In fact, the leitmotif was originally intended to “be all over the place” in Fellowship, but was reworked into the main theme of Return of the King. Another iteration, which can be heard on The Rarities Archive, a companion CD to Adams’s book, prominently featured the “Realm of Gondor” theme when the armies of men and elves first marched against Mordor. Adams describes one opening that threw viewers into the story right away with no narration, accompanied by a more traditional composition (akin to the first track of the condensed soundtrack released in 2001 alongside Fellowship). Early on, the filmmakers developed a number of different openings for which Shore composed original music.
“The prologue sequence proved a rather tough nut to crack,” says musicologist Doug Adams, author of The Music of the Lord of the Rings Films, who was chosen by Shore to document the creation of the soundtrack. The age and history of the instrument make it a fit to open Peter Jackson’s Fellowship, but the first scene nearly looked - and sounded - very different. And like the One Ring, it represents bygone knowledge from our distant past that’s almost, but not quite, lost. In the first measure of Howard Shore’s score, this obscure instrument sets the emotional tone for the trilogy, and the literal tone for the nearly 11 hours of music that follow.įor thousands of years, the monochord has been used for tuning, science, and healing.
The dissonant rumble comes from a monochord, played by the late multi-instrumentalist and composer Sonia Slany. Tolkien’s fictional language of Sindarin, and Cate Blanchett launches into her narration, viewers hear an ominous drone.
Just before a choir sings “Footsteps of Doom” in J.R.R. So each Wednesday throughout the year, we'll go there and back again, examining how and why the films have endured as modern classics. 2021 marks The Lord of the Rings movies' 20th anniversary, and we couldn't imagine exploring the trilogy in just one story.
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