The New Zealand public has essentially lost access to Wellington’s Town Hall while the New Zealand Symphony Orchestra records the score for the second Hobbit movie.

The orchestra last month cancelled its Heights of Passion tour to free up time to record the score.

In a public notice today, Wellington City Council announced ”strict security” was in place at the Town Hall from now until the end of next month while the orchestra records the film score.

There will be no public access during this time, the notice said.

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He writes:

I still can’t answer many Hobbit questions, but for the time being, feel free to post them here and I’ll do the best I can!

I haven’t had time to scan the entire thread, but here are a couple of interesting snippets.

leitmotifs don’t always merely echo what’s on the screen. (Or in opera, what’s on the stage.) Sometimes they’re providing additional information — foreshadowing, plot threads, subtexts, etc. It’s always worth bearing this in mind. After all, what is dramatic music accomplishing if it’s limited to a strict redundancy of what’s already meeting the eye?

Question: While we are at it – what meaning does the Ringwraith theme have in TH: AUJ finale?

Nice try!

The implication — although Adams cannot say — seems to be that there is some string of relevance between Azog and the Nazgul.

Yes, there was less choral work in AUJ than in the LOTR films, but I think that has much to do with its distinct tone.

Question: Is it possible anything from the theatrical edition music will be changed for the extended cut. For instance in FOTR, Frodo’s run down to Gandalf at the beginning is muted in original while it has music in the EE. Or will any of the music already in the film for parts, be altered? I’ll say it upfront: I’m guessing you can’t answer.

Good guess. You’ll see in a few weeks/months why I had to sign so many NDAs for the EE.

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Like the dwarves of Erebor, the Celts were a group of people renowned for their warriors who were forced to flee their mountainous homeland in the east due to unknown strife around 1600 BCE (the Bronze Age). Spilling into Europe, the Celts wandered for generations, making their way west to the British Isles. It is worth noting that the term “Celts” applies to several groups of un-unified peoples who, much like the dwarves, were prone to both fighting against each other and in turn, banding together to unite against a common enemy, such as the Roman legions.

When comparing the Celts to dwarves, it is important to focus on one of the northern tribes (in modern Scotland): the Picts. They were given their name by the Romans, who found the animal shapes and designs they painted on their bodies with blue woad to be curious pictures. The Celts were also in the habit of shaping their hair before battle – using a mixture of lime and urine as a sort of styling clay that caked white onto their tresses and made their hair stand on end. For a cinematic example of these ancient warriors, check out the trailer for Kevin MacDonald’s adaptation of The Eagle (2011).

The Eagle (2011)

If the interviews with Billy Connolly from last summer are still accurate, then we can expect Dáin Ironfoot to “have a Mohawk and tattoos on my head…I arrive riding a wild pig.” Sound familiar?

It should also be noted that as a Scot, Connolly himself is a Celt. In fact, many of the actors portraying dwarves in The Hobbit are of Celtic descent, and several were allowed to keep their respective accents. James Nesbit’s Bofur speaks in his Northern Irish brogue, and Graham McTavish’ Dwalin (who also bears war-paint like tattoos) sounds like the Scot he is. Aidan Turner, Kili, is an Irishman, Dean O’Gorman, playing his brother Fili, is a Kiwi of Irish descent, and Ken Stott (Balin) is another Scotsman.

As an interesting side note, belonging to the Order of Fili (wisemen and poets) was required for a warrior to enter Ireland’s elite Fenian ranks. Kili, similarly, could be argued as an alternate spelling/pronunciation of the common Irish surname Kelly, which means warrior (and is coincidentally why I was given my TORn nickname, since it is my birth name).  Naming the two youngest of Durin’s heirs names that invoke a warrior heritage makes sense, however, it is unknown if Tolkien was aware of these linguistic connections.

Any listener of The Hobbit: The Unexpected Journey Special Edition soundtrack will know that the track “Erebor” begins with a proud bagpipe solo: a clear nod to the Scottish. Artist John Howe makes several references to Celtic inspiration in the first Hobbit Chronicles book, citing references to both Kili’s flip knife and Ori’s board game as being based on Celtic artifacts.

Even Celtic dress sounds similar to that of the dwarves: “In terms of clothing, the Celtic women wore a simple long garment with a cloak. The men wore trousers (sometimes knee length), a sleeved tunic reaching the thigh, a cloak, and sandals or boots. A metal piece of jewelry for around the neck called a torc (torques) was quite popular. Clothing dyed in bright colors was common. Men wore droopy mustaches, sometimes beards, and often long hair, all of this in contrast to the contemporary Romans.”

An artist’s rendition of male Celtic dress

However, the Celtic link to the dwarves in Tolkien’s writing isn’t as obvious as the Nordic influences, so why did the filmmakers take this route?

The easy answer is because it hasn’t been done yet. None of the races previously explored in Jackson’s Middle-earth had a Celtic slant, and identifying the dwarves with the proud warriors of the Celts distinguishes them as a race and culture apart from the rest, especially where the Picts are concerned.

The dwarves are from the north, just as Scotland is north of England, the nation that is conceivably Tolkien’s main inspiration for Middle-earth. More than any other race, Tolkien’s dwarves link their existence with the mountains, very much like Highlanders. Also like the Highlanders, Dáin and his people are renowned for their endurance, running for days to come to Thorin’s aid.

Similarly to the Dwarves, the land of the Picts was under constant threat. While such a military force may seem unimpressive by today’s standards, imagine yourself back at the dawn of the Common Era when the world was a much quieter place. The roar of a Roman cavalry charge echoing across the land like earthen thunder would have been much like the advance of Smaug. The armor of the legionnaires glinted in the sunlight like so many serpentine scales. Such a monstrous force was hitherto unknown to the indigenous Britons and was, understandably, often likened to a dragon.

Smaug the Terrible is very much a metaphor for warfare and greed. Just as the Roman invaders laid waste to villages and scattered tribal peoples, so did the dragon. The Romans modified Britain’s landscape and scoured the land for natural resources, just as Smaug scorched the earth and hoarded the treasure of the dwarves.

Scotland in the Roman era

The Picts, like Durin’s folk, stood strong against the Roman dragon and slaughtered entire legions and then some. Unable to subdue the northern tribes, Emperor Hadrian began construction on a massive wall to keep the tribes out of the fertile lands of England in 122 CE. This wall is known as Hadrian’s Wall and its remnants remain near the modern Scottish-English border. Had the dwarves ever turned on the race of Men, such a measure would have probably been taken!

Ruins of Hadrian’s Wall

Tolkien would have been well-aware of this history, and in fact, even his beloved Anglo-Saxons found the Celts to be formidable opponents. The Icelandic sagas written in the 13th century warn their people not to go to Scotland if they wished to live. One Scot in the saga, said to be Grjotgard, a kinsman of Melkolf (the king of Scotland), was quoted as saying to the Saxons: “You have two choices. You can go ashore and we will take all your property, or we’ll attack you and kill every man we lay our hands on.”

Given that the tale survives, it’s not difficult to tell which option the Icelandic warriors chose. It also isn’t difficult to imagine Thorin Oakenshield issuing such an ultimatum to invaders.

We must await the next two films to see what further Celtic traits will be shown through the dwarves. But as a Celt myself, I applaud Jackson and Weta’s decision to explore a facet of British culture that was previously understated in Tolkien.

Staffer Kili is one-half of the TORn Happy Hobbit crew. The views and opinions presented in this article are her own, and do not necessarily represent those of TheOneRing.net or its staff.

The orchestra, via its website, has apologised to those who bought tickets to the Heights of Passion tour that was scheduled to start in Wellington on September 20.

It was then scheduled to go to Christchurch, Hamilton, and Auckland.

Full refunds have been offered to those who have already bought tickets.

Instead, the orchestra will be recording the score for The Hobbit: The Desolation of Smaug, Sir Peter Jackson’s second instalment in the Hobbit trilogy.

It will be recorded in the Wellington Town Hall, starting next month.

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Voting is now open and will remain open till 11:59pm Monday (UK time).  Click here to register your vote!

The NZSO will record the soundtrack to The Hobbit: The Desolation of Smaug in Wellington Town Hall, most probably in September, before the century-old venue undergoes $43.7 million of earthquake strengthening.

The orchestra will work with Oscar-winning Canadian composer Howard Shore.

“The very first music ever recorded for Howard Shore’s magnificent score for The Lord of the Rings was done here, in Wellington, back in 2001 in the town hall,” said Sir Peter. “The piece, written for the Fellowship’s journey into the Mines of Moria, was beautifully performed by the New Zealand Symphony Orchestra and showcased the exceptional acoustics of this over 100-year-old building.”

Music for the first film, The Hobbit: An Unexpected Journey, was mostly recorded overseas, including a contribution from the London Philharmonic Orchestra. The soundtrack made the top 10 charts in the United States.

NZSO chief executive Christopher Blake said the orchestra was looking forward to performing the music. “It’s wonderful to have our national orchestra involved in this iconic New Zealand film.

“It means our music will be enjoyed by literally millions of people worldwide, and it is further recognition of our world-class standards of performance, and of New Zealand’s international standing in the film industry.”

Mr Blake said the NZSO had considerable experience and skills in recording film soundtracks. “Recording film soundtracks requires particular focus and efficiency – our musicians have to play to the highest levels and often under significant time pressures.

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Man sí minna? Man ammen toltha i dann hen Amarth?
I anann darthant dam morn, si dannatha.

A little more than a decade ago, these very words drew us into the world of Middle-earth even as a woman in her deep voice began narrating the tale of its history with the unforgettable words “The world has changed. I feel it in the water, I feel it in the earth, I smell it in the air…”

Voiced by Miriam Stockley, a vocalist hailing from Johannesburg, South Africa, the text entitled “The Footsteps Of Doom” speaks to the theme of Galadriel facing her ultimate temptation and her choice that would determine the eventual fate of Lothlórien, and Middle-earth:

Who enters here? Who brings to us this token of Doom?
That which has stood so long against the darkness will now fall.

QUESTION I

It’s been said that when Peter Jackson set out to work with Howard Shore on the music for The Lord of the Rings, he desired to have a cast of featured vocalists for the songs that would be sung during significant events in the films.

How did you get involved in The Fellowship of the Ring?

MIRIAM STOCKLEY 

I was originally booked by the leader of The London Voices, Jenny O’Grady, to sing soprano’s / mezzo soprano’s as part of the chorus. I have known Jenny for many years and had worked with her on many films in the past. We were told that the Tolkien series Lord of the Rings was being filmed and that was all we knew. As I recall, there were multiple choral sessions booked at Air Lyndhurst Studios.

QUESTION II

The lyrics of “The Footsteps of Doom” were adapted by Philippa Boyens and translated into Sindarin by David Salo. Did you have any interaction with Philippa or with any language coaches while working on the song?

MIRIAM STOCKLEY

It was all pretty mysterious. I was asked to come back to the studios to sing a solo part – I had no idea what they wanted me to do.

I was given some sheet music – probably written by Howard Shore, and I was told that I was going to sing in Elvish. I practiced the pronunciation a few times, I was corrected a couple of times by a voice in the control room, I recorded my bit, came into the control room to hear the playback, and then left the studio.

QUESTION III

The melody used for “The Footsteps of Doom” is the “Lothlorien” theme, a motif that Howard Shore imbued with an Eastern flavour and backed with exotic African instruments.

Did your South African roots influence the way you approached this piece?

MIRIAM STOCKLEY

No, not really. I sang in more of a Celtic, ethereal style as opposed to my African chanting style (that is also synonymous with my Adiemus recordings). I believe that Howard was familiar with my solo work and he thought that my sound would suit the piece.

QUESTION IV

You were joined with The London Voices on this song. How did this collaboration work?

MIRIAM STOCKLEY

As I’d mentioned earlier, I had, as part of the London Voices choir, previously laid down all the choral tracks. I was asked to come back to the studio to sing a solo.

QUESTION V

Could you tell us a bit about the process of rehearsing and recording the song?

MIRIAM STOCKLEY

As I had been a professional session singer for many years, I was used to coming into a studio, picking up a piece of music, singing it through once or twice, then going for a take. This was no real exception, except for the fact that it was a foreign language – and one with which I was not familiar.

I had sung in French, German, Spanish, Afrikaans, Zulu and even Mandarin, but this was a very flowing language, very easy to pronounce and to sing to music, so it did not take me very long to record.

QUESTION VI

Besides your solo piece for The Fellowship of the Ring, you also sang as part of The London Voices on the score for all three films.

What was your experience like working on The Lord of the Rings films?

MIRIAM STOCKLEY

I was fortunate enough during my long career as a British session singer, to sing on many film scores such as Braveheart, Evita, Moulin Rouge and the Star Wars Trilogy – to name but a few.

I used to be one of the contractors who booked choirs for these big films and I also worked for other contractors purely as a singer – ether in a solo capacity or as part of the choir.

I got to work with some pretty amazing producers and arrangers and Howard Shore was one of my favorite composers. His scores were a dream to sing and the choir sounded phenomenal during the Lord of the Rings sessions, which were recorded at Air Lyndhurst studios. Howard was lovely to work for and extremely appreciative and complimentary.

We all knew that the Fellowship of the Ring was going to smash all box office records and we were a part of this history in the making.

Thanks to Miriam for sharing her experience of working on these films even after the passing of so many years.

For sound clips of Miriam’s solo piece and other related soundtrack information, visit The Miriam Stockley Interview.

Later in the talk, Finn also speaks specifically goes into the process of writing “Song of the Lonely Mountain” (it’s in response to a question from the audience, at about 1:08 into the video) Finn even mentions he was trying to “work in some Dwarven language…but wasn’t very successful…”

[Watch Neil Finn's talk]

Today, the soundtrack for the first Hobbit film has become available in a two disc set. While it will probably take me months to truly appreciate it, here are my track by track thoughts today.

Disc 1

My Dear Frodo (8:04)

Reminiscent of “Days of the Ring” from The Return of the King, this track has lush strings leading us into the memorable Shire themes. It’s like we never let Middle-earth, or that we’re returning to its sanctity, akin to slipping on favorite, old pair of shoes. Then (after a repetitive triangle ding of all things) it gets darker to set the mood for the whole film, serving almost as an overture.

Old Friends (4:29)

This, again, takes us back to The Lord of the Rings, sounding very much like the music that backs Bilbo’s narration in the extended edition of The Fellowship of the Ring, At the same time, there are variations, reminding us that these are new adventures. The friendly, homey hobbit theme is in full force, but like the previous track, it turns darker before the end.

An Unexpected Party (3:52)

“Like and yet unlike” as Gimli might say. This one is dark and different – with unexpected starts and stops. Yet it fits right into the musical universe Shore created for The Lord of the Rings. In the second half of the piece, Shore plays around with a 3/4 chromatic theme, like a medieval dance song – which will reappear throughout the soundtrack.

Axe or Sword (5:59)

This one reminds me of the music in Moria as Gandalf talks with Frodo about Gollum. It’s not the same theme, but it’s a slower number that combines light and darkness in a similar way to fill the soul with a longing to see the wonders of Middle-earth.

Misty Mountains (1:43)

A standout to be sure. Richard Armitage and the Dwarves are great, and the tune is out of this world, being deep, dark, and majestic and expressing an importance that’s moving. Tolkien would have been proud. The song sells the whole point of the film, setting up the deep meaning the quest holds for Thorin. It’s just so… Dwarvish. This will probably be remembered as the signature song for The Unexpected Journey. The song’s melody is a cornerstone to the Hobbit soundtrack, reappearing throughout.

The Adventure Beings (2:05)

This one has a beginning that sounds similar to the music that follows Aragorn’s tumble over the cliff in The Two Towers – when Legolas and Gimli are looking for him. Then it spills into a quick uptempo frolicking number reminiscent of when Sam and Frodo run into Merry and Pippin in Farmer Maggot’s field. It’s easy to imagine what’s going on in the film here. An unexpected journey to be sure!

The World Ahead (2:20)

Bright and cheery, this track is like seeing the world for the first time, full of innocence and happiness, with strings, brass, and woodwinds trading the spotlight. It continues to play with that chromatic theme before working its way into the “Misty Mountain” theme.

An Ancient Enemy (4:58)

With its high strings, percussion, and choir (and 5/4 time) this one is sure to bring back memories of The Fellowship of the Ring. This is one of those dark, evil pieces sure to scare the kiddies. It even has a hint of that descending third motif that Sauron loves so much. It’s reminiscent of Weathertop and Isengard… as if the two had a child.

Radagast the Brown (4:55)

Like Bilbo’s song (from the closing credits of The Return of the King), this one uses a children’s choir to deliver a sweet melody. Unlike Bilbo’s song, it has a demented side (and a bit of a jig). Once it gets going, it moves swiftly and is full of rhythm, including an ascending motif and what almost sounds like a ticking clock.

Roast Mutton (4:03)

Beginning with tremolo and then adding pizzacato, this suspenseful piece will remind you of the music from The Return of the King as Pippin is trying to light the beacon! It has a different theme but the same mischievous smile to its phrasing as it builds up the suspense – like the beginning of “In the Hall of the Mountain King”.

A Troll-hoard (2:39)

Just a mood setting piece, this one is dark and ominous but not really noteworthy, lacking a soaring melody to take center stage – probably on purpose.

The Hill of Sorcery (3:51)

This has a bit of “I wish the Ring had never come to me” music to it before reprising Radagast’s theme. It’s quite a percussive little piece, building suspense with a dark tone.

Warg-scouts (3:02)

As opposed to Radagast’s ascending theme, the evil forces have a descending theme, backed by a quick beat, plenty of high strings and percussion. This track is certainly an action piece, full of suspense and thrills!

Disc 2:

The Hidden Valley (3:52)

This one begins somewhat similar to the music in the background when Aragorn is looking at the entrance to the Paths of the Dead. There’s a timeless or ancient quality to it that demands respect but simultaneously creates a feeling of unease. And then we get that familiar Rivendell music in all its glory! (Brings a tear to my eye.) The piece ends with an uptempo march with ascending strings.

Moon Runes (3:20)

This slow, somber number uses the various instruments of the orchestera to fill out some very long phrases that build the uneasy mood.

The Defiler (1:14)

Here we have one of them there evil pieces, with tremolo strings and deep brass creating tension above a percussive underscore. It would fit right into The Two Towers, but it doesn’t last long.

The White Council (7:38)

This has some of the same themes as “The Hidden Valley” and “Moon Runes” and is more of the same, sounding ancient and majestic – with an occasional choir part thrown in and a tremolo ending.

Overhill (3:44)

After “The Misty Mountains” motif, LOTR fans will jump out of their seats as the track works its way into the Lothlórien theme, the opening notes of The Lord of the Rings prologue! It even has a bit of the Shire theme, stylized the same way as the end of The Two Towers when Frodo tells Sam he wouldn’t get far without him (before telling him to go home in the next film). The track begins subtle and quiet before working its way into a more exciting tone, featuring stringed arpeggios over the Misty Mountain motif.

Harry Defeats the Dragon (4:54)

What the? Oops… accidentally switched my ipod on shuffle. My bad. Let’s move on.

A Thunder Battle (3:55)

This is one of those “truth in advertising” tracks. It’s a battle! The strings climb upwards, built on a swift matching beat (like that in the background of the Siege of Minas Tirith), and the excitement we expect from a Peter Jackson movie builds throughout this piece.

Under Hill (1:55)

We keep the swift beat but change the meter to really crank up the tension, with different parts of the orchestra working their ways in and out of the spotlight and to create one of the most exciting pieces on the album. You can almost feel the Goblins breathing down your neck as a repetitive 5/4 ascending motif plays.

Riddles in the Dark (5:21)

Not surprisingly, familiar music from LOTR pops up here, with the “History of the Ring” theme taking center stage. But there’s another quality about this track that makes it new and different. There’s a sad innocence and naivety to the music, with the strings and woodwinds playing simple lyrical lines – like the back half of The Fellowship of the Ring’s prologue.

Brass Buttons (7:38)

This is a suspenseful piece that will have listeners on the edge of their chair, with various bits that move and out of leitmotifs previously established. It’s clear we’re approaching the end of the film! Much like the Dwarven chorus for Moria in The Fellowship of the Ring, deep voices chant a foreign tongue to set the mood before the (long) piece ends with a slower part with a more gentle choir.

Out of the Frying Pan (5:55)

Full of brassy urgency and staccato strings, this number is reminiscent of the great battles from The Lord of the Rings, with an uptempo pulsing rhythm and more edge of the seat excitement. This again uses a choir (and distortion) to accent the drama, with a hint of the “nature’s reclamation” theme from The Two Towers.

A Good Omen (5:57)

Full of hope and featuring the choir, this song is… well, a good omen. It has a swift 4/4 tempo and makes you feel like you’re soaring through the air!

Song of the Lonely Mountain (6:01)

Neil Finn is wonderful, singing this “Misty Mountains” song in his tenor voice. (It’s done as more of a pop song of course.) Guitar and strings serve as the background. It also fittingly includes an anvil being struck.

Dreaming of Bag End (1:57)

This Celtic inspired track conjures up images of the Shire with its whistle and strings, giving the soundtrack a happy ending.

Bonus Tracks!

These bonus tracks are available with the special edition:

A Very Respectable Hobbit (1:22)

With its spritely version of the familiar Shire theme couched in the newer themes of The Hobbit, this is a bright, cheery fun track with that begins in 4/4 time with a heavy downbeat before switching to 3/4 time for a coda featuring the chromatic theme.

Erebor (1:19)

Texturing the background with a rhythmic pulse, this is an exciting piece foreshadowing the coming adventure. It reminds me of Harry Potter and the Goblet of Fire in some ways, actually. However, unlike the Potter soundtrack, this features uilleann pipes to give it a Celtic feel. Very short, but fun.

The Dwarf Lords (2:02)

Reminiscent of The Two Towers and The Return of the King, this track will bring back memories of the men of Edoras and Minas Tirith preparing for war – and yet it has its own charm as well.

The Edge of the Wild (3:34)

String arpeggios lead us into a bright version of the “Misty Mountains” music, conjuring up a spirit of adventure.

Final Thoughts:

There can be no doubt that this a strong start for The Hobbit. There’s just the right blend of innocence, familiarity, and excitement. It feels like Middle-earth but also has a new sense of adventure and discovery we weren’t introduced to in The Lord of the Rings. It captures the spirit of Bilbo, the dwarves, and the forces of light and darkness in one complete package. Great job by all!

Place your order today.

[iTunes: Special Edition or Standard] [Amazon.com: Special Edition or Standard]

THE HOBBIT: AN UNEXPECTED JOURNEY SOUNDTRACK 2CD SET DUE DECEMBER 11TH FROM WATERTOWER MUSIC

Featuring Original Music by Academy Award™ Winner Howard Shore With An Original Song Performed by Neil Finn

2 CD Special Edition Soundtrack Also Available

(November 1, 2012 – Los Angeles, CA) – WaterTower Music has announced the release of The Hobbit: An Unexpected Journey Original Motion Picture Soundtrack at all retailers on December 11th.  The soundtrack will be available both digitally and as a 2 CD set.  A Special Edition of the soundtrack featuring six exclusive bonus tracks, seven extended score cues, and deluxe liner notes will also be available December 11. The Hobbit: An Unexpected Journey features original score by Academy Award® winner Howard Shore recorded at famed Abbey Road studios by the London Philharmonic Orchestra. Additionally it includes an original song entitled “Song of the Lonely Mountain,” written and performed by Neil Finn (Crowded House).  The Hobbit: An Unexpected Journey, the first of a trilogy of films from Oscar-winning filmmaker Peter Jackson (The Lord of the Rings Trilogy), will be released in the U.S. on December 14, 2012.

Shore’s music for The Lord of the Rings Trilogy has been performed in concerts throughout the world.  In 2003, Shore conducted the New Zealand Symphony Orchestra and Chorus in the world premiere of The Lord of the Rings Symphony in Wellington, New Zealand.  Since then, the work has had over 140 performances by the world’s most prestigious orchestras, and has even been the subject of a book, Music of The Lord of the Rings Films.

“I have looked forward to returning to the imaginative world of Middle-earth for quite a while,” says Shore. “I read all of the books by Tolkien, including The Hobbit, when I was in my twenties, and his deep love of nature and all things green resonates deeply with me.”

“It’s a thrill for us to work with Howard Shore on The Hobbit: An Unexpected Journey soundtrack” stated WaterTower Music head Jason Linn, “His reputation and body of work have long inspired us, and we look forward to another successful partnership as we embark on the next chapter of our journey together.”

One of today’s most respected, honored, and active composers and music conductors, Howard Shore previously worked with director Peter Jackson on The Lord of the Rings Trilogy, which stands as his most towering achievement to date.  He won three Academy Awards for his music for those films, two for Best Original Score, and one for Best Original Song.  Shore has also won numerous other honors for his film work, including four Grammys and three Golden Globe Awards.

The Hobbit: An Unexpected Journey Original Motion Picture Soundtrack on WaterTower Music in the United States and Decca Records outside the United States. It will be available on December 11, 2012. The track listings for the 2 CD Standard and 2CD Deluxe versions are as follows:

THE HOBBIT SPECIAL EDITION TRACKLIST
DISC 1:
1.     My Dear Frodo
2.     Old Friends (Extended Version)
3.     An Unexpected Party (Extended Version)
4.     Blunt the Knives performed by The Dwarf Cast
5.     Axe or Sword?
6.     Misty Mountains performed by Richard Armitage and The Dwarf Cast
7.     The Adventure Begins
8.     The World is Ahead
9.     An Ancient Enemy
10.  Radagast the Brown (Extended Version)
11.  The Trollshaws
12.  Roast Mutton (Extended Version)
13.  A Troll-hoard
14.  The Hill of Sorcery
15.  Warg-scouts

DISC 2:
1.     The Hidden Valley
2.     Moon Runes (Extended Version)
3.     The Defiler
4.     The White Council (Extended Version)
5.     Over Hill
6.     A Thunder Battle
7.     Under Hill
8.     Riddles in the Dark
9.     Brass Buttons
10.  Out of the Frying-Pan
11.  A Good Omen
12.  Song of the Lonely Mountain (Extended Version) performed by Neil Finn
13.  Dreaming of Bag End

EXCLUSIVE BONUS TRACKS
14.  A Very Respectable Hobbit
15.  Erebor
16.  The Dwarf Lords
17.  The Edge of the Wild

THE HOBBIT STANDARD EDITION TRACKLIST
Disc 1:
1.     My Dear Frodo
2.     Old Friends
3.     An Unexpected Party
4.     Axe or Sword?
5.     Misty Mountains performed by Richard Armitage and The Dwarf Cast
6.     The Adventure Begins
7.     The World is Ahead
8.     An Ancient Enemy
9.     Radagast the Brown
10.  Roast Mutton
11.  A Troll-hoard
12.  The Hill of Sorcery
13.  Warg-scouts

Disc 2:
1.     The Hidden Valley
2.     Moon Runes
3.     The Defiler
4.     The White Council
5.     Over Hill
6.     A Thunder Battle
7.     Under Hill
8.     Riddles in the Dark
9.     Brass Buttons
10.  Out of the Frying-Pan
11.  A Good Omen
12.  Song of the Lonely Mountain performed by Neil Finn
13.  Dreaming of Bag End

From Academy Award®-winning filmmaker Peter Jackson comes The Hobbit: An Unexpected Journey, the first of a trilogy of films adapting the enduringly popular masterpiece The Hobbit, by J.R.R. Tolkien.

The three films tell a continuous story set in Middle-earth 60 years before The Lord of the Rings, which Jackson and his filmmaking team brought to the big screen in the blockbuster trilogy that culminated with the Oscar®-winning The Lord of the Rings: The Return of the King.
About The Hobbit Trilogy

A production of New Line Cinema and Metro-Goldwyn-Mayer Pictures (MGM), The Hobbit: An Unexpected Journey is the first of three films from filmmaker Peter Jackson, the Academy Award-winning director of The Lord of the Rings Trilogy.  The screenplay for The Hobbit: An Unexpected Journey is by Fran Walsh & Philippa Boyens & Peter Jackson & Guillermo del Toro.  Jackson is also producing the film, together with Carolynne Cunningham, Zane Weiner and Fran Walsh.  The executive producers are Alan Horn, Toby Emmerich, Ken Kamins and Carolyn Blackwood, with Boyens and Eileen Moran serving as co-producers.

The Hobbit: An Unexpected Journey and the second and third films of the trilogy are productions of New Line Cinema and Metro-Goldwyn-Mayer Pictures, with New Line managing production.  Warner Bros. Pictures is handling worldwide theatrical distribution, with select international territories as well as all international television distribution being handled by MGM.
The Hobbit: An Unexpected Journey in 3D and IMAX 3D will be released on December 14, 2012, with the second film, The Hobbit: The Desolation of Smaug, will be released December 13, 2013, and the third film, The Hobbit: There and Back Again is slated for July 18, 2014.

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http://www.thehobbit.com

[itunes: Special Edition or Standard] [Amazon.com: Special Edition or Standard]

Or if you want to trial the Special Edition, Watchtower Records has short previews from every track available on its website.

In the Rolling Stone article, Neil Finn says that “Song of the Lonely Mountain” builds on a musical theme written for the movie by New Zealand film composers Plan 9 and David Long, which a group of dwarves sing in an early scene. To work on the song, Finn put himself in the dwarves’ shoes.

“I’d get a little melody and I’d think, ‘Would a dwarf sing that?’ And you go, ‘No, it’s too floral. It’s not earthy enough,’” he says. “Even though there’s aspects of brotherhood and kinship in the song, I had a line about love and Peter and Fran [Walsh, co-writer and co-producer] sort of looked at me and said, ‘No, not love. There’s something not quite right about that.’ It’s not a love song.”

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