Back in the earlier days of TORn – probably roughly during our Second Age – there were all kinds of exciting events which happened, both when Peter Jackson’s The Lord of the Rings movies were originally in cinemas, and in the years which followed. There was much excitement when the live performances of Howard Shore’s incredible score started; and then they started presenting the movies with live orchestra accompaniment. Those were heady days!
And now – they’re back!
Next February, to celebrate the 21st anniversary of The Fellowship of the Ring, the movie will screen with live orchestra at Radio City Music Hall in New York. Here below are the details from the press release:
21st Anniversary Concert: THE LORD OF THE RINGS: The Fellowship of the Ring In Concert
Academy Award-Winning Score By HOWARD SHORE, performed Live to the Epic Motion Picture with SYMPHONY ORCHESTRA, CHORUS, SOLOISTS
Ludwig Wicki, Conductor
238 MUSICIANS ONSTAGE BENEATH A 60-FOOT SCREEN
Radio City Music Hall, New York FEBRUARY 6-7, 2023
Celebrating the 21st anniversary of The Lord of the Rings: The Fellowship of the Ring, Howard Shore’s Academy award-winning score will be presented live, in concert. Experience the epic motion picture and its legendary score at the historic Radio City Music Hall, beneath a 60-foot screen accompanied by 238 musicians, including symphony orchestra, chorus and soloists, this coming February 6 & 7, 2023.
“The world is changed.” This very first line of The Fellowship of the Ring has new meaning for a fan community waiting for a return to live events. The 2023 concerts will mark the return of The Lord of the Rings, In Concert, to NYC for the first time since 2015. These returning concert events of The Fellowship of the Ring will bring 6,000 fans a night to see, hear, and feel Howard Shore’s epic score from the opening title through the end credits, in person once again.
The Fellowship of the Ring, In Concert, is represented by CAMI Music, who is partnering with Fifth Season and Bowery Presents to bring these performances to life at Radio City Music Hall.
The Fellowship of the Ring, In Concert, will be conducted by Ludwig Wicki, who was the inaugural conductor of The Fellowship of the Ring, In Concert, and specializes in bringing films and their scores to life. Orchestra, soloists, and chorus for the 2023 performances at Radio City Music Hall will be announced at a later date.
Howard Shore commented on the return of The Fellowship of the Ring, In Concert to New York City: “The concerts on February 6th and 7th, 2023 will bring Maestro Ludwig Wicki back to NYC’s historic Radio City Music Hall leading a symphony orchestra, chorus, and soloists. Based in the city of Lucerne, Switzerland, where we first performed the complete score to the theatrical version of the film in 2008, Maestro Wicki is the foremost conductor of this score-to-film concert. Over the years he has worked to perfect this music and his precision, detail and supreme musicianship will be on display at Radio City. I am so very happy to have The Fellowship of the Ring return to New York.”
Tickets are available now – and are selling fast! You can buy them here. We hope to host a post show party – probably on the Tuesday evening after the concert, but maybe we’ll manage both evenings! Stay tuned for more on that! Meanwhile if you want to find out more about these happenings, you can find LOTRConcerts on Twitter, Instagram and Facebook. Hope to see you there!
Amongst my earliest recollections of being introduced to Tolkien there remains one etched in my memory that I remember so clearly to this day. It was an evening in the fall of 2001. I was accustomed to step out at dusk to catch the sunset near a plumeria tree outside my house which would shed its leaves and yellow flowers around that time of year. I’d watch for the first of the stars to appear, and then head home.
I lived in a little city in India back then, and after a day at college, I was relaxing in my living room watching MTV, when the video for Enya’s “May It Be” happened to come on.
That evening after watching Enya’s video for the very first time, I was ponderous in a way I hadn’t really been before.
Perhaps it was the season, or the stage of life I was at. But something about the visuals, the words, the characters, had touched me, spoken to me; and it set me on a journey of discovery into the Lord of the Rings, Middle-earth, and Tolkien.
It’s been over 20 years now, and though I now live far from that home in a land where the stars are strange (to borrow a Ranger’s phrase) and a lifetime seems to have passed since those days, the music of Peter Jackson’s The Lord of the Rings films has somehow managed to remain a constant companion through the seasons of my life.
Howard Shore’s score has always been, for me, the singular aspect of those films that contributed immensely in elevating the whole to be greater than the sum of its parts.
So when it was announced that the score for Amazon’s The Rings of Power TV series would be scored by Bear McCreary, I was both apprehensive and excited.
My apprehension stemmed from having spent two decades associating Howard Shore’s music with the sound of Middle-earth – how could anyone surpass, or even match, the heights of that achievement?
And yet my excitement was hesitantly brewing, as I had recently watched Apple TV’s Foundation, fallen in love with the soundtrack, and discovered that it was scored by a composer named Bear McCreary. Only time would reveal whether Bear’s music for Middle-earth would move me in the same way Shore’s did 20 years ago.
And so finally last weekend, on a grey and rainy Spring evening in Australia, separated in time and space from the once young college boy who accidentally discovered Middle-earth, I settled in, this time willfully, and with a slight shiver running down my spine, to journey anew, back to that place of wonder.
PROLOGUE: GALADRIEL & FINROD, MORGOTH & SAURON
As the first strains of choral music play over the dark screen and a voice begins to speak, the mood feels aptly Tolkienesque, in an Elvish sort of way – ancient and fair – but also young and fresh, in a manner of speaking, as if the song were newly written, and being newly sung, within the world unfolding before me.
It coalesces in my mind when the Elf-children are revealed – this is the music of the Elves in their youth in Valinor, in a time when their world is still young, their children numerous, their happiness untainted.
The choral music gives way to a subtle thematic melody as a small girl crafts a boat and sets it upon a stream. The music rises delicately as the boat floats downstream, then slowly unfurls to take the shape of a swan, wings outspread, and begins to sail proudly upon the rippling water; before its course is interrupted by a stone pelted by one of the Elf-children.
As a tall, fair Elf comes over and lifts it up out of the water, the theme weaves its way back into the music. It segues from doubtfulness to hope as Finrod the Elf-lord converses with his little sister Galadriel under a tree in a verdant field of grass, counseling her regarding the nature of darkness and light. Then leaving her to ponder his words, he departs homeward; and the theme builds gloriously, reaching a crescendo in a chorus of Elven song as he mounts a hill and gazes upon the fair city of their home, Valinor, whose tall towers and rippling waterways lay bathed in the golden light of the Two Trees.
But soon another theme asserts itself – strident and dissonant. The Two Trees begin to darken as the shadow of the Great Foe, Morgoth, looms over them, and we witness their destruction and the consequent darkening of Valinor.
It made me wonder if this is what Morgoth’s theme might’ve sounded like woven amidst the Music of the Ainur. It is not immediately discordant, but rather rallying, and depending on one’s predisposition could very well induce a desire to ally oneself with it.
Now amid the darkness of their home, the Elf-lords unite to take an Oath in resistance of Morgoth’s evil, and leaving the land of Valinor behind, they sail in legion across the Sundering Seas to Middle-earth, and to war. The soaring music ushers their arrival in this land of untold perils, where battling for centuries against strange creatures beyond count, on land and high in the flaming skies, they witness the ruin of Middle-earth. Galadriel’s theme bears out a sombre tone as she treads the ashen, smoke-filled battleplains in the aftermath of war – laying in reverence the high-helm of a fallen Elf-lord upon a mound of countless others borne by those who fell in battle beside him.
As the Age rolls on, Morgoth’s theme comes to represent the evil that has spread across all Middle-earth. It is soon assumed by Sauron, his most devoted servant, and a choir intones in Black Speech as we see his armoured form in a forbidding Northern fortress commanding forces of Orcs that have multiplied and gathered under him.
We learn now that Finrod was killed in attempting to fulfil his vow to seek out Sauron, and once again, the Galadriel / Finrod theme plays out solemnly, as she weeps over his once-fair body now marred and lying in state.
A mysterious motif interrupts this moment as she looks upon a mark branded cruelly upon his breast. Her theme rises once again as she takes the dagger from Finrod’s hands and claims his vow as her own.
Despite his brief appearance, Finrod’s death felt extremely poignant, and I found I had a lump in my throat when he lay in state. It is clear to see why Galadriel assumed his task to hunt down the Enemy.
Galadriel’s theme now sweeps up dramatically as we are told how the Elves hunted for Sauron to the ends of the earth, over mountains and across seas, as year gave way to year, and century to century. And though for most Elves the pain of those days was all but forgotten, for Galadriel the fight against Sauron had become personal, and so she ever led her company on.
Now far in the Northernmost Waste, the Forodwaith of Middle-earth, menacing vocals sound out as she and her company descry the towers of an ancient fortress rising like black mountain-peaks amidst the frost and bitter snow. Then Sauron’s theme blares out as deep within a chamber they discover an enigmatic sigil – the same mark that once branded Finrod’s body – left here now as a trail for Orcs to follow. They had finally found a trace of Sauron.
RHOVANION: THE HARFOOTS, ELANOR ‘NORI’ BRANDYFOOT
We are now introduced to the Harfoots in the region of Rhovanion, the Wilderland of Middle-earth. They are a simple wandering folk, a little people living in closeness with the earth, never settled in one place but moving their dwellings with the passing of the seasons.
Their music is rustic and sylvan, almost nomadic, like it could precede what later becomes Howard Shore’s themes for the Hobbits and the Shire in their comfortable refinement.
There’s a separate theme for Elanor ‘Nori’ Brandyfoot, who along with her companion Poppy Proudfoot, and the other Harfoot younglings are thrilled in their perky-eyed cheekiness to find a blackberry bush. Delighting in simple pleasures seems to be an innate trait of the Little Folk since their beginnings.
Nori’s theme is appropriately lighthearted and sprightly, if tinged with hints of wonder and expectation of something larger than might exist just beyond their horizons. It grows pensive as she asks of her mother Marigold…
Haven’t you ever wondered what’s out there? How far the river flows or where the sparrows learn their new songs they sing in spring?
The music for the Harfoots too takes a poignant turn as Marigold, her deep brown eyes filled with kind understanding, reminds Nori of the simple truths that keep their kind safe.
Elves have forests to protect, Dwarves their mines, Men their fields of grain, even trees have to worry about the soil beneath their roots. But we Harfoots are free from the worries of the wide world. Nobody goes off trail and nobody walks alone. We have each other.
It is a tender moment of motherly wisdom imparted to a daughter, and a reminder that although the Harfoots may be simple, they are not unwise.
I found myself already loving the Harfoot characters, despite their fabrication for this series, and I think it is a testament to the cast, the writers, and everything else that went into making the Harfoots believable within this world.
ELROND
Elrond, the Herald of Gil-galad, is ushered in with strains that seem reminiscent of Howard Shore’s Rivendell theme, as he sits (Frodo-like) quite carefree on a tree-branch in a golden wood.
Here his theme seems to be in its inception still, yet in a reflection of his person, it soars briefly, bordering on aspirational, offering glimpses of greatness.
He greets Galadriel, now returned from her journeying, and as they look upon the tapestry of a ship sailing West to Valinor, a choral motif is briefly heard.
Then as he reflects upon the tapestry while conversing with Galadriel, he wonders aloud…
“I hear it’s said that when you cross over, you hear a song. One whose memory we all carry.”
… and the choir intones a lyric to a different melodic line.
We will later discover that this choral lyric is indeed the very song Elrond is talking about.
LINDON & GIL-GALAD
Now the choral music builds as Elrond, Galadriel, and many other Elves assemble in a court encircled by many golden-leaved trees deep in the heart of Lindon, summoned there by Gil-galad.
The high and lofty vocals might represent a motif not dissimilar to Elrond’s Rivendell theme in The Lord of the Rings; for in this Second Age, Gil-galad is the High King of the Elves in Middle-earth, and though their capital city is in Lindon in the North-west, his authority is acknowledged by all their companies even to the furthest Southern and Eastern lands.
It sounds out victoriously as he declares that their days of war are over – their days of peace now begun.
But now Galadriel’s theme softly presents itself as she kneels ceremoniously before Gil-galad and he lays a circlet upon her head, bestowing upon her and the other Elven heroes of her company the permission to leave his realm and board the ships, to return home once more to Valinor.
Later that night, while the Elves celebrate, Galadriel’s theme plays out in poignant tones as she regards the carven image of Finrod in a forest-glade and converses once again with Elrond about the choice before her – to accept the gift of Gil-galad and depart Middle-earth forever, forsaking her vow, or to refuse his gift and persevere in her search for Sauron.
A LEITMOTIF FOR VALINOR
A subtle rising choral piece plays when Gil-glad mentions the Blessed Realm.
It is the motif briefly heard earlier when Elrond looked upon the tapestry when he greeted Galadriel.
It is also the same melodic line which played at the beginning when we saw Galadriel with the other Elf-children in Valinor and we heard how…
Nothing is evil in the beginning. And there was a time when the world was so young, there had not yet been a sunrise, but even then, there was light.
THE SOUTHLANDS, BRONWYN & ARONDIR
The theme for the Southlands is bucolic but dismal, as the Men who live here seem to be a rather simple farming folk settled in villages, but it is said their ancestors once sided with Morgoth, and the Elves still distrust them for that treachery.
The theme is shared by the Elves too; for they have established their presence in these regions for decades in their duty to watch over these Men and their lands.
It ushers in two Elves, Arondir and Médhor, who arrive at the village of Tirharad and head to an inn seeking news.
Arondir steps out onto the inn’s backyard to meet a woman, Brownyn, standing there beside a well, and a tender new theme forms as she hands him a bottle containing seeds of alfirin, a flower which he once knew as a child, but whose petals she herself crushes to form a healing salve. The theme continues as she questions him regarding healers among their kind, and he in turn explains the nature of their wounds and the role of Elvish healers.
The theme for the Southlands returns once again as Arondir heads back with his companion Medhor to Ostirith, an Elvish outpost set high upon a cliff-face. Upon receiving news that Gil-galad has declared the days of war ended, and the Elf-watchers free to return home, Arondir looks morosely across the wide vales far below, the theme sounding ever more forlorn.
As Revion the Watchwarden joins him atop the tower and they regard the lush green fields under the golden sunlight, Arondir remarks about the change to this once-barren land, and the Southlands theme brims briefly with new hope; but it returns to grimness as Revion reminds him that although the land may have the changed, the people have not.
The theme for Bronwyn & Arondir returns as he considers their impending separation, and later reminds her that although he seems unable to articulate why he has returned to see her, he has already spoken it in every way but words.
Their conversation is interrupted by the arrival of a man who has brought his sick cow to Bronwyn, and Sauron’s theme hints amid the music as they learn the cow has been poisoned from grazing near the neighbouring village of Hordern. The theme rises prominently as Arondir and Bronwyn set out urgently for Hordern.
While Bronwyn is away, her son Theo shows his friend Rowan a mysterious broken sword he had discovered in a nearby shed. It bears the enigmatic sigil of Sauron, and now it holds Theo’s gaze as he holds it up, seemingly alighting in fire as the choir erupts in Black Speech over Sauron’s theme.
Arriving on the borders of Hordern, the theme for Arondir and Bronwyn returns as they share a tender moment when he confesses that hers is the only kind touch he has known in all his days in that land. But dark clouds formed from a rising smoke remind them of their purpose in coming to Hordern, and Sauron’s theme rises in urgency as they run up a hill to look down upon the village all aflame.
CELEBRIMBOR & THE RINGS OF POWER
Meanwhile in Lindon, Elrond and Gil-galad discuss Galadriel’s decision to return to the West, and having passed beyond his sight, Elrond shares his doubts about convincing her to take ship.
But Gil-galad counsels him to look to his own future in Middle-earth now, and thereupon Celebrimbor joins them.
His first appearance is accompanied by a short, rather ominous choral line.
It is the same piece that played over the title card of the show “THE LORD OF THE RINGS: THE RINGS OF POWER” (S1E1 at 17:27).
Celebrimbor is of course the primary artificer of the Rings of Power – their threads are bound by this motif.
THE SONG OF THE ELVES
Away upon the Sundering Seas, Galadriel and the Elven heroes gather on deck and prepare in ceremony to pass into the Uttermost West.
The leitmotif for Valinor heralds their arrival to the confines of the Blessed Realm. The choir begins to intone as the dark and forbidding clouds part, permitting the golden light of Valinor to shine forth, and a phalanx of white birds flies out to greet them.
Gazing in wonder at the ever widening cloud-wrack and the light of Valinor blazing forth ever brighter, the Elves in unison begin chanting a verse, almost as if the memory of a song long-forgotten were suddenly wakened fully in them.
It is the choral piece we heard when Elrond conversed with Galadriel by the tapestry in Lindon.
But while the accompanying Elves sing it and begin moving forward to enter into the light, Galadriel remains silent, filled with doubt about her choice to leave Middle-earth, and steps slowly back. Thondir’s call to take his hand grows distant.
The music rises and she recalls her discourse with Finrod when as a child she had questioned him about discerning which lights she must follow – the ones shining in the sky or those reflected as brightly in the dark waters below.
The Galadriel / Finrod theme rises profoundly as she remembers his counsel:
Sometimes we cannot know until we have touched the darkness.
Perceiving now his words and comprehending her choice, she turns away from the light, a tear escapes her, and she leaps from the ship.
The clouds close in again to shut out the light, darkness engulfs the waters, and all music is silenced.
THE STRANGER
Above the lands in Middle-earth the skies have grown strange. The music grows portentous and a queer motif begins to take shape. From Lindon and Eregion in the North, to Rhovanion and as far as the Southlands, Elves, Men, and Harfoots gaze in bewilderment as a star seemingly in flight streaks across the firmament leaving a blazing trail in its wake. The wind picks up and the trees too herd their young nearer to safety.
Gil-galad picks up a leaf that falls before him and regards it questioningly. The motif builds as he turns it over and sees a darkness spreading across its veins. Sauron’s theme interleaves with this new motif.
Away in Rhovanion, Nori approaches the crater where she descried the mysterious heavenly body crashing in an explosion of flame. Sauron’s theme segues into the new theme and the choir erupts as she looks down into the crater in amazement to see a man lying curled up at its center.
I find it interesting how the themes for the Stranger and Sauron seem intertwined. I don’t necessarily think it suggests the Stranger and Sauron are the same person or that they are allied – the Stranger could be one of the protagonists sent to contend with Sauron – but it certainly seems to hint that there is a close connection between them.
WHERE THE SHADOWS LIE
The music for the end credits is strangely ominous, the choir transitioning from deep male guttural voices to high female vocals, culminating on a seemingly unresolved note.
If I may say so, the credits sequence quite gave me Gollum’s Song vibes, and felt very reminiscent of the end credits of The Two Towers, which itselfhad a powerfully ominous ending complemented by Emiliana Torrini’s haunting vocals.
CONCLUDING NOTES
I am the type of person who likes my first experience of a soundtrack to be within the context for which it was written, and I am refraining from listening to any music until I watch the show. My thoughts here are therefore based on first watching the episode, and then subsequently listening to its accompanying score (Amazon is releasing definitive albums for each episode after their respective airdates; here is the album for Season 1: Episode 1: A Shadow of the Past).
After having watched Episode 1, I feel I can lay aside my apprehensions about Bear’s association with the music for Middle-earth. I was afraid it might’ve sounded like any other “epic” movie music (which my ears have become a little more aware of in things I’ve watched ever since discovering the music of The Lord of the Rings films); but I am so ecstatic that Bear’s score feels uniquely organic to Middle-earth, and evocative of it.
While it is different from Shore’s, it still feels complementary to it, and in the words of Bilbo Baggins, I sheepishly venture to admit that “I think I am quite ready for another adventure”.
About the author
I have been associated with TheOneRing.net since the early 2000s. I consider myself a casual fan of Tolkien, Peter Jackson’s films, and Howard Shore’s scores. I am not a writer or musician, but I enjoy pondering over and talking about the music and songs of these adaptations in my own amateur way; and describing how they make me feel. I am more interested in the thematic and evocative nature of this music than in the analysis of its structure and composition.
Related Content
Here are some interviews I have conducted in the past with vocalists from The Lord of the Rings films.
Plan 9 & David Long – Composed and performed diegetic music for Frodo’s “chicken dance” at Bilbo’s Birthday party, Merry and Pippin’s Drinking Song at the Green Dragon Inn, “A Elbereth Gilthoniel” which Frodo and Sam hear when watching the Wood-elves leave Middle-earth, and Éowyn’s Dirge at the burial of Théodred.
Miriam Stockley – Performed “The Footsteps Of Doom” in The Fellowship of the Ring.
Hilary Summers – Performed “Gilraen’s Song” in The Fellowship of the Ring (Extended Edition).
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.
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.
