It is in essence an extremely sad mutation of Rivendell’s theme and is heard when we see Arwen grieving over Aragorn’s future death. “Evenstar,” the first of three tracks with solo vocalist, of course supplements Arwen. The track turns suspenseful with dissonant strings as Frodo and Sam barely avoid capture when they use the Elven cloak to camouflage themselves. Shore ports the huge brass representing the Mordor motif into “The Black Gate is Closed,” conveying the hopelessness of penetrating that black wall. It changes for the glorious, at the beginning of “The White Rider,” as Grima realizes his fatal mistake when the wizard reveals his staff, with the chorus chants marking the triumph of Gandalf the White as Saruman is expelled from King Theoden. Accompanying Gandalf’s entrance into Theoden’s hall, the cue soon turns dark with deathly low bass notes marking the presence of the sinister Grima Wormtongue. “The King of the Golden Hall” begins as a reworking of the Rohan theme, but it soon evolves into something much more exciting. The Rohan theme, the main new theme of the Two Towers score, is naturally also heard in this track, featuring horn fanfare as well as a solo from a Norwegian fiddle called a Hardinger. The beginning of this cue, consisting of primarily agonized strings, is a motif which associates itself with the character of the Gandalf the White, because it next appears when the wizard rides away from Edoras. The next cue accompanies the flight of Gandalf and company to Edoras soon after they are reunited in Fangorn Forest. The first is heard during the appearance of Eomer and his horsemen, the beginning of which is strangely marked by a variation of the Nazgul motif. The next track, “Riders of Rohan,” comprises several different cues. The remainder of the track is an action cue during which Gollum is captured, with frantic strings reminiscent of Fellowship’s “Journey in the Dark,” which is heard in the Mines of Moria fight sequence. Gollum’s theme is introduced in this track, but it is quite subtle and really consists of only a few very short conjoined motifs, being played in the background for the majority of the score. “The Taming of Smeagol” is heard in the film immediately thereafter, beginning with the themes representing Frodo and the Shire, and continuing with a light sequence of chorus, when the two Hobbits realize they are lost in Mordor. A bit of reused material from Fellowship’s “The Bridge of Khazad-Dum” naturally sounds as the Bridge is revisited, bursting with massive percussion, and then with the same instrumentation and male choral voices, the cue’s huge volume perfectly supplements the opening fight between Gandalf and the Balrog. The cue then morphs into a triumphant iteration as we move over and about the mountains above Moria. With the viewers waiting anxiously for the film to begin, Shore immediately quenches their thirst with “Foundations of Stone,” which begins with introductory strings and low brass, followed by the familiar Ring of Power theme during the title sequence. In the Two Towers composition, Shore maintained existing music from the first act, while creating more complex, lyrical material to complement the different characters of the broken fellowship. Howard Shore, who won an Oscar for his Fellowship of the Ring score, used mostly loud, extravagant themes in that award-winning work, which well suited the majestic fantasy setting of Middle-Earth. With that said, I’m not sure how much people usually pay attention to the music while watching a film, but it is a central ingredient to the picture, especially in the Lord of the Rings. If you haven’t, then I very much doubt that you care about the soundtrack.
The Lord of the Rings: The Two Towers SoundtrackĬomposed, Orchestrated, and Conducted by Howard Shoreīy now, it is safe to assume that you have experienced the wonder that is The Two Towers. CD REVIEW Two Towers Soundtrack Complements Film Yet Howard Shore’s Score Cannot Stand Alone By Kevin G.
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