{"id":64798,"date":"2012-11-07T09:16:08","date_gmt":"2012-11-07T14:16:08","guid":{"rendered":"http:\/\/www.theonering.net\/torwp\/?p=64798"},"modified":"2012-11-07T09:16:08","modified_gmt":"2012-11-07T14:16:08","slug":"more-thoughts-on-radagast-the-brown","status":"publish","type":"post","link":"https:\/\/www.theonering.net\/torwp\/2012\/11\/07\/64798-more-thoughts-on-radagast-the-brown\/","title":{"rendered":"More thoughts on &#8216;Radagast The Brown&#8217;"},"content":{"rendered":"<p class=\"intro\">If you haven&#8217;t heard Howard Shore&#8217;s &#8216;Radagast The Brown&#8217; yet, you&#8217;re missing out. I can only urge you to go and have a listen. Some people have described the leitmotif (I spelled it right this time) as Slavic in nature, or rustic. Others discern hints Hans Zimmer&#8217;s work on the TV series Sherlock. Here at TORn, a few of us have been listening to the track pretty closely, and deciphering what makes it tick. <!--more--><\/p>\n<p><center><iframe width=\"510\" height=\"383\" data-src=\"http:\/\/www.youtube.com\/embed\/ZRMyDX59oAg\" frameborder=\"0\" allowfullscreen src=\"about:blank\" class=\"lazyload\" data-load-mode=\"0\"><\/iframe><\/center><\/p>\n<p><b>TORn Staffer Tehanu:<\/b> <\/p>\n<p>I think it\u2019s more adventurous than a lot of the LOTR score &#8212; lots of sudden tempo changes and unexpected rhythms.<\/p>\n<p>I can never hear a big open string fifth like those first few seconds, without thinking of how Beethoven Nine begins: poised to unfold a world of possibilities. It\u2019s E major not Beethoven\u2019s D major, so very close. Then within seconds we move into a different mood. The choir is usually Shore\u2019s voice for things of the past, of mystery and magic.<\/p>\n<p>Then the fast 6\/8 time, with the amplified violin and drum\/tambourine &#8212; it reminds me of of English folk music, a reel or something, but racked up in speed to a level of high tension, and combined with that lurching, angular string theme you mentioned. It&#8217;s very unusual.<\/p>\n<p><strong>Barliman&#8217;s chat regular Viola:<br \/>\n<\/strong><br \/>\nIt looks like he&#8217;s going the &#8220;violins for rustic\/folksy imagery&#8221; route again, but I don&#8217;t hear any odd instrumentation like the hardinger fiddle\/all the extra crap he used in Return of the King and The Two Towers. I&#8217;m wondering if some of the percussion isn&#8217;t nature inspired as well &#8212; there&#8217;s a trend now for &#8220;natural&#8221; sounds. I know he does the triple rhythms because there&#8217;s a lot of recognizable folk stuff in 6\/8&#8230; The percussion in the background kind of reminds me a little bit of the Bartok concerto for orchestra. Also people are reading slavic because of the whole cello with the main motif\/minor key thing. By and large (with the exception of some Smetana and Dvorak), music from the Slavic countries is super depressing. <\/p>\n<p>It&#8217;s scarily similar to the Pictures movement &#8220;With the Dead in a Dead Language&#8221;. Listening to it again I&#8217;m getting less rustic, more gypsy. Percussion sounds like it could be a specific type of stick as well.<\/p>\n<p><b>Barliman&#8217;s chat moderator Xanaseb:<\/b> <\/p>\n<p>Visually, Radagast does have similarities to Russian Orthodox hermit-like clergy in his WETA design. Also, Tolkien possibly drew upon the Slavic god <a href=\"http:\/\/en.wikipedia.org\/wiki\/Radegast_(god)\">Radegast<\/a> for his name.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>If you haven&#8217;t heard Howard Shore&#8217;s &#8216;Radagast The Brown&#8217; yet, you&#8217;re missing out. 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