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Filmtracks Recommends:
Buy it... if you are accustomed to Leonard Rosenman's dense and dissonant styles and are able to separate his interpretation of Tolkien's world from Howard Shore's. Avoid it... if you expect Rosenman's score, despite its complexity and creative instrumentation, to in any way approach the grandeur and elegance of Shore's commonly accepted masterpieces. Filmtracks Editorial Review:
Some of Rosenman's collectors consider his The Lord of the Rings music to be among the best of career, and most will admit that it came at the height of his production. Be he, like Bakshi's film, suffers from comparisons to the later live-action version of the story. In short, Rosenman's score for The Lord of the Rings simply cannot compare to Howard Shore's outstanding and universally praised contributions to the same fantasy world. Both of the approaches by Rosenman and Shore to the world of Tolkien are intelligent and complex. Both feature lyrical passages and a variety of specialty instruments. But whereas Shore was able to offer that stunning complexity of structure, theme, and instrumentation in a more transparent and satisfying mix of harmony and dissonance, Rosenman's score is rooted within the composer's own, occasionally limiting palette. Nobody will ever claim that Rosenman's work strayed towards mainstream acceptance, and this tendency to be seen as a "thinking man's composer" sometimes plays at odds with the needs of Tolkien's world, something that Shore proved with his better-conceived works. Where Rosenman succeeds is in scope and instrumentation. For his 80 minutes of score, a 100-member orchestra and a mixed chorus were employed alongside a wild collection of specialty sounds, all of which play an important role in the score. Unfortunately, Rosenman's themes are weak and his score is made so dense by design that it often reduces its effect to that of a wall of sound. On a technical level, his primary theme is as unsatisfyingly perky as the one he provided for Star Trek IV: The Voyage Home (and there are even similarities in progression to wonder about), though it really doesn't strike you as odd until "Riders of Rohan" and "The Dawn Battle." The parade-worthy fanfare presented in the final cue not only seems like an extension of the John Williams technique of the era, but is trite and falls into the trap of the animated genre's temptation to write material suitable to the overly-upbeat needs of children. The score, for the most part, is a series of massive marches and battle sequences, and during these extended cues of magnificent, dissonant bombast, Rosenman loses the ability to allow the music to breath. In its perpetual merging of multiple audacious lines of performances, the score doesn't have the dramatic lulls and swells that it needs to ascend beyond the sum of its parts. Only the choral theme in "Mithrandir" is a distractingly strange break from the constant density, and while that cue has eerie similarities to the style of Shore for Jackson's trilogy, it is blatantly out of place on this score (and seemingly belongs on a Christmas album). Also working against Rosenman's The Lord of the Rings music is its harsh, flat recording quality. With its CD debut in early 1992 on the Intrada label (a fine production all around, especially compared to the original LP), the score was remastered from original tapes and rearranged into film order. But the sound quality of the recording still leaves much to be desired (especially, once again, compared to Shore's outrageously gorgeous recordings utilizing 25 more years of technology), and much of the effect from the chanting chorus and curious specialty instruments is lost in the lack of sonic depth. For a score of this density, that lack of dimension is critical, and while Rosenman's contribution to Tolkien's Middle Earth may have interested some fans at the time, Shore's vastly superior interpretation of the same story puts Rosenman at a distinct disadvantage. **
* Previously unreleased
The insert contains extensive notes by Leonard Rosenman about the score, including the excerpt below:
Composing the score was probably the most challenging assignment I have ever dealt with. How was it possible to write approximately 80 minutes of music, consisting mostly of violence, eerie marches, strange chases, and wild battle scenes without it becoming one dimensional and therefore boring? The answer was complex:
• Thematic material, particularly in the marches and battle scenes, had to both be varied and accessible, as they were connected to the various characters in the film. • The score builds to the climax of the film were the full "Lord of the Rings" theme (the last march) is revealed. This is done by the gradual establishment of fragments of the theme throughout the film, so that the final march is a fulfilling "pay-off" to what has been hinted at throughout the entire composition. This technique is also used with respect to other motifs in the film, the climax of most of them coming during the last battle scene, "Helm's Deep". • The opportunity to write lyrical and/or tranquil passages in the work were welcomed enthusiastically as a needed contrast to the rest of the score. I speak of "Mithrandir" in particular. All in all, this score, viewed objectively after all these years, constitutes almost a lexicon of alien and strange sounds, wild marches and even wilder battle scenes." | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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