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The Lord of the Rings Symphony 2009

Composer Howard Shore's masterwork, The Lord of the Rings Symphony: Six Movements for Orchestra, Chorus and Soloists, gets it Finnish premiere with two concerts in May 2009.
The Tampere Philharmonic Orchestra takes You to a musical journey into the realm of
Middle-Earth, featuring original illustrations and storyboards by Alan Lee and John Howe with over 200 musicians and singers on stage.

Fri 1 May 2009 7 pm Tampere Hall
Sat 2 May 2009 7 pm Tampere Hall
Howard Shore: The Lord of the Rings Symphony
- Six Movements for Orchestra, Chorus and Soloists
Tampere Philharmonic Orchestra
Markus Huber, conductor
Ann De Renais, soprano
Tampere Philharmonic Choir
Boys' Choir Pirkanpojat
Produced by the Tampere Philharmonic Orchestra

Tickets 45/40/35/25 EUR for sale from the 23rd of June 2008
at Lippupiste Call Center, tel. 0600 900 900 (from abroad +358 600 900 900), Lippupiste Ticket Outlets and Tampere Hall Ticket Office (Please check the special summer opening hours here).

Critical acclaim for The Lord of the Rings Symphony

"...flawless...breathtaking...a real sonic spectacle..." - Michael Tumelty, The Herald, Glasgow UK

"Shore manages the admirable feat of summoning up a Wagnerian atmosphere without copying the original." - Alex Ross, The New Yorker

"The simplicity of the music ... is ... striking. Shore's music ... [evokes] awe, fear and hope as well as titanic conflict." - Mark Kanny, Pittsburgh Tribune-Review

"Shore's musical opus is every bit as impressive as Tolkien's literary one, standing on its own as a sweeping, operatic experience, even when liberated from the majesty of Jackson's trilogy." - Jeff Shannon, The Seattle Times

"The ‘Lord of the Rings Symphony’ is still a big success because of the power and appeal of Shore’s themes." - Barbara Zuck, Columbus Dispatch

"Brilliantly hued ... and so completely exploitive of the symphony orchestra’s potential." - John Button, The Dominion Post

"The rich combination of orchestra and choir were working magnificently…" - Gerry Maddox, Sydney Morning Herald

"The Lord of the Rings Symphony -- and the entire film score -- lies in the grand tradition of American movie music…" - Charles Ward, Houston Chronicle

"A two-hour distillation of the much longer ‘Lord of the Rings’ soundtrack, Shore's six-movement symphony is a complex, ingeniously evocative work rivaling Wagner operas in the manipulation of readily identifiable motifs pegged to certain characters, emotions and events. No one who has seen even one of the films could fail to recognize its major themes." - Plain Dealer [Cleveland]

Links

Composer Howard Shore and The Lord of the Rings Symphony
Howard Shore Official Homepage

Columbia Artists Management The Lord of the Rings Symphony page
The Lord of the Rings Symphony

Website for Tolkien and The Lord of the Rings fans
TheOneRing.net

The Tolkien Society
The Tolkien Society homepage
Source: http://www.tampere.fi/english/philharmonic/concerts/lotrsengl09.html

Rivendell

Amazing Lord of the Rings book facts

• The Lord of the Rings was released on 29 July 1954

• JRR Tolkien sold the film rights to the books in 1969 for only Ј10,000

• The whole book is normally more than 1,000 pages

• 100 million copies of the books have been sold around the world

• It has been translated into 40 languages

• Tolkien made up 37 new languages for the 34 books he wrote

• The three books took 11 years to write

• The average height of a hobbit is 1.05m

• A hobbit's favourite snack is fresh mushrooms

• Tom Bombadil is the biggest character in the book who is not in the films

Source http://news.bbc.co.uk/cbbcnews/hi/tv_film/newsid_1703000/1703736.stm

Amazing Lord of the Rings film facts

Check out these amazing Lord of the Rings film facts!

• Filming took place in New Zealand.

• Director Peter Jackson took 18 months to film all three adaptations of The Lord of the Rings. You can expect the second one to hit UK screens next December.

• 1,600 pairs of rubber ears and feet were used.

• 5,000 cubic metres of vegetables and flowers were grown a year before the filming started to make Hobbiton - the village where some of the Hobbits live.

• 250 horses were used. 70 of these were specially trained, including five miniature horses used for the hobbits.

• A lot of the sets were carved out of polystyrene, to make them look like wood which had aged over thousands of years.
• 64 miniature sets were used to create places such as the Land of the Dwarves and Khazad-Dum.

• The character Gollum was completely computer- generated.

• Over Ј50,000 of coffee was drunk by the crew and cast during the 18 months of filming!

• Nearly all nine actors of 'The Fellowship' had a tattoo done of the word 'Nine' in Elvish to mark the close bonds they built up during 18 months filming together - though none of them will allow photos taken of the tattoos! Dominic Monaghan (who plays Merry) confirmed this by secretly showing his tattoo to our team. He added that John Rhys-Davies chose not to. His stunt double Bret had one instead.

Source: http://news.bbc.co.uk/cbbcnews/hi/tv_film/newsid_1703000/1703823.stm

The Music of Middle Earth - an Analysis on the Use of Music in the Film: "the Lord of the Rings: the Fellowship of the Ring"

The Lord of the Rings: The Fellowship of the Ring was the first movie in the Lord of the Rings Trilogy, based on the popular fantasy books written by J.R. R. Tolkein. The movie was a blockbuster hit at both the box office and at the Oscars. The story, in and of itself, is creative, captivating and magical. But even a wonderful story can flop when put onto the big screen. Cinematography, special effects, visual effects and the quality of acting all play an important part in making a story “live” for an audience. Music also plays a vital part in making a movie successful. Music can make us feel that we are in another place and time. It captures our emotions by creating an ambiance of happiness, sadness, tension, fear or excitement. Music helps suspend our disbelief about the fantasy of the story. It helps us identify with distinct characters, places and cultures. The music of The Lord of the Rings: The Fellowship of the Ring, does all of these things. Through music, composer Howard Shore successfully takes us to Middle Earth.

The Lord of the Rings: The Fellowship of the Ring takes us to another time and place. Howard Shore’s music tells us that we have left our world before we’ve seen even the first frame of the film. As the screen fades from black into the New Line Cinema icon, we hear music. The music has an Eastern sound, using woodwind instruments from Africa and East India. The sound is quaint and mysterious. It gives us the feeling of being in a far away land and contributes to the suspension of disbelief that helps the audience subconsciously consent to be taken to a place with which they are not familiar.

The mystical music that we hear during the first few moments of the film is soon joined by a voice – the voice of the Elf queen Galadriel, of Lothlorien. This music that we hear is the theme of Lothlorien. Every time that we see or hear of Lothlorien or Galadriel, we hear a version of this theme.

Peter Jackson, director of The Lord of the Rings: The Fellowship of the Ring, understood the importance of a musical score in a movie. He said, "The music score to any film, obviously, is very important because it guides your emotions when you're watching the film. The actors can do their job, the director can do (his) job in terms of creating a certain mood and emotion, but using music is so strong and evoking of what you should be feeling at any given time."

Jackson continued, "I wanted the music (of The Lord of the Rings: The Fellowship of the Ring) to reflect Tolkien. I wanted the music to also bring the world of Middle Earth to life."

Howard Shore the composer said, "Tolkien spent fourteen years writing The Lord of the Rings. And now you're writing a musical image, creating a musical mirror, if you will, to his writing. And I mention this so often - even in other discussions - and I feel like Frodo. I did feel like that. Like I have this amazing journey to take, and I had the ring in my vest pocket and 'You were chosen, now you're going to write the music to Lord of the Rings. And, you have to do it."

Peter Jackson added this regarding the huge task that Howard Shore had in composing the music for the The Lord of the Rings: The Fellowship of the Ring, "It's doing two jobs at once. It's underscoring the film. It's providing an emotional link - a bridge between the movie and the audience - and it's drawing the audience in. But it's doing it in such a way that it's also telling you a lot about the cultures of this world."

Therefore, every major place, race and character in this movie has a musical theme attached to it. This film has a large number of characters, cultures and races. The distinct races, geography, trees, nature, and the earth itself were a big part of Tolkein’s story. It would have been very easy for the audience to become confused trying to distinguish between the many peoples and places of Middle Earth. Giving each of these elements a musical theme makes them live as individual characters, all contributing to the essence of Middle Earth.

The Shire, for example, is the place where the Hobbits live. The Hobbits are a peaceful people and they live a quiet life. Any sort of adventure is a scandal. They are an agrarian society and live as part of the land. Even their homes are burrows in the ground. Howard Shore uses music to “describe” Hobbits and the Shire to the audience. Their theme is very light and cheerful. A slide flute accompanied by a full orchestra give a Celtic or Irish feel. This accomplishes the feeling of another time, but brings the audience a little closer to home and gives a feeling of comfort. A solo violin carries the melody for a while until the full string section finishes the theme, but whenever the Shire is mentioned or referred to in the movie the score refers us back to the slide flute.

The Fellowship, made up of people and creatures from different races, has its own distinct theme. “As the two Hobbits leave Hobbiton and set out on their own, you hear the first statement of the Fellowship theme in the corn field, because it's essentially the first time that the Fellowship is formed," said Mr. Shore.

When the four Hobbits are on their way to the village of Bree, they are running from the “Nasgul”, or Ring Wraiths. There is very little dialogue during this scene. Our emotions are heightened and we feel the tension of the moment through the musical score. This is accomplished largely through dissonance. Our ears like to hear nice chords. Notes that are close to each other in value sound terrible to us. In the theme of the Ring Wraiths, the chords that clash are used to make us to feel uncomfortable. The movie makers want us to squirm in our seats. They want us to feel fear. The French horns are playing staccato quarter and eighth notes in a building rhythm while the strings are on descending eighth notes that continually clash. Add a men’s choir chanting an Elvish poem and it makes for a very confusing and intense moment.

Then while in the village of Bree, the Hobbits think that they are finally safe. We see images of them sleeping in their beds smiling. The scene then cuts to the Ring Wraiths coming into the village. The dissonant music becomes louder. Cut to the inn keeper’s face in horror as the Wraiths enter his inn. Cut to the peaceful Hobbits in their beds. All the while, dissonant and ancient sounding music is playing loudly. Then silence. As the Wraiths approach the Hobbits in their beds there is silence. This adds to the tension. We hold our breaths. This is a stroke of genius. Knowing when to not have music, or score, is just as important as knowing when to include it.

As soon as the Wraiths discover that they were tricked, however, the angry dissonant Wraith theme returns with a fury to remind us how serious the situation is. Even though the Hobbits are safe for the moment, they will never really be secure or free until they have accomplished their goal. The music reinforces this to the audience, as a version of the Wraith theme plays softer while Frodo watches the Wraiths from across the street from the Inn.

The Ring itself has an interesting theme. The Ring, though an inanimate object, is a character of its own. Its essence is evil and its intent is to deceive and enslave. The theme of the Ring portrays all of that through instrumentation and dissonance. It is appropriate that the main instrument used for the theme of the Ring is the oboe. The oboe is the instrument used to charm a snake out of a basket. It is also often associated with seduction, or allure. The ring certainly personifies that. Frodo, Bilbo, Gollum and many others were seduced, even addicted, to the Ring.

The wizard, Gandalf, goes to visit his superior and mentor, Sauraman, at the tower of Isengard. We believe at first that Sauraman is still a friend to Gandalf.

Once the story reveals that Sauraman has turned to the side of darkness, the musical theme, as well, “tells” us that the tower of Isengard is a place of evil. Howard Shore uses several methods to give that feeling. Dissonance is used to portray a feeling of uneasiness or apprehension.

Also, during the musical theme for the Tower of Isengard, Howard Shore uses an odd way of timing so that we feel off balance. Anytime that we see the tower of Isengard and the forging of weapons, Mr. Shore adds a beat to throw us off and make us feel uncomfortable. We are used to hearing music in common time (or four-four time), with four beats to each measure, and that feels right to us. The industrial sounding theme uses a five-four time which makes us uncomfortable by adding an extra beat to each measure. Also, French horns are used for the main melody, but Howard Shore also relies on the bass drum, tympani and a chime or bell to give the effect of a hammer pounding away down in the depths of the caverns underneath the tower.

Rivendell, a city of the Elves, has a theme of its own. This is a western haven for the Elves. We feel the peace and the beauty of the city, as well as its antiquity, through the music. This is quite different from the theme of Lothlorien. We are made to feel comfortable here at this place.

When the Fellowship leaves Rivendell and sets out on its journey, the theme of the Fellowship is fully revealed. The theme is naturally lyrical, aimed at the brass, but is restrained by a fully mixed and realized string section. The music is heroic and we feel the importance of their quest. We are excited and proud of them for making the decision to destroy the Ring and save Middle Earth.

Later, the Fellowship takes refuge in the Mines of Moria, only to discover that they are trapped inside a Dwarf “tomb”. The theme music of the Mines of Moria features a men’s chorus made up of Polynesian men. Peter Jackson had this to say about the music for the mines of Moria. "We sat around our kitchen table at home talking about the choral arrangement ideas for Moria and I thought it would be really great to weight it fairly heavily toward Polynesian singers. Maury or Pacific Islanders who have again, another worldly quality to their voice."

"Mines being a Dwarven kingdom would really suit having those male voices. A bit like a Welch mining choir. So, Howard found himself in the town hall with an all-Polynesian male choir."

At the bridge of Khaza-Dhum, the Fellowship is chased by the Moria Orcs. The Polynesian men’s choir and the tympani drums heighten the tension and excitement of the scene. The members of the Fellowship cross the bridge, but Gandalf stays behind to fight the Balrog. The music crescendos to an all-time forte until Gandalf falls from the bridge. Then very suddenly, the music goes into a very soft and melodic hum with just a single boy singing, lamenting for Gandalf. Under this beautiful theme, the camera shows a montage of the members of the Fellowship reacting to the loss of Gandalf. We see the characters faces and expressions of grief, but it is the music that makes us feel with them. The music “guides” our emotions and we feel as they do.

Later, when the Fellowship enters the forest of Lothlorien, we again hear the theme that was introduced at the beginning of the movie. There is also a twist of tension and mystery to this theme. As the Fellowship creeps through the forest, we sense through the music that they are wary of being in this land of the Elves. We sense that they fear that they will not be welcome.

In Lothlorien, when Boromir speaks of his home in Gondor, we hear a very brief part of the theme of Gondor, offered by a solo French horn, foreshadowing a people that we have not yet seen. The full theme of Gondor, however, is not revealed until the third part of the trilogy.

Critics of the music in The Lord of the Rings: The Fellowship of the Ring say that there is just too much music. This simply is not true. This film was successful largely because of the comprehensive score. The extensive music in this film augments what is happening on the screen and enhances the experience for the audience. At every important moment in this film, the music is there to “guide” the audience emotionally. The music also helpes suspend our disbelief in a world that might otherwise seem ridiculous and surreal.

This film has an extensive number of characters, places, cultures and races. It would have been very easy for the audience to become confused. Howard Shore uses music to help the audience distinguish between the different groups and places by giving them their own distinctive themes.

Through the musical score, we know what to feel. We feel fear when the Hobbits are on their way to Bree. We feel sadness when Gandalf falls. We feel tension when Arwen is trying to get Frodo to Rivendell. We celebrate when the Fellowship sets out on their incredible journey. We understand the emotions of the characters and we feel with them. We become part of Middle Earth. And the musical score of The Lord of the Rings: The Fellowship of the Ring helps take us there.

About the Author:
Stuart Heimdal is an inspiring movie director and producer. Over the last few years he has also been a movie editor.
Stuart composes and orchestrates most of his own music. To view Stuart's works, please log onto: http://www.stuartheimdal.com

Personally I very much love music which Howard Shore have written . Long time I waited the fullest selection of soundtracks.

Hobbits Becoming More Human

A new study suggests that the hobbits, a diminutive people whose remains were found on the Indonesian island of Flores in 2003 and 2004, were real humans after all. They were originally classified as Homo floresiensis, a species distinct from Homo sapiens but the dispute about their status has never abated.

Named after J. R. R. Tolkien’s Middle-Earth heroes, they became known all over the world after scientific journals published a drawing by Peter Schouten that describes a tiny ape-like man carrying a furry animal on his shoulder.

Many researchers think that the hobbits’ small stature (one meter or just over three feet) and small head were the result of microcephaly, a neurological disorder that still causes some individuals to have an abnormally small head. They maintain that it is not justified to classify them as a distinct species. For instance, in 2006 Pennsylvania State University published a study stating that the small head of Homo floresiensis was due to microcephaly.

As reported by ScienceNow, a new study conducted by Peter Obendorf and Benjamin Kefford of the RMIT University of Melbourne and Charles Oxnard of the University of Western Australia at Crawley concluded that the small stature of the Homo floresiensis was not the result of genetic defects. The study, published in the journal Proceedings of the Royal Society B, suggests that the hobbits’ size was caused by a condition known as cretinism. This is due to a lack of iodine. Comparing the pituitary flossa in a hobbit skull with individuals suffering from cretinism, they found a significant match and thus suggested a new theory.

The remains of twelve hobbits were originally found in a cave in Liang Bua. Obendorf stated that it is an area where people still suffer from goiters that results from iodine deficiency. The new study even mentions that local myths include stories of tiny people who lived in caves.

While it may be too early to discard the microcephaly hypothesis altogether, the case for hobbits being real humans is much stronger than before. We should probably do well to forget the image of an ape-like man carrying a furry animal on his shoulder and start describing hobbits as real people. It seems that the distinction between hobbits and humans is found only in Tolkien’s Midde-Earth but not on this earth.

About the Author: Joel Kontinen

I am a translator and novelist currently living in Finland. I have an MA in translation studies and a BA in Bible and theology. I like to keep up-to-date with science and origins issues and write about them in my blogs.
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