr.
I 'lîr en êl luitha 'úren.
Ai! Aníron...


From darkness I understand the night:
dreams flow, a star shines.
Ah! I desire Evenstar.

Look! A star rises out of the darkness.
The song of the star enchants my heart.
Ah! I desire...

Very fitting for Aragorn and Arwen's little scene of romance.

The second half of the track is at the actual Council, with the Fellowship theme beginning to build up. As soon as the transition is made, around 2:15, the strings play a bit of the Rivendell theme briefly, but then switch to that of the Fellowship, with more and more instruments being added. First there are strings, to which are added brass as Gandalf, Aragorn, and our other larger heroes join. When Sam joins them, we hear the Shire theme with its tin whistle (2:55); and then there are full strings playing the same them when Merry and Pippin join. Quickly, it becomes the Fellowship theme once more, with full strings, brass, and timpani... and doesn't that cymbal crash at the end sound so triumphant?

This is the first time we hear the Fellowship theme in full, and the last time we will hear it this way for a while.

Not much analysis here, I know... but I liked doing this one. It's very complex thematically.

[Luinalatawen]

The bulk of this track is misleading to me because Enya's 'Aniron' clearly has nothing to do with the Council of Elrond. However, I do understand the decision to keep this as the title of the track because during the film, the Council is obviously going to be talking - no need of much music during their discussion - so there needed to be more musical material for the track.

As Encaitare said, 2:25/2:30 brings the return of the Fellowship theme. This is especially notable because of how it is very final-sounding. It's no coincidance that this happens while at this last meeting in the safetly of Rivendell. It's the last uplifting, empowering, regal, major-keyed brassy theme before the Fellowship embarks on the journey through the dark Mines of Moria. All the music from here on out on this soundtrack (excluding 'Lothlorien') is primarily filled with a either a feeling of danger itself or the wary anticipation of danger.

This track also brings many thoughts of Frodo - the Fellowship theme gives me images of the Fellowship gathering member by member around the small Hobbit. I see the Fellowship theme as one full of hope, which is what Frodo's will brings to all who join him. The theme seems to completely erase the thoughts that tons of danger lie ahead. During the council scene, I remember feeling worried for Frodo and Middle Earth. However, once the Fellowship theme is heard, I forget all of that and focus on the friendship and loyalty that already seems plentiful among the characters.

[Encaitare]

Welcome to the thread, Luina! You make some good points, especially in the final paragraph. However...

It's the last uplifting, empowering, regal, major-keyed brassy theme before the Fellowship embarks on the journey through the dark Mines of Moria.

I agree with nearly everything in that statement, except for one puzzling thing. The chords are major, but the melody is in c minor. Very curious... I'm still trying to figure out what that might mean in terms of music theory. But in regards to the movie, it's very clever. It has all the beauty of a minor key, with the triumph of a major key; the Fellowship will experience sorrow but also joy.

If anyone can shed any light on this, please help me out! (Perhaps I should ask my theory teacher...)

[Luinalatawen]

Thanks for the greeting, Encaitare, I'm a both LotR-crazed and a music major in college, so of course I'd think this is a great thread

Yes, it's in c minor, but there are many, many borrowed chords (ex. flat VI chords in a minor key) in much of what Shore composed for the movie. This has come up a few times recently in my theory class while working on identifying chord progressions/cliches - we've listened to my professor play the chords and noted that in some instances certain progressions remind us of LotR music. I really, really wish I could remember exactly which ones we discussed. But anyway, I suppose this makes the major/minor classification more difficult to distinguish. If it's considered minor though, the piece definitely ends on a Picardy third (I <3 Picardy thirds!).

[Encaitare]

If it's considered minor though, the piece definitely ends on a Picardy third (I <3 Picardy thirds!).

Indeed... and that would make two of us!

Egads, I'm dorky...

[dancing spawn of ungoliant]

Are you sure it's really in c minor? Concidering the key signature, I'd say it's in A flat major or in F minor (there's B flat, E flat, A flat and D flat). Anyway, the piece contains lots of chords from different minors and majors.
I've to hurry now to my music theory class, but I'll try to come up with some kind of an analysis later

[Encaitare]

Pretty sure, at least on this track, anyway. I played it and came up with no D flats... and then to be sure, I sustained the note on my keyboard (using my toe ) while playing the second half of the track, and came up with only one chord where it would fit.

Either way, the piece seems to center around C. I suppose maybe it could be in f-minor and start and end on the fifth, and then the D-natural in the melody could be explained as that second-to-last chord being a secondary dominant? V6/V?

Or perhaps I'm just going slightly mad, because that seems a little awkward-sounding to me.

EDIT: Just looked up "borrowed chords" in my theory book, and that idea makes a lot more sense to me, since the piece has characteristics of both C major and minor.

[dancing spawn of ungoliant]

Originally Posted by Encaitare

I played it and came up with no D flats

I meant that there was D flat in the key signature. I have the sheet music for the trilogy and I checked that they were in the same key (is that a decent expression at all...I don't know the correct terminology in English).

It's funny that though the lyrics are so simple, I find them quite touching. The lyrics strike the right note (couldn't resist...) in their feeling. There's no need for fancy words and phrases. The story the lyrics tell is unbelievably elvish. I don't seem to be finding words now for what I'm trying to say here but the original culture of the Elves is beautifully concentrated in a few lines. Stars are the most wonderous thing they know and they respect them and that shows in the lyrics well.
Enya is perfect for this piece since she has such a voice I always imagined that Arwen would have. It feel like Arwen would actually be singing this song to Aragorn.

[Encaitare]

I meant that there was D flat in the key signature. I have the sheet music for the trilogy and I checked that they were in the same key (is that a decent expression at all...I don't know the correct terminology in English).

Really? Wait a second, do you mean in the Enya half/Aniron or the orchestral half of the track?

Either way, the expression is correct.

[Lathriel]

I love this song and I play it (The Aniron part) on the piano while softly singing along so that I don't bother anyone but still get the satisfaction of singing in elvish.

I also like the fact that the melody for aniron is kept very simple, somehow that makes it very captivating. I like it in general when composers keep it simple and quiet at certain times. Thus the soundtrack has a variety of slow or fast tracks and soft or loud tracks. So it never bores me.

I think the fellowship theme is played very boldly in this piece of music because there is some hope. After much discussion a desicion has been made on what to do with the ring. Besides now the fellowship is at its strongest. It has just been forged and has not fallen appart yet. After the mines of Moria the fellowship theme decreases steadly in its granduer and boldness as the fellowship is falling appart. Especially during the Amon Hen track but that will be later.

[Aiwendil]

Encaitare wrote:

The chords are major, but the melody is in c minor.

I'd say this has to do with Shore's goal of a somewhat antique or modal sound. You are right that the melody sticks closely to C minor but the chords make it unambiguously major - in fact, the chords for the fellowship theme are (as far as I can tell) exclusively major, which curiously enough can only be accomplished by making the melody minor. The result is a lot of nice cross-relations between the flat and natural 3rd and 7th. The same kind of writing comes up much later on, in the Gondor theme for RotK.

Also, the theme ends with a striking sequence of three major chords each a major second apart (probably either A flat, B flat, C or B flat, C, D - sorry, I don't have the CD with me). This is a chord progression that has always fascinated me (and now that I think about it, I believe Rosenman used it in Bakshi's LotR). It is a sequence of three chords that do not co-exist in any of the usual modes, and this results in what one can only describe as a sense of coming to something new, or breaking through into a new key. The major-ness of the final chord is brought fully to our attention because of the cross-relation of its third with the fifth of the first chord - so, for example, in the sequence B flat, C, D, the juxtaposition of the F sharp in the final chord with the F natural in the first chord emphasizes the fact that the final chord is a D major.

Sorry if that sounds like incoherent babble, but I find it to be a fascinating progression.

[dancing spawn of ungoliant]

do you mean in the Enya half/Aniron or the orchestral half of the track?

I meant the Enya half, well, at least. During Aníron there are basically four different chords. A flat major / E flat , E major, C flat major and D flat major.
After Enya's part the orchestra plays four chords: E flat major, g minor, E flat major again and C major. Now there's this C but to me it sound's that there's no modulation yet. The hobbit theme is definitely in C major, though. The fellowship theme for one contains only major chords (as Aiwendil said already) such as B flat, A flat, E flat and C. The whole track even ends with C major and yet I can't define its key. Either Shore uses a whole lot of naturals and sharps or then there's a modulation...I think.

[Encaitare]

I meant the Enya half, well, at least. During Aníron there are basically four different chords. A flat major / E flat , E major, C flat major and D flat major.

Ah, my apologies; I misunderstood you. What I was saying about it being in C/c was only pertaining to the latter part of the music, at the actual council. Aníron indeed has D flats.

[Encaitare]

A short track, but a triumphant one nonetheless.

The first 45 seconds or so are from Bilbo and Frodo's scene, in which Frodo is given Sting and the mithril shirt, and Bilbo goes a little but crazy. It opens with an English horn and strings, and then changes to a sadder sort of Shire theme, with strings and clarinet. The clarinet is then replaced once more by the English horn.

Thus the second part of the track is introduced, via some strings on a tremolo, a brass pedal tone and melody, and a growing timpani roll. The melody is still that of the Shire, although it sounds far more majestic than our original little whistle could ever hope to be! These four small hobbits are off into the big world, part of an important mission.

A gong crash begins the change to the Fellowship theme in bold brass, as the nine of them (ten if you count Bill the pony) come up over that rocky pass in their Hero Shot. The brass and winds then carry the music down from the trumpet solo's final note.

[Kitanna]

Possibly the greatest English Horn solo I have ever heard. And then I love how it picks up in the middle and a brass fanfare takes over (whoa! go brass!)

[Nuranar]

This is possibly (but only possibly) my favorite track for this movie, most particularly because of the bold, inspiring rendition of the Fellowship theme. After my father began to learn the cornet - and all three younger brothers picked it up, in varying degrees of dedication - it crystallized in my mind just how much I thrill to the sound of a solo trumpet. As I've already said, the Indiana Jones soundtracks have always been my favorites. Remember what plays that theme? I think most everything John Williams writes leans on the trumpet. Likely that's why his work always grabs me. I usually have something instrumental on for background when I'm working, and invariably the clear, strong sound of the trumpet will catch my ear. It happened just today - listening to Verdi, of all things.

As a point of curiosity, what is the top note that trumpet hits? I ask for a very silly reason, but...

Once, when in the car with my father, we had this track playing. For some reason I started to sing with the trumpet. Although I've never have voice lessons, I think I'm a second soprano. (I sang six months in a choir - a good choir, which my brothers are still in, but still only six months four years ago.) I still love to sing and frequently worked out my range on the piano. Turns out I'm a decent soprano up to G (1.5 octaves above middle C). I can hit the A, but the quality and volume are emphatically not there. (Incidentally, I can also go down a full octave below middle C. It's fun - and quite amusing - to randomly sing a strong tenor during worship. )

*ahem* When I sang with the track, my voice can hit that top trumpet note well. Relatively well, for my skill at least, but I know it can't be an A. Still, it was definitely at the top of my range, so I hazard that it's that G, or possibly the F or F#. A very unscientific and subjective guess - but what do y'all think? Am I way off base?

All that aside, this is STILL one of my all-time favorite tracks.

[Encaitare]

It is an A above middle C, Nuranar... don't underestimate yourself!

[Nuranar]

AWESOME! That has so made my day!

[Lathriel]

I like this track(Well I like every track anyway) Everytime I hear it I feel hope. In fact all I have to do is think of the song and it plays in my head as most of the LOTR tracks do. I love the fact that the instruments are clearly heard. The rest of the orchestra basically provides the harmony while the clarinet (Or is it an Oboe, maybe the sound is too sharp for a clarinet,at least my brother's clarinet can be extremely mellow at times), the French Horn and the Trumpet are clearly heard rising above the rest of the orchestra and giving their clear melody. Sometimes it gives me goosbumps.
After this track the sound of this CD changes instantly and we don't hear the fellowship theme in its full glory anymore.
Also another thing I like about this track is that before the trumpet takes over the strings announce its coming, they increase the intensity untill finally the lower brass comes in, and then the trumpet gives the fellowship theme in its full glory. All I can say is Beautiful!!!

[Encaitare]

The rest of the orchestra basically provides the harmony while the clarinet (Or is it an Oboe, maybe the sound is too sharp for a clarinet,at least my brother's clarinet can be extremely mellow at times),

They switch off; you can hear the transitions if you listen closely.

[Lathriel]

I think I'll listen to the track again. It makes sense.

By the way I like your signature.
I guess the like TPotO a lot too.

[Encaitare]

Dwarf music time!

First we have a men's choir, singing in what Gwaith-i-Phethdain calls "Neo-Khuzdul," since Tolkien did not provide many examples of the language. It goes as follows:

Durin ku binamrad
Ugmal sulu addad ku ba
Abad ku ganaga
Tur ganad
Abanul Durin
Ku bin Amrad
Ku ba kana a na aznan
Un du abad
Ku gan aga aznan.

The full poem by Philippa Boyens is:

Durin who is Deathless
Eldest of all Fathers
Who awoke
To darkness
Beneath the mountain
Who walked alone
Through halls of stone
Durin who is Deathless
Lord of Khazad-dum
Who cleaved
The Dark
And broke
The silence
This is your light!
This is your word!
This is your glory!
The Dwarrowdelf of Khazad-dum!

Some tentative strings and brass come softly over the choir, our Fellowship moving through the ancient Dwarf city, trying to be inconspicuous. Much of the first part of the piece really establishes the dark mood of the place.

Beginning at 2:06, one of my favorite bits of the score occurs: Dwarrowdelf. The music is no longer dark and mysterious, but beautiful and uplifting, a reminder of city's "glory days." It becomes more expansive, as if it is resonating throughout the great chamber even as we listen.

But alas, soon our marveling heroes are besieged once more. At 3:18, it quickly takes on an urgent pace. The fanfares of brass are the heroes trying their best to fend off the enemy. One thing that's interesting about this track is this little sound at 3:35 -- it sounds like a shake on a flute, but it reminds me of an orcish whoop or something.

While the music is very important, the decision not to use music is equally important. I remember seeing FotR for the first time, and being surprised by the way the music just drops out when the Fellowship is fighting the orcs in the chamber of Mazarbul. Shore simply chose to let the sounds of battle do the job for him.

[Lathriel]

Every time I hear the opening notes of the second half of this track I hold my breath.

Then when it reaches its climax I give a small gasp because I can truly see the dwarven halls before me. (Just like Gimli in the movie)Because the melody speaks of glory and ancient beauty. It just breathes awe of a greatness that is gone, vanished in the passage of time. Also it is so full there is not one lone instrument but many who let their sound burst forth.

The first part of the track has the Gollum theme which strongly indicates that he is not out of the picture but is entering it to become of greater importance later.

I like it that there is no battle music for the fight with cave troll because that gives us variety and also adds to the suspence. However the music leading up to the fight does make you get ready. Brain:"Okay music is increasing in tempo, something is afoot."

[The Tennis Ball Kid]

The eye opening moment when Gandalf lights up Darrowdelf and that glorious music plays is probably my favorite moment in the score, and maybe the movie. Wow! Just wow!

Shore simply chose to let the sounds of battle do the job for him.

Actually it's probably a combination of Shore and PJ; quite often the the composer would work together with the director to decide which parts would have music and what it does.


ttbk

[Encaitare]

If there's a track on this which is effective for waking you up in the morning, this track is definitely it. It starts out with the Fellowship theme in bold brass with strings.

The time signature seems to change a lot in the beginning section, something I never really paid any attention to until now. It starts out in 4, then seems to change to 6/8 at 0:09. Then at 0:17, it switches to being in 5, like the Isengard theme.

At 1:04, the music, having grown somewhat chaotic, stops. Here comes the Balrog! The "dwarvish" choir sings:

Urus ni buzra!
Arrâs talbabi fillumâ!
Ugrûd tashniki kurdumâ!
Lu! Lu! Lu!
Urkhas tanakhi!


Fire in the deep!
Flames lick our skin!
Fear rips our heart!
No! No! No!
The demon comes!

The tension grows as they realize exactly what it is they must face, and then as they begin to run, the strings get a little frantic. Reminds me of the hobbits running back in the Shire -- except this time the one chasing them is a wee bit scarier than Farmer Maggot.

There is plenty of brassy stuff while the Fellowship runs, with the drums (drums, in the deep) and the choir, becoming more fervent as they repeat the final line -- "the demon comes!" I really like knowing that... it makes the words more than just a cool choir. Now I actually know what they're singing about, and it makes me as the listener feel stress... I can only imagine what the Fellowship is thinking!

The Fellowship theme is repeated again, a little bit of triumph before a tragedy. At 4:17, Gandalf casts down the Balrog, but he too falls at 4:37.

We then hear some low chords, and another lovely male soprano solo; words are not even needed here. All in all, a great track, full of excitement and also sadness.

[Lathriel]

This is the last time we hear the fellowship theme in a triumphant style. (In FOTR anyway)

The choir certainly cranks up the tension. I really like the story attached to it, they got a bunch of maori football players together to do the chanting. this was because all their voices were pretty low and therefore perfect for dwarvish.

Of course the vocal solo at the end is very beautiful and it suits the moment beautifully which is why I often feel my eyes brimming with tears.

[Encaitare]

The whole sound of this track is mysterious, with ghostly sorts of choirs and plenty of Eastern instruments to give it an exotic feel. The harp makes it very ethereal.

The Elves lament Gandalf's death... for a looooong time ...

Solo in Sindarin:

In gwidh ristennin,
i fae narchannen
I Lach Anor ed ardhon gwannen

Mithrandir, Mithrandir! A Randir Vithren!
Ú-reniathach i amar galen
I reniad lín ne môr, nuithannen

Chorus in Quenya

Ilfirin nairelma nauva i nauva
Ilfirin nairelma ar ullume nucuvalme
Nauva i nauva melme nóren sina nairelma


'The bonds cut,
the spirit broken
The Flame of Anor has left this World'

Mithrandir, Mithrandir, O Pilgrim Grey!
No more you will wander the world green
Your journey in darkness stopped.'


'Undying [is] our regret, [it] will be what will be [or 'What should be shall be']
Undying [is] our regret and yet we will cast all away,
[It] will be what will be, love for this land [is] our regret.'

The track ends with a French horn (I believe, could be wrong) and strings.

Let's see if we can't get some actual discussion going, huh? Here are some questions to think about: Does this piece fit your thoughts of what Elvish music would sound like? If not, what would you do differently? How does this (either the contents of the track or your own ideas) fit in with Lorien's history and people?

[The Tennis Ball Kid]

Whoops! I missed a week!

I'll do The Tottering Stairs of Khazad-dum tonight, and Lotherion over the weekend.


The rendition of the Fellowship theme that opens the track is rivaled only by the ones from The Uruk-hai and For Frodo as the most triumphant.

"the demon comes!" I really like knowing that... it makes the words more than just a cool choir.

Yes, it's almost like the dwarves it killed are warning the Fellowship to run(!).

The scene itself gets a little silly when they're on the stairs, but the music almost gives it a little credence.

You have to love the reprise of the Fellowship theme as they escape the stairs; dun dun, da da dun, da da da, da dun, da dun, dun dun....

Most of the music from this scene is released, but I'm pretty sure there's a rendition of the Balrog music, sans choir, as they cross the bridge.

The etheral oohing after Gandalf falls is just gorgeous, as is the solo, which I'm pretty sure is female BTW, of course the track cuts off before the choral piece after the solo.

All things considered, this track's a pretty good listen.


ttbk

[Encaitare]

which I'm pretty sure is female BTW

Hmm... I'm pretty sure it's a male, a young boy like we heard when Gandalf is on top of Orthanc playing with the local insect life. I've been poking about the 'Net trying to find out who it is so we can be sure once and for all, but I can't find anything yet...

[The Tennis Ball Kid]

Hmmm, this site says it's Mabel Faletolu.


ttbk

[Encaitare]

Thanks for the link... so it's a lady after all! Eeenteresting....

[Lathriel]

I think its Edward Ross, the same guy who sings In dreams.

Anyway, the first time I heard the Lothlorien track along with the movie I thought it was too dark for the movie. However, when I later discovered that it was Gandalf's Lament I understood everything.
Now I really like this track although I would have liked to see more of the elves' light side since I know they are also capable of happier songs.

[dancing spawn of ungoliant]

It's been a month since my last visit on this thread (too busy with school work) but now I finally have some time to discuss with you

At the first time when I listened to this piece on the soundtrack, I was disappointed because the atmosphere didn't match with its name: Lothlorien. But now I think the song is more about the Fellowship entering this mysterious realm and their astonishment at its grandeur. Maybe this song's feeling is quite appropriate for people living under danger and whose culture is fading.

That some kind of a string instrument at the beginning sounds very interesting, very Oriental like Encaitare said. Elizabeth Frazer's voice is somehow more "rough" than any other Elvish song's performer's. I think it's good for a lament, thogh. At 3:55 the style changes completely. It's now again all about the Fellowship and their journey. The brass instruments play a hopeful little melody which ends with a major chord. Though they've lost Gandalf, their mission still stands a chance.

[Encaitare]

As the Fellowship leaves the protection of Lorien, the music is a melancholy choir accompanied by strings. The lyrics, I was happy to learn, are from Galadriel's song "Namárië":

Ai! laurie lantar lassi súrinen,
yéni únotime ve ramar aldaron!
yéni ve linte...

Ah! like gold fall the leaves in the wind,
long years numberless as the wings of trees!
Long years like swift...

The site where I got the words gives a slightly different translation to account for the actual order of the words, sentence structure, and whatnot. I took the translation from the book, though, except for the last line since it is incomplete.

The Fellowship theme then returns, slightly variated in brass, but the lower strings provide a sense of grandeur and foreboding. As the boats pass the Argonath, the choir begins to sing once more:

Et Eärello Endorenna utúlien.
Sinome maruvan ar Hildinyar tenn' Ambar-metta!

Out of the Great Sea to Middle-earth I am come.
In this place I will abide, and my heirs, unto the ending of the world!

In the book, Frodo notes the "great power and majesty" of the Argonath, and he is filled with "awe and fear". The music demonstrates this in several ways. Firstly, it is the Ring's theme which we hear, fitting since the Siege of Barad-Dur against Sauron claimed Anarion's life, and the Ring itself eventually claimed Isildur's. Secondly, though, there still is a great sense of power surrounding these statues. The music declares force, pride, and might -- it commands.

From a technical standpoint, I really like the swelling dynamics in this second section. They rise and fall, much like water.

Thoughts? Comments? Do you think the lyrics are fitting? How does the style of the music tie in with the emotions of these scenes?