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A gyűrűk ura
The Lord of the Rings |
FILMZENE
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első megjelenés éve: 1991
77 perc |
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CD |
| 4.161 Ft
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| 1. | History of the ring
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| 2. | Gandalf throws the ring
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| 3. | The journey begins: encounter with the ringwraiths
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| 4. | Trying to kill hobbits
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| 5. | Escape to Rivendell
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| 6. | Company of the ring
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| 7. | Mines of Moria
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| 8. | The battle in the mines; the balrog
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| 9. | Mithrandir
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| 10. | Frodo disappears
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| 11. | Following the orcs
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| 12. | Fleeing orcs
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| 13. | Attack of the orcs
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| 14. | Gandalf remembers
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| 15. | Riders of Rohan
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| 16. | Helm's deep
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| 17. | The dawn battle: Theoden's victory
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| 18. | The voyage to Mordor: Theme from The Lord Of the Rings
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Original score composed by Leonard Rosenman, from the animated film.
Recorded: 1978, at Filmways Heider Studios, Los Angeles, California
Includes liner notes by Laurie Battle.
All tracks have been digitally remastered.
This amazing music from 1978 is the score for Ralph Bakshi's truncated, unfinished animated version of Tolkien's The Lord of the Rings. Brooklyn-born Leonard Rosenman made his name in the 1950s as an avant-garde composer of "serious" music, but when he decided to diversify and provide a score for James Dean's East of Eden in 1955, his fate was sealed: thereafter, the concert halls were closed to him and he made a career writing challenging, original yet thoroughly under-appreciated music for films. The Lord of the Rings is one of his most impressive, thoroughly conceived achievements--harsher, more "difficult" than Howard Shore's music for the 2001 live-action version, yet no less emotionally involving.
It begins with a six-minute quasi-overture in which the score's principal themes are introduced in fragmentary form then just as quickly overwhelmed. Avant-garde pyramidal chord structures and the dissonant Ringwraith motif contrast with sturdy, optimistic music for the hobbits; then, as the work progresses, the dark textures thicken and a chorus is introduced, moaning and chanting "Mordor" and "namnesor dranoel" (the composer's name backwards!). The score climaxes with the massive and utterly terrifying "Helm's Deep" and "The Dawn Battle", in which the composer builds increasingly hysterical fugue-like textures in a densely written musical assault that employs archaic wind and percussion alongside a groaning, shouting chorus of demonic voices. The almost unbearable tension is finally released in a triumphant statement of the principal march theme. Unlike almost all other Hollywood film music this is challenging stuff; but such extraordinarily bold music is its own reward and can quite happily be enjoyed in isolation from the film for which it was intended. This welcome CD release presents the complete remastered 77-minute score in film order and is only let down by the extremely sloppy presentation of the booklet. --Mark Walker |
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