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The Lord of the Rings: Fellowship of the Ring
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2001 Regular
2001 Limited
2003 Trilogy
2005 Complete
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Composed, Orchestrated, Conducted, and Co-Produced by:
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Howard Shore
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Co-Produced by:
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Suzana Peric
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Performed by:
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The London Philharmonic
Orchestra
The New Zealand Symphony Orchestra
The London
Voices
The London Oratory School Schola
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Solo Vocals by:
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Enya
Edward Ross
Elizabeth Fraser
Miriam Stockley
Mabel Faletolu
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Choral Text by:
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J.R.R. Tolkien
Philippa Boyens
Fran Walsh
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Audio Clips:
2001 Original Album:
7. A Knife in the Dark (0:30), 147K lord_rings01_7.ra
12. A Journey in the Dark (0:30), 150K lord_rings01_12.ra
17. The Breaking of the Fellowship (0:31), 147K lord_rings01_17.ra
18. "May It Be" (0:32), 161K lord_rings01_18.ra
2005 Complete Set:
CD1, 3. Bag End (0:31), 179K lord_rings01_2_3.ra
CD1, 12. A Shortcut to Mushrooms (0:30), 179K lord_rings01_2_12.ra
CD2, 2. The Caverns of Isengard (0:29), 168K lord_rings01_2_2.ra
CD3, 4. The Fighting Uruk-hai (0:32), 189K lord_rings01_2_4.ra
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Availability:
The original 2001 album between $15 to $17 in
the stores is the regular U.S. release. The 2001 limited release is indicated
by a higher price and a sticker indicating its "limited" nature on the
front plastic, along with an optional version that comes enclosed in a faux red
leather case. The musical contents are the same on both 2001 products. The
value of the different cover inserts (on the trading block) is yet to be
determined. They could very well end up useless unless you acquire a
whole set of 4+ covers. The 2003 trilogy set is essentially the original three
albums from the films combined into one package (with no extra music). The
2005 set includes the complete recordings for between $50 and $60, and features
the DVD with 5.1 Dolby Digital surround sound along with three CDs that offer
180 minutes from the score in 16-bit stereo sound. Other higher resolution
variants on sound quality exist on the DVD (see review for details).
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Awards:
Winner of the Academy Award for Best Original Score, 2001.
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Filmtracks Recommends:
Buy it... in the complete set if you are an audiophile or keep the
original album in the front row of your collection.
Avoid it... in the complete set if you are satisfied with the
16-bit stereo sound of the original album and see no need for additional
material or sound quality.
Filmtracks Editorial Review of Original 2001 Albums:
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The Lord of the Rings: The Fellowship of the Ring: (Howard Shore) With
Harry Potter and the Sorcerer's Stone successfully absorbing the
explosion of wild-eyed overenthusiasm resulting from this year's late autumn
wealth of fantasy scores, The Lord of the Rings sneaks into theatres with
a superior score. The critics of Williams' score for Harry
Potter, for the most part, agree that the weakness of that score was its
lacking of any sound that is as revolutionary or groundbreaking as the Potter
hype has become. When Howard Shore was announced as the artist of choice for
The Lord of the Rings, a collective "what?" came up from the film music
and hobbit galleries. Yet, at a time when scores by the best known composers are
beginning to be criticized for attempting to repeat old glories, the choice of
Shore continues to make more and more sense. The composer has been typecast into
the role of composing the often subtle and introverted scores for cultish,
modern films. His name has been heralded by the anti-Horners (James, that is) of
the score world. Ironically, the final product that Shore has conjured up for
The Lord of the Rings is very much a more subtle version of Horner's
Willow. It would have been very easy for the film's producers to hire
Horner for The Lord of the Rings --and nobody would have questioned that
move-- but taking a chance with Shore was an exhilarating move that offered a
talented composer a chance to prove his critics wrong in the grandest of
fashions. It was an opportunity that Shore did not miss.
When analyzing the score for The Lord of the Rings on album, it is vital
to separate the raw music from its disgracefully commercialized product. Before
ranting and venting about the evils of the product(s) from Reprise Records, due
praise must be given to Shore and his immense work for the film. Being a devoted
child of the Willow generation, and having disliked nearly every Howard
Shore effort I had heard to date, I was as skeptical about The Lord of the
Rings as many others. After being somewhat disappointed by Harry
Potter a few weeks earlier, and facing the prospect of a Christmas season
without a flourish of strong action scores, the hope for a surprise from Shore
was palpable. It took me a long time to warm up to even my most favorable Shore
scores, but The Lord of the Rings was entrancing from the first cue. He
does indeed create his own darkly introverted version of Willow. The same
elements are all there, with large orchestral and choral ensembles performing in
a heightened sense of importance and urgency. Even more surprising was the fact
that Shore's music by the final cue is remarkably lyrical and rich in ethnic and
vocal fantasy. Whatever magic was lacking in Harry Potter can be heard
here, and Shore does it in a more effective way; his themes don't parade with
attitude, and his action music is deeply wozen into a choral fabric that
provides all the necessary magic that the Tolkien world demands and deserves.
Shore will be the first to admit that the burden of writing the musical
counterpart for the famed The Lord of the Rings domain was a daunting
task, but his combination of a full, thematic ensemble and the loyalty to his
own introverted style of composing has produced one of the most intriguing and
enjoyable big-screen fantasy scores since Jerry Goldsmith's Legend.
Because this Shore style of a more subdued approach to magic is, well, more
subdued, you can't point at one or two momentous blasts of theme or action that
will exemplify the reasons why this score pushes all the right buttons. With
Williams and Horner, such identification is as simple as pointing to a concert
suite. Shore, however, allows the solid, four-star personality of each cue
culminate into a five star whole. The massive and gothic choral passages, so
deeply dominated by the male singers, provide cues that are genuinely
frightening, both religiously and otherwise. Lighter moments, such as those in
the "Concerning Hobbits" cue, offer a break from the awe without resorting to
silliness. The title theme is naturally lyrical and heroic, aimed at the brass,
but restrained by a fully mixed and realized string section. In fact, the most
effective and tender moments of this score's theme are performed by the weaving
violins, cellos, and basses while the brass offer a soft accompaniment. The
woodwinds make several pointed apprearances to perform the ethnic and natural
representations of location. Shore never overdoes it with the percussion, and
avoids the outward banging of timpani in too many a cue. The final score track
on the album is among the best of the entire year, if not the outright best. A
seven-minute cue, "The Breaking of the Fellowship," presents the subtle glory of
Shore's interpretation of Tolkien without ever breaking above a moderate volume.
The solo boy vocals in that track, along with those interspersed in several cues
throughout the album, make one wonder why Enya was needed at all.
Enya, of course, is the primary reason why the album is selling as well as
it is (and eventually, the Academy Award, too). She needs no introduction, especially to
score fans, since her
songs have been appearing in films steadily since the early 1990's. The problem
with Enya --and I say this as an affectionate fan of her performances-- is that
she has exhausted her own compositional skills so that her songs all sound
alike. When "Orinoco Flow" and "Book of Days (Far and Away)" were introduced a
decade ago, it was easy to be enthralled by her voice. Her voice is still
strong, and I doubt anyone will resent her performance of anything. But even
with her newest album, A Day Without Rain, the driving force is the song "Only
Time," and Enya fans should note that that content is essentially nothing new
for her. The themes are all a variation of each other, and her instrumentation
never changes. What was truly needed for The Lord of the Rings was for
Enya to perform Howard Shore's material. The score would still have been
an outstanding success without her, and even with her rather bland songs, the
two styles are close enough to merge (quite literally) into each other at
beginning and end without much interruption in mood. In the end, Enya still has
a lovely voice, but her involvement with this project was the beginning of a
disaster for the album release of The Lord of the Rings soundtrack.
Succinctly put, Reprise Records is the label for Enya, and they thus handled the
score as well. By the end of Reprise's mind-boggling commercialization of the
music for The Lord of the Rings and the promotion of Enya's small
contribution to the effort, I was sure that even Frank Sinatra (the original
Reprise artist back in the good ol' days) would burst out singing about Gotham
City at some point in The Lord of the Rings.
Fans of the score should be thankful that over an hour of it made it onto
this lengthy album. However, you could make a list of the reasons why
The Lord of the Rings as a CD product is a disgraceful
fraud. First, the promotion of Enya is uncalled for. Her performances
amount to five or so minutes on the album and are clearly outclassed by
Shore's score. Second, the label has created mass confusion over the
"limited version" of the product versus the regular version. Essentially,
there's no difference, and stores have used the opportunity to yank the
price for both products to $20 or above in either case. Third, the
limited edition auto loads if you put it in your computer and blows up
with an advertisement for the soundtrack CD. Is this smart? No. Who needs
to see an ad for the product they just bought? Some operating systems, by
the way, don't allow you to squash the auto-loading function. Fourth, if
you go to access the special features, they exist on the label's website,
and the first three times I went there, I got a blank "HTTP/1.1 501 Not
Implemented" message. Obviously, a screw-up at Reprise Records's
site. After reloading it a few times, it finally sent me to the right
place. Fifth, the next offense by Reprise was astounding. In order access
the special features, I had to divulge my e-mail address. Now, I'm smart
enough to put a false one down (or perhaps the address of one of my
problem students in class), but many people blindly give away that
information and hit the "subscribe button." Even with a link to Warner
Bros.' blanket privacy policy statement below the demand for your e-mail,
this forcing of subscription to whatever Reprise and Warner has in store
for you is a fraud, and an unacceptable invasion of privacy. NOTE: about
12 hours after entering a test e-mail address into that access box, that
address was spammed by an advertisement for the CD (which once again
doesn't make sense). Sixth, as
though the situation isn't bad enough already, once you get into the
special features, you are presented with a small handful of trailers and other
film-related items. However, 90% of the special features are Enya related. Equal
information about/from Howard Shore, meanwhile, is no place to be found, once
again proving that Reprise is using album for The Lord of the Rings to
promote a star artist. They even promote Enya trading cards. Enya trading
cards?!? Do people actually trade these things? Are they any more popular
than the set of Jesus trading cards?? When it comes to trading cards, Ichiro:
Yes. Enya: No.
Whatever you do, do not waste your money on the "limited edition" version of
this product. If you want something really and honestly "limited," check out the
Varèse Sarabande CD Club. In the case of The Lord of the Rings,
what we have here is a distasteful attempt by the record label to transform a
musical album into a sort of collector's item. They have pasted several
different covers on the limited editions, each featuring a different character
from the film, and as it turns out, these covers are actually a trading card in
and of themselves, slipped in front of the real insert cover, which is the
universal one you see on this page. I worry about the suspect fools who will go
out and try to collect all of these "trading covers" because their enthusiasm
about The Lord of the Rings makes them loose with their wallet. It's not
rare in the trading card industry (Topps, Upper Deck, etc), since the
mid-1990's, to pull these kind of insert stunts, but to see Reprise Records do
it with an otherwise fabulous film score is sickening. For all you fans of film
music out there, avoid the hype surrounding the different versions of the score.
Find the cheapest version, and purchase it for Shore's remarkable work. It is a
stellar example of a composer making the most of an opportunity to blast into
the mainstream, and if you are any kind of fantasy music fan at all, there will
be several cues on this album (and in the film) that will knock your socks off.
Even though I was once an enormous fan of Enya, and am even still an admirer of
her work, I would hate to see the only attention this score gets at awards time
go to Enya's small contribution. What Shore has done is magnificent enough to
overshadow Enya's part ten times over. If you were disappointed by Williams'
Harry Potter for whatever reason, you will not be disappointed by The
Lord of the Rings.
Music as Written for the Film: *****
Music as Presented on 2001 Albums: **
Overall: ****
Filmtracks Editorial Review of 2005 Complete Set:
The Lord of the Rings: The Fellowship of the Ring: (Howard Shore)
With the vast success of the entire Peter Jackson trilogy and the
inevitable extended cuts of the films on DVD, a better treatment than
the original score albums for each of the three The Lord of the
Rings films has been in the works for a while. The original albums
contained significantly edited and rearranged snippets of score that
often made little sense when compared to what was heard in the films,
though this editing was necessary to give fans what essentially amounted
to a "best of" album for each film. But those edits didn't have the
luxury of choosing to include supplemental material that Shore wrote
after the theatrical releases to accommodate Jackson's longer DVD cuts.
Four years later, the first of the expanded CD releases hits commercial
store shelves for a whopping $50 (or more), causing fans of the trilogy
to salivate in anticipation. Of all three films, it could be argued that
The Fellowship of the Ring was the most mistreated by its
original album edit, and anyone who owns and cherishes the three
original albums will cherish this first entry in the "Complete
Recordings" releases. While some fans of the trilogy --people who must
have an insane amount of free time on their hands-- have noticed that
there are small pieces of music here or there in the film that aren't
included on the set (usually just seconds in length), 99.9% of listeners will be hard-pressed to find
anything substantial missing from it. In fact, the presentation of
Shore's score on this three-CD set is astonishingly loyal to the film,
and ironically (as to be expected from fickle collectors), the majority
of complaints relating to the music on this set, while few, are related
to the inclusion of music that some people would rather not have heard.
Such people need to be rounded up, flogged in public, and forced to
recognize that score fans are usually never treated to such a product
and should very well be appreciative of it.
Musically speaking,
there is little to critique about Shore's work that hasn't already been
mentioned. One of the most popular, orchestrally robust scores of the
digital age, The Fellowship of the Ring may or may not be your
favorite score of the trilogy. What the complete recordings prove is
that Shore provided such mastery in great quantities, and the overall
work thus towers over the competing scores of 2001 despite the year
being very strong in material. It's easy to point to the latter two
scores as superior representatives of the entire trilogy, because they
offer a more rounded inclusion of themes from the trilogy. In The
Fellowship of the Ring, we now hear two foreshadowing of the Gondor
theme ("The Great Eye" and "The Mirror of Galadriel") prevalent in
Return of the King, though one surprising aspect of The
Fellowship of the Ring, now that it is clearly available to hear
from beginning to end, is how some of the better themes from the
following films were completely absent in the first. Despite several
dozen themes and smaller motifs created and intricately developed in
The Fellowship of the Ring, not a single subtle nod towards
Rohan, Gollum, or Grey Havens is anywhere to be heard. Looking back at
the trilogy, it's become more evident that Shore never intended to
utilize the "song" themes outside of the films for which they were
written. Enya's "May it Be" doesn't return, nor does "Gollum's Song"
appear in Return of the King. The lack of continuity for Gollum
is perhaps the trilogy's biggest musical weakness, for Shore's theme for
the character in The Two Towers is so captivating. A cue for
Gollum in The Fellowship of the Ring hints at the ominous chord
progressions used before the song in the next film, but curiously never
references the theme. Nevertheless, the complete set offers several
opportunities to hear Shore adapt his existing themes into strikingly
enjoyable variants; the "Shortcut to Mushrooms" cue, for instance, is a
dazzling comedic manipulation of music from the shire.
The structure of the complete set itself has few flaws. Spread over three
CDs, the chronological presentation does leave you with a cliffhanger at
the end of the second CD, but the arrangement was meant to spread the
music equally in length between each CD. The rearrangement of music
might take a frequent listener of the original CD some time getting
accustomed to. For example, if you're seeking Miriam Stockley's slightly
Arabic vocals in "Lotholorien," you'll find that track from the previous
album split into sections and the vocals appearing here in "Caras
Galadhon." Those vocals, among many others in the film, have been
remixed for the collector's set, along with a few prominent instrumental
solos. As with Stockley's and Edward Ross' performances, the massive
choir has been set a bit further back in the mix, allowing the orchestra
a more clearly defined role. On the other hand, a few individual places
feature solos that reach out and grab your attention, including the
resounding flute solo at the end of "Very Old Friends." Also given a
somewhat generous mix on the set are the most controversial elements of
the score: the non-Shore pieces. Many of the snippets of
character-performed music in The Fellowship of the Ring aren't
from Shore's pen, whether concocted by Enya and Nicky Ryan, or even the
actors themselves. Ian McKellen's mumbling of "The Road Goes Ever On" at
the beginning of "Bag End" and Viggo Mortensen's performance of his own
"The Song of Luthien" in "The Nazgul" have stirred up a certain level of
discontent, but in the age of easy digital editing at home, you have to
forgive the set for doing its best to be truly complete (complaints
would have resulted, of course, had such interludes not been
included). The only piece that will likely make many listeners' hair
stand on end is the "Flaming Red Hair" hobbit party music, a track that
is definitely mixed at volumes that will snap you out of a slumber.
Aside from the 180+ minutes of music available on the three regular
audio CDs, the set comes with a DVD that features four different tracks
of the same complete score. Your DVD player or the software on your
computer, and their ability to function with the copy protection of the
DVD, will determine which of the four tracks you can enjoy. From a
technical standpoint, the four tracks are divided into two DVD-audio and
two Dolby Digital presentations. The Dolby Digital options include a 2.0 encoding at 224
Kbps, offering a decent surround experience, and the 5.1 encoding at 448 Kbps, which will be
a vast improvement for the majority of basic surround sound listeners. Audiophiles, however,
will go straight to the DVD-audio options, which include "Advanced Resolution Stereo Sound"
and "Advanced Resolution Surround Sound," both of which feature 48 kHz, 24-bit encoding.
This sampling rate may not seem much better than that of the regular CDs, which is a plus given
that it likely allowed all of the variants to fit on one DVD, but the 8-bit increase to
24-bit overall will provide a noticeable difference for non-Dolby listeners. The "Advanced
Resolution Surround Sound" DVD-audio presentation is the glorious triumph of the set. If you
have the six-speaker setup and playing capability to truly take advantage of the Dolby Digital
5.1 or DVD-audio tracks on these DVDs, then beware of their consequences! Once you hear
Shore's score in this full surround sound (essentially not much
different from its clarity and scope in the film itself), it'll take you
a while to get used to hearing the plain old 16-bit stereo recordings on
the regular CDs. Many of the borderline problematic mixing issues on the
stereo CDs are solved by the 5.1 spread, and combined with an
outstanding source recording, the listening experience on the DVD is
simply mind-blowing. The aforementioned flute solo concluding "Very Old
Friends," for instance, will knock you off your feet. The slamming anvil
of the Orcs, with a wash of harsh brass ripping around between speakers,
will appropriately terrify your neighbors. We can only hope that the
entire industry is headed in this technological direction, despite the
expensive consequence of forcing us to rotate out our old collections
for 5.1+ surround editions.
Many fans have complained about the
DVD, however, despite its spectacular presentation for those properly
equipped. Some of these complaints are legitimate and some aren't.
People who attack the set simply because of the ill-fated rubber knob
that keeps the DVD in place (and yes, it doesn't really work that well)
need some perspective. And those who claim that that the DVD unfairly
pushed the price of the set to its supposedly "unreasonable" $50+ are
likely lacking the capability to readily play and enjoy it. Simply put,
if they heard the 5.1 mix on the DVD and could listen to it all day
long, the DVD would be the first reason to buy the set. One very valid
complaint has been made about the DVD, however, and that is the
restrictive prohibition of certain features on the product. Unless it
relates to the copy-protection features (and even there, it's
questionable), there's no reason not to allow scanning within a track.
There are some long cues in this score, and if you want to hear the
impressive, softer choral work in the middle of "The Fighting Uruk-Hai,"
then you have to sit through a minute or two of clanging Orc music to do
so. Some computer players --a tricky prospect for any DVD like this--
will allow you to override the prohibitive limits put on the DVD (such
things were invented mostly to allow people to skip past advertisements
at the start of movies and go straight to the film or menu), but tests
run on the ever-popular VLC program allowed scanning, but also caused
the 5.1 sound to stutter-step, negating the gain. Also, while the work
that Doug Adams does for the 40+ page booklet (not quite the advertised
length; they apparently included covers in the tally) is astounding in
its depth and knowledge, the content will likely fly a few levels over
the heads of most regular collectors. By tackling the score by theme and
character-type, Adams never provides a basic track-by-track analysis
that could have considerably assisted the average listener in placing
his connections into each context. You also have to be very familiar
with the films to understand the location references.
Still, Doug Adams' work on collecting and presenting all of this information
makes for at least an interesting read, even if it doesn't always
connect in memory or terminology. After the original album releases
catered to mass hysteria with nonsensical trading cards, it seems that
we've swung all the way in the opposite direction with the DVD sound and
sensational technical detail of notes. It does make a person wonder if
there isn't a happy medium ground someplace, and it also begs questions
about when you can actually have too much of a good thing. Since this
complete set caters to demand and hype of the trilogy's followers, you
really can't fault Adams or anyone else for yielding to the temptation
of producing the most technically perfect and thorough soundtrack
product in history. But if you never bought into the hype in the first
place, then will this complete score for The Fellowship of the
Ring be worth the cost for you? That's hard to say. For some, the
elusive missing cues will be the attraction. For others, the DVD's 5.1
Dolby Digital or DVD-audio sound will be key. But for many others, the "best of"
album that was released in 2001, with its basic 16-bit stereo sound,
will touch on all the basics and provide enough highlights to suffice.
Only you can make the determination about just how much of a fan of the
trilogy you are (or how much of an audiophile you tend to be), for the
answers to those questions will be the factor that separates you from
your $50 (or more). Regardless of that answer, the set is spectacular in
and of itself, and with the forthcoming set of The Two Towers
already in production, fans of the trilogy are going to be in for a few
more treats.
Complete Score on CD: *****
Complete Score on DVD: ****
Overall: *****
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Viewer Ratings and Comments:
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Track Listings (2001/2003 Regular & Limited Albums):
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Total Time: 71:24
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• 1. The Prophecy (3:54)
• 2. Concerning Hobbits (2:55)
• 3. The Shadow of the Past (3:33)
• 4. The Treason of Isengard (4:01)
• 5. The Black Rider (2:48)
• 6. At the Sign of the Prancing Pony (3:14)
• 7. A Knife in the Dark (3:34)
• 8. Flight to the Ford (4:15)
• 9. Many Meetings (3:05)
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• 10. The Council of Elrond - performed by Enya (3:49)
• 11. The Ring Goes South (2:03)
• 12. A Journey in the Dark (4:20)
• 13. The Bridge of Khazad Dum (5:57)
• 14. Lothlorien (4:34)
• 15. The Great River (2:43)
• 16. Amon Hen (5:02)
• 17. The Breaking of the Fellowship (7:21)
• 18. "May It Be" - performed by Enya (4:16)
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Track Listings (2005 Complete Set):
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Total Time: 180:34
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CD1: (58:29)
• 1. Prologue: One Ring to Rule Them All (7:16)
• 2. The Shire (2:29)
• 3. Bag End (4:35)
• 4. Very Old Friends (3:12)
• 5. Flaming Red Hair (2:39)
• 6. Farewell Dear Bilbo (1:45)
• 7. Keep It Secret, Keep It Safe (8:53)
• 8. A Conspiracy Unmasked (6:09)
• 9. Three is Company (1:58)
• 10. The Passing of the Elves (2:39)
• 11. Saruman the White (4:09)
• 12. A Shortcut to Mushrooms (4:07)
• 13. Strider (2:34)
• 14. The Nazgul (6:04)
CD2: (59:05)
• 1. Weathertop (2:14)
• 2. The Caverns of Isengard (4:54)
• 3. Give Up the Halfling (4:49)
• 4. Orthanc (1:06)
• 5. Rivendell (3:26)
• 6. The Sword That Was Broken (3:34)
• 7. The Council of Elrond Assembles (4:01)
featuring 'Aniron (Theme for Aragorn and Arwen)' - performed by Enya
• 8. The Great Eye (5:30)
• 9. Gilraen's Memorial (5:01)
• 10. The Pass of Caradhras (5:04)
• 11. The Doors of Durin (6:03)
• 12. Moria (2:27)
• 13. Gollum (2:26)
• 14. Balin's Tomb (8:30)
CD3: (63:00)
• 1. Khazad-Dum (8:00)
• 2. Caras Galadhon (9:20)
featuring 'Lament For Gandalf' - performed by Elizabeth Fraser
• 3. The Mirror of Galadriel (6:21)
• 4. The Fighting Uruk-hai (11:32)
• 5. Parth Galen (9:13)
• 6. The Departure of Boromir (5:29)
• 7. The Road Goes Ever On... Pt. 1 (5:58)
• 8. 'May It Be' - performed by Enya (3:26)
• 9. The Road Goes Ever On... Pt. 2 (3:41)
featuring 'In Dreams' performed by Edward Ross
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The original 2001 (regular) album's insert includes notes from director Peter
Jackson and composer Howard Shore. Also featured are lyrics from each of the
ensemble vocal segments from the score, as well as the Enya portions. A whopping
two full pages of credits add to the clutter. No track times are provided on the
packaging, adding even this fine point to the expansive woes of this album. Various useless
goodies add to the cost of the 2001 limited album. The 2003 set includes general notes about
the trilogy. The 2005 complete set features a 45-page booklet with extraordinary notation
about the music by Film Score Monthly regular Doug Adams. That final set includes extensive
packaging extras, with the three regular audio CDs existing in a smaller case that can be
stored separately from the massive book-like exterior.
A detailed, track-by-track analysis (a supplement to the notes on the complete 2005 set) is available in
Adobe Acrobat (PDF) format for download from Warner Brothers at the following URL:
http://download.wbr.com/lotr3/fotr_annotated_score_2.pdf. It was not included in the product itself
because of cost restrictions due to the booklet size. There is no guarantee that this file will continue to
exist at that location, so dedicated fans should download it at their earliest convenience.
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