The debut of The Lord of the Rings: The Rings of Power on Prime Video is in many ways a new age of Middle-earth adaptation. Set firmly in the Second Age, thousands of years before the events of the The Hobbit, this TV series sets out to explore the the age of settlements in Middle-earth when the civilizations of elves, men and dwarves were at their peak.
It’s an era many Tolkien fans never expected to see on screen, as J.R.R. Tolkien had only bullet-pointed the big things that end up relating to the events of the Fellowship. So how did a TV series based on the appendices, or notes at the end of The Return of the King, end up with a billion dollar budget?
Must be in production within two years (to avoid development issues like what happened with The Hobbit films)
Cannot retell what’s been told on screen
Tolkien Estate or family must be involved
Additional rights to characters and stories may be available on a case-by-case basis
$1 billion budget for Season 1 (including the rights purchase price)
Illustration by: Tim Peacock / THR
How does this differ from the rights Peter Jackson used to win all those Oscars? J.R.R. Tolkien had sold the film rights to United Artists (founded by Charlie Chaplin) back in 1968 to help his family cover any death & estate taxes that were to come upon his passing. Later he claimed it was his own naivety that these rights were sold in perpetuity — basically for all time. The film rights would never again revert back to the Tolkien family for total control, and Saul Zaentz bought those rights from UA in 1976, immediately making animated films from Rankin & Bass and Ralph Bakshi, then later working with Peter Jackson. Saul Zaentz died in 2014, his LOTR rights were sold to Embracer Group in 2022, and Amazon acquired United Artists/MGM in 2022.
The only thing not included in those forever rights were to a TV series “over 8 episodes long”, and the family realized TV production may actually be able to tell some stories at quality and scale. They requested pitches from all of Hollywood, and it was Jeff Bezos personally who shared his love for the books and offered an amount showing that passion: $250 million. It was perfect timing as the streaming wars were just heating up, and Amazon had just created a department called “Amazon Studios” which had been searching for a major franchise to use as the tentpole and foundation for their video experiment.
November 2017
Christopher Tolkien announces he is handing over management of Middle-earth to the next generation. His life-long focus on the expansion of Middle-earth was primarily through book form. With his oversight, the deal with Amazon was done, creating a canvas for the next generations of Tolkien family to make their mark on the Legendarium. Christopher Tolkien would pass on to greener shores three years later in January 2020, at the age of 95.
May 2018
After receiving Spy Reports, TheOneRing.net reports that Amazon’s massive TV series will be about YOUNG ARAGORN. The single-sourced news breaks the internet and trends above the royal baby’s birth, but is never confirmed by the studio. Four years later, ESQUIRE confirms the early rumors as one of many pitched to the studio.
[BREAKING] We have confirmed from multiple sources that @AmazonStudios new billion-dollar #LOTR series will open its first season centered on a young Aragorn.
Dream job confirmed! Writers J.D. Payne and Patrick McKay announced as the showrunners for the Lord of the Rings TV series. While unknown to any fan, and with an empty IMDb credits page except for an unproduced Star Trek script, these guys were well known to Hollywood insiders as insanely talented script doctors (a job that never gets credited) and Tolkien uber-geeks. They couldn’t help but be compared to another big fantasy show with two unknown showrunners: Game of Thrones.
Patrick McKay (who no longer wears glasses in press photos) with writing partner J.D. Payne (who always has glasses)
March 2019
After nearly a year of of silence, innuendo and discourse, LOTR on Prime springs to life with a single tweet: Welcome to the Second Age. A map is revealed showing Númenor, a place fans never thought they would ever see.
— The Lord of the Rings on Prime (@LOTRonPrime) March 7, 2019
July 2019
Who’s in charge of LOTR? Amazon drops a surprise creative team video introducing showrunners JD Payne and Patrick McKay, along with an all-star team of peak TV writers, legendary Tolkien artist John Howe, and Tolkien scholar Tom Shippey.
The inclusion of Tom Shippey allows fans to breathe a sigh of relief as a trusted name in Tolkien scholarship is on board to make sure the lore is managed fairly. Amazon later chooses to abandon this LOTR youtube channel and posts all future content on the broader Prime Video channel.
We needed to find somewhere majestic, with pristine coasts, forests, and mountains, that also is a home to world-class sets, studios, and highly skilled and experienced craftspeople and other staff. And we’re happy that we are now able to officially confirm New Zealand as our home for our series.
Patrick McKay & JD Payne, Showrunners
Another sigh of relief from fans! New Zealand IS Middle-earth! Rumors started flying that Amazon really was “getting the band back together” with Weta Workshop, Weta FX and the Oscar-winning teams jumping on board. These rumors were never confirmed by the studio and the rumors persist three years later. In the end, Rings of Power involved 1,500 digital artists around the world with over a dozen VFX studios.
Other TORn Spy Reports start getting picked up by mainstream media as Deadline confirms Howard Shore involved with the new LOTR show. TORn-folk knew about this six months prior!
January 2020
Production begins in New Zealand as Amazon finally announces the cast of of what NZ locals called “Untitled Amazon Project.”
April 2020
COVID-19 takes the world by storm. Production is shut down as the entire island nation of New Zealand goes into lockdown. Nobody is allowed into the country.
Summer (or NZ Winter) 2020
Production resumes in NZ under new pandemic protocols, one of the first countries in the world to get back to work. Tons of movies & TV shows try to film in NZ but find that LOTR is so large it has hired nearly all the best entertainment people in the entire country. The country’s covid-zero policy limits who can fly into the country on a very selective basis with long hotel quarantines. This in effect leaves the LOTR creative team to film the show they want with minimal studio involvement (Amazon Studios are based in Los Angeles). It also limits what marketing can do, as there are no press set-visits due to lockdown. The entire show basically becomes a big dark secret and leaks are few and far between.
October 2020
Reports of nudity in Amazon’s LOTR show reach fever pitch. Based on casting descriptions for background extras “comfortable with sheer clothing” and the hiring of an “intimacy coordinator” the fan reaction was loud and swift. Clifford “Quickbeam” Broadway eloquently laid out the responsibility to the lore here on TORn.
January 2021
Show synopsis leaks to the TheOneRing.net as this site begins to receive bits of information from people excited about the work they are doing on the production.
April 2021
TORn reports that Tom Shippey is off the project, later confirmed by Dr. Corey Olsen (The Tolkien Professor), beginning a long and tense conversation between fans and studio. In the absence of official releases, incomplete information will continue to fill the air for the next year and a half.
In the weeks after we reported several other high-profile departures include lead designer Rick Heinrichs, the pause or possible disbanding of the writers room, and an unsubstantiated narrative began taking form of a troubled production playing loose with lore.
Whereas we had a constant trickle of information and leaks during Peter Jackson’s productions, this was an explosion of information on the secretive show — and a method of delivery that Amazon would employ for official releases going forward.
August 2021
Aug 2 – Untitled Amazon Project (UAP) wraps production in New Zealand with a massive party for the large crew & cast. NZ is still in lockdown with strict restrictions on travel into the country.
Aug 3 – First OFFICIAL image from the LOTR show is released featuring… the light of the Two Trees before the First Age! No context is provided of who the foreground character is or what we are looking at, only that it is a still from the opening of the first episode. Fans debated what is going on as this is clearly not the Second Age, not Numenor, not even in the Middle-earth map they had released earlier. Does Amazon have rights to this era? What story are they telling? Without any context, an all-star fan group spent hours analyzing every pixel.
Aug 12 – Amazon Studios in Los Angeles announce Season Two production is moving to the UK – allegedly to the surprise of all involved including actors, producers, vendors, workshops and even the NZ government who had offered a generous tax break on the basis of a production keeping kiwis employed for multiple seasons.
December 2021
An unmarked package arrives at TORn HQ — a wooden box with a copy of the complete LOTR saga — and leather bookmark at the first page of the Appendices. We confirm for the first time that Amazon’s rights begin and end within the pages of that one book — The Lord of the Rings (and any Second Age references they might glean from The Hobbit) — but every single word is up for expansion. For example , the two-sentence mention of Harfoots in Chapter One begat an entire storyline for a set of TV show characters.
January 2022
The title of the show, after nearly 5 years of mystery, is revealed to be The Lord of the Rings: The Rings of Power
February 2022
Amazon reawakens with a new name — Prime Video — and launches a deluge of official releases
Feb 3 – 22 character posters given to 22 influencer and media outlets (without context of who the torsos belong to) keep fans guessing who and what we are looking at.
Feb 10 – Vanity Fair publishes a FIRST LOOK with photos from the production, interviews with the showrunners, and a complete overview of the billion dollar mysterious show. TORn chatted with the co-writer of the article for even more details.
Feb 13 – Super Bowl trailer. FINALLY some footage! We spent 6 hours analyzing the trailer!
Feb 15 – The infamous “Superfans” video
While TORn parterned with some of the best voices in fandom for an epic 6-hour trailer review livestream featuring Ph.Ds, tiktokers, studio and media execs, stan twitter and lore YouTubers, Prime forged in secret another Super Bowl trailer review. Flying out dozens of fans to the Spanish island Mallorca to an old castle ruins in the middle of the night, they showed them the trailer, then filmed an hour long discussion about the excitement of the trailer. But the final edit posted to YouTube was three minutes of cringe with very little discussion about Tolkien or Middle-earth, instead focused on inclusion and diversity. Participants in the video were shocked how it was edited. While nearly all fans agree that representation matters, the video was tone deaf for the time and place and target audience. Given the frustrations of a near-blackout of information for three years combined with a series of no-context releases, it was a stunningly bad effort that was quickly deleted. They do know that what matters to Tolkien fans is… Tolkien. Right?
Online discourse really heated up in the wake of this monster drop of releases. A lot of the old, tired voices of hate and bigotry — some of the same ones that took issue with Ian Mckellen playing Gandalf because he was gay — now started criticizing the idea of diverse cultures in Middle-earth. To be clear, Tolkien rarely describes skin color, and he made a conscious effort to write stories that everyone around the world could see themselves in. This would come to dominate social media chatter about the show for the next six months, but cooler minds knew better than to focus on it.
May 2022
Prime Video flies out Tolkien influencers from around the world to London for a preview of the show. The “London 30” represented nearly 10 million core followers from eight different countries, with over a dozen published books on Tolkien between them. This second effort at working with Tolkien fans went much better, with an intimate setting and controlled environment. Some got more enthusiastic about the show, but more importantly most everyone came away with confidence in the creative leadership — a vacuum that had existed since the Tom Shippey news a year earlier.
The Rings of Power debuts a full proper trailer online while San Diego Comic-Con fans get an extended look at some extra footage, plus a giant Hall H panel with the showrunners and actors hosted by Stephen Colbert. Fandom seems united in positive impressions! They have a balrog! Prime Video also collaborated with TheOneRing.net for an SDCC party which the entire cast attended. It was the first time fans really got to see and know who is doing this next LOTR thing, and it was the first time many in the cast had interactions with the fandom. Everyone had a great time as the conversation turned very positive.
Separate from Amazon and Tolkien Estate, the film rights to LOTR long-held by Saul Zaentz are sold to video game publisher Embracer Group for a rumored $2 billion. Everyone expected Amazon and Jeff Bezos to win the auction for the rights — after all, they had already spent $250 million just for TV rights, half a billion dollars producing one season, and $8 billion for MGM which included some Hobbit rights. Spinoff movies and games are going to happen no doubt, independent of the TV show.
The screenings of power! Prime begins previewing the first two episodes to fans around the world. LA, Mexico City, NYC, Mumbai and London all got big preview event screenings, which fans were invited to.
Then on August 31, Prime Video rented hundreds cinemas in eight countries for free screenings of the two-part pilot directed by J.A. Bayona.
September 2022
The Lord of the Rings: The Rings of Power debuts on Prime Video streaming service at 9pm ET Thursday Sept 1, before settling into its weekly release of 11:59pm ET every Thursday night.
Since that first announcement in November 2017, this five-year journey to TV screens, full of rumors, leaks, fan events and a pandemic, has been an incredible experience for all involved — but especially the hard working cast and crew that have grown closer together through all the trials and tribulations. We can’t help but see many parallels to the Peter Jackson films, where that cast formed lifelong bonds of family and friendship. This new cast of LOTR really feels like a family as we journey into the next five seasons of this Middle-earth adaptation. Congrats to all for a well-reviewed start to the show!
While McCreary has crafted Season One’s score, Shore’s contribution to the show is the title theme. Shore has won three Academy Awards for his music for The Lord of the Rings and The Hobbit feature film trilogies. McCreary is an Emmy and BAFTA winner for his music scores on Outlander and God of War.
In this new segment, two of our Discord regulars, Reading Room Moderator DrNosy and composer Mike T, debate the show’s title theme and whether it is ‘musically’ suited to the score of The Rings of Power.
DRNOSY
The French horns.
It is that instrument that I closely relate to the music of The Lord of the Rings, particularly in the soundtrack Prologue: One Ring to Rule Them All. Hearing them again, in the first second of the Main Title, I was immediately pulled back towards the story and events that launched the Third Age — Sauron with the One Ring in hand laying waste to the armies of the Last Alliance of Men and Elves.
However, as I keep listening to the track, I start to feel something is off. This music sounds like a watered-down version of that track from The Lord of the Rings. A “lite” version of The Lord of the Rings is absolutely not what the Second Age should sound like. It is also almost completely at odds with the rest of the themes in the album.
Listening to the entire album, it is clear that McCreary (following in Shore’s footsteps with the film tracks) has created a succinct soundscape for the Second Age, complete with themes for each character and narrative arcs for the events of Season One. Shore’s theme does not seem to fit with any of McCreary’s tracks.
MIKE T
I think this might be the biggest thing driving negative reactions to Main Title, as well as the opposing negative reactions that favor the theme over the score, and it’s definitely a misstep on the part of the people behind the show, but is it a problem with the music itself?
Not from where I stand: both composers have done what they were tasked with, and done it well.
If there is a question to ask, it’s this: why wasn’t part of that task, for either of them, to strive for more musical unity with each other. For now, it seems pointless to speculate on that.
Perhaps we’ll get more insight into the circumstances of the composition eventually, or maybe we’ll even have a situation where Bear does start to weave some of Shore’s ideas in. In any case, some of us just seem more willing to “bridge the gap” ourselves, and to take Shore’s theme as a welcome bit of torch-passing that will nicely frame each episode of the series.
DRNOSY
While I take your point about “bridging the gap” between the films and the show, I simply do not see how or why they should be linked in Main Title itself.
Main Title’s fairy-esque tones simply do not fit with the characterization of the factionalized, bloodied, and catastrophic ending of the many races of Middle-earth in the Second Age. Not to mention how it completely seems to miss the themes and leitmotifs of the other peoples of Middle-earth, i.e., the Dwarves, Harfoots, Númenor, and Orcs.
I appreciate Shore’s use of the musical leitmotif representing Galadriel (ethereal ‘Elven’ feminine vocals at 0:35), but that moment also rings along the lines of a ‘fairy lady in the woods singing to the birds’, which is closely followed by ‘evil has come to the woods and it threatens the lady and her birds’ (0:53). It is the ultimate mischaracterization of the Galadriel of the Second Age, especially as the Galadriel we meet in The Rings of Power is an Elf at war with herself.
Why is it that we don’t hear that conflict in Shore’s theme?
MIKE T
As you noted at the outset, from the very first notes heard it is clear, from both the voicing of the chord and the way it is orchestrated, where this music is supposed to take us. It follows exactly the rhetorical and stylistic precedents Shore first set over 20 years ago. And yes, his writing is indeed always committed to very tightly-woven leitmotivic processes. His Main Theme does in fact seem to make reference to a number of musical structures that are present in his previous Middle-earth music, related to the various story elements you mention.
Whether this is explicit enough for every listener, I certainly can’t decree… but there is an argument to be made for their presence (the specifics of which I will not bore readers with here!).
As for your feeling that the theme mischaracterizes Galadriel, I would simply argue that the vocal element in question is not meant to represent Galadriel in the first place. It sounds to me more like an incidental orchestration choice by the composer, rather than being intended as a direct evocation of anything or anyone previously associated with that specific color, and likewise, the darker turn you mention is a more abstract musical turn to represent the overall tumult of the events of the Second Age, not anything specific to Galadriel’s arc.
The whole piece in fact centers around this dramatic “triptych” structure, in which we are introduced to familiar-sounding material which begins confidently but then takes a darker turn, and is briefly restated in a more pure way before ending in a quite unresolved place.
This feels like an apt encapsulation of what we’re going to see play out here, a sort of grand overview of events rather than a focused musical commentary on specific characters. Does it do so in weighty enough tones for what we will experience in the substance of the show?
Again, I can’t decide that for everyone, I can only explain the possible thinking behind things.
DRNOSY
I see Galadriel as the main protagonist of The Lord of the Rings: The Rings Of Power.
If the feminine vocal element isn’t Galadriel, it would seem that Main Title doesn’t weave any element of McCreary’s sounds for the Second Age, which is curious to say the least. I was also disappointed how Main Title drastically falls short of iconic sounding title themes we hear in other fantasy/epic shows such as A Game of Thrones, The Wheel of Time, The Witcher, Westworld, His Dark Materials, The Sandman, and others.
The whole purpose of title music is to leave a lasting impact or memory of the show on the audience every single time they tune in to watch. I still remember how I binged the entire glorious Season One of The Crown in one night. At that time, I did not dare to skip the titles (even to save time) because of my need to let the music (and title sequence) wash over me as I savored and reflected on the episodes I’d watched previously. I did the same with The Witcher, His Dark Materials, and The Wheel of Time.
It is hard to ignore the impact of ‘good’ and ‘catchy’-sounding theme music, especially because its sole purpose is to transition the audience from the opening events of the episode (or even the previous episode) into the central story arc.
I find myself forgetting Shore’s title track music even after having listened to it about 20 times now.
MIKE T
It’s true, there are ways to open with a bang and to set up a musical hook that will immediately grab the audience. It may simply be that Shore’s approach as a composer tends more towards subtlety than the expectations formed by the examples you mention, for better or worse.
There are surely important musical structures in Shore’s prologue to “The Fellowship of the Ring” which, if not for the subsequent hours of music building on them, might not be clear to us as meaningful, and which would not grab us by the heart, so to speak, without that reinforcement.
I think we have a situation similar to that hypothetical here. Nothing of Howard’s new theme is, at least based on what we’ve heard so far, built on in Bear’s score.
Those elemental structures are not reinforced. We go right from an echo of the Middle-earth sound that we know, to a younger and more vibrant Middle-earth, with no real bridge between that and the grand but poignant “civilization in decline” soundworld we’re used to.
The power of familiarity shouldn’t be underestimated though. Given what I’ve seen happen with some other scores’ themes over the years, I’m willing to bet that quite a few of those who are currently unimpressed by and unattached to this one will feel differently once they’ve heard it fifty or so times accompanying each episode, when this new journey reaches its end.
About our chat participants
DrNosy is a scientist (physical science), scholar, and Tolkien enthusiast. Her primary interests lie in review and analysis of The Lord of the Rings: The Rings of Power. She is an active contributor and Reading Room Moderator on TheOneRing.net Discord where she also hosts live open-forum panel discussions on The Rings of Power, The Silmarillion, and a variety of Tolkien-related topics. You can reach her on Twitter.
Mike T is a composer and near-lifelong Tolkien aficionado. After obsessively relying on TORn for spoiler reports during the early 2000s, and pursuing a musical life in large part due to the experience of hearing Howard Shore’s scores in darkened theaters dozens of times, he is delighted to find himself back amongst the TORn community for this new journey through Middle-Earth. You can listen to his music at https://michaeltrapasso.bandcamp.com and reach out to him on Twitter.
Editor’s Note:we reported in September last year that McCreary was being brought onboard to work with Shore on scoring the series. It was rumored at the time that Shore didn’t “necessarily want to compose the whole series”. We now know that Shore and McCreary ended up composing the music separately.
DragonCon is upon us! For the first time since 2019, the full Dragon (almost – numbers are slightly limited again this year) is being awakened. And TORn staffers are there to share the fun.
You can find staffers deej and greendragon at TORn’s ‘fan table’ (which we believe will be in our usual spot, in the Hyatt opposite the entrance to the Art Show) throughout the con. We’ll have new button and shirt designs on sale, and all kinds of fun things for fans to look at. You can also sign up at the table for the Evening at Bree costume contest! (Sign up is also available in the High Fantasy Track Room, Marriott L401-403).
Events of interest to Tolkien fans during DragonCon are as follows:
Thursday 1st 7pm TORn’s Rings of Power preview
A last chance to speculate what’s coming in Prime Video’s highly anticipated show, before it becomes available to watch at 9pm ET. Spoiler-free speculation! Marriott room A601-602
Friday 2nd 5.30pm Behind the Scenes of The Rings of Power
TORn staffer greendragon hosts a panel with very special guests artist John Howe and dialect coach Leith McPherson, talking about their work on The Lord of the Rings: The Rings of Power – and beyond. Hilton Grand West
Friday 2nd 8.30pm An Evening at Bree
TORn is delighted to join the High Fantasy track again to host a long standing DragonCon tradition. Party like a Hobbit! We have three live bands this year, to get toes (hairy and otherwise) tapping – The Brobdingnagian Bards, Beth Patterson, and Landloch’d. We’ll also have the Elf Choir, and of course the costume contest. If you’d like to enter, please sign up in advance of the evening, at the TORn fan table or the High Fantasy track room. Our panel of judges this year will be cosplayer Joshua Duart, together with very special guests John Howe and Leith McPherson.
Saturday 3rd 1pm War of the Rohirrim
Find out more about this exciting anime film, telling the tale of Helm Hammerhand – coming April 2024. Marriott room L401-403
Monday 5th 10am Rings of Power After Hour
Discuss and reflect on the first two episodes, and what may or may not be to come this season and beyond!
Let the games begin! Please come and say hi if you’re in Atlanta; see you in the belly of the beast!
Here’s a somewhat overlooked piece of news from a little while back! On June 15, voice actor Alex Jordan announced that he had a part in the Warner Bros Animation/New Line Cinema feature The Lord of the Rings: The War of the Rohirrim.
I’m excited to announce that I’ll be voicing the character of Lord Frygt in The Lord of the Rings: The War of the Rohirrim. In theaters April 12, 2024. #WarOfTheRohirrimpic.twitter.com/L8hJJjbgG9
— Alex Jordan (home recording studio) (@AEJORDAN) June 15, 2022
However, it seems that his name was inadvertently omitted from the orginal English voice cast list given to Deadline at the same time. As a result, knowledge of Jordan’s involvement pretty much slipped under the radar.
More interestingly, Jordan has provided the name of the character he will be voicing — an completely original character by the name of Lord Frygt.
Seemingly a strange name, but Scandanavian friends on TORn’s IRC channel tell me that Frygt is a Danish word that means “fear”. One could interpret it as Lord Fear or Lord Fright.
At first I wondered, if the use of Danish could be related to the use of Anglo-Saxon to name the other original character we’ve heard of so far — Helm’s daughter, Héra.
Is it meant to be a Dunlending word? Unfortunately, the only Dunlending word we know of is “forgoil”. It seems to impossible to judge by extrapolating our knowledge of Tolkien. But Dunlending is supposedly related to the language of the Haladin, so it seems more likely it might be Rohirric? I’m no language expert so if anyone knows better, let me know!
A name like Lord Fear seems a little ominous as a name for someone of the Rohirrim. Could it be a Dunlending person instead? That seems a little unlikely since the leaders of the Dunlending faction are the Rohirrim lords (and outlaws), Freca and Wulf.
Instead, perhaps it’s meant to be an appellation give by either the Rohirrim or the Dunlendings to something else. Because I’m reminded of something that Philippa Boyens said when I interviewed her in June just after the casting announcement:
I can give you a little tease and let you know that, although we said this isn’t about The Ring and this isn’t about the Dark Lord … there are the White Mountains and there are creatures [out there]. We know that there were orcs around this area.
She also confirmed that these creatures she’s referring to are definitely not the dead men of Erech.
I think Lord Frygt will emerge as some non-human being feared by either the Dunlendings, or by the Rohirrim. Or both.
The War of the Rohirrim will be released in theatres worldwide on April 12, 2024.
About the author:Staffer Demosthenes has been involved with TheOneRing.net since 2001, serving first as an Associate News Editor, then as Chief News Editor during the making of the Hobbit films. Now he focuses on features and analysis. The opinions in this article are his own and do not necessarily represent those of TheOneRing.net and other staff.
It appears that some, uh, overly enterprising leakers thought they could make a quick buck by posting the full OST of The Lord of the Rings: The Rings of Power to YouTube.
It was quickly caught and deleted. But, in the meantime, we were able discover a little over half of the track titles — and they provide interesting hints of what’s soon to come. Of the 37 tracks on the OST, the title theme is composed by Howard Shore, while the other 36 are by Bear McCreary.
Below are the titles of the first 19:
01. The Lord of the Rings: The Rings of Power Main Title
02. Galadriel
03. Khazad-dûm
04. Nori Brandyfoot
05. The Stranger
06. Númenor
07. Sauron
08. Valinor
09. In the Beginning
10. Elrond Half-elven
11. Durin IV
12. Harfoot Life
13. Bronwyn and Arondir
14. Halbrand
15. The Boat
16. Sundering Seas
17. Nobody Goes Off Trail
18. Elendil and Isildur
19. White Leaves
We can also now add the remaining track titles
20. The Secrets of the Mountain
21. Nolwa Mahtar
22. Nampat
23. A Plea to the Rocks
24. This Wandering Day
25. Scherzo for Violin and Swords
26. Sailing into the Dawn
27. For the Southlands
28. Cavalry
29. Water and Flame
30. In the Mines
31. The Veil of Smoke
32. The Mystics
33. Perilous Whisperings
34. The Broken Line
35. Wise One
36. True Creation Requires Sacrifice
37. Where the Shadows Lie
TORn does not condone piracy. Remember that the official release is around the corner, folks. You’ll very soon be able to stream the music to your heart’s delight via your favourite service, or even pick up a copy on physical media.
Howard Shore, 3-time Oscar winner for his work on The Lord of the Rings film trilogy, has returned to compose the original main title theme for its blockbuster $465 million series The Lord of the Rings: The Rings of Power. At the same time, Emmy-winner Bear McCreary has composed the full episodic series score.
…
Said McCreary: “As I set out to compose the score for this series, I strove to honor Howard Shore’s musical legacy. When I heard his majestic main title, I was struck by how perfectly his theme and my original score, though crafted separately, fit together so beautifully. I am excited for audiences to join us on this new musical journey to Middle-earth.”
Two new character themes composed by McCreary for Galadriel and Sauron are now available to stream on Amazon Music.
