The soundtracks for Peter Jackson’s movie trilogy may be, quite possibly, some of the best soundtracks in the world. Howard Shore not only did a wonderful job with orchestrating the music and picking highly talented soloists, he also did a fabulous job of slipping in subtle hints about the culture or characters he is describing through his music. The very talented choir backs the lyrics – artfully written by the gifted Fran Walsh, and translated by David Salo – and makes them a seamless part of the music.
Now, I know you think that “The Steward of Gondor” is totally special just because your Billy sings in it, but I’m here to tell you that a solo does not make a song. To prove this, I have selected seven choral pieces from the three soundtracks:
– “Revelation of the Ringwraiths” (The Shadow of the Past, The Black Rider, At the Sign of the Prancing Pony, A Knife in the Dark, Flight to the Ford)
– “Fate of the Elves” (Lothlórien, The Leave Taking, the Hornburg)
– “The Seduction of the Ring” (The Treason of Isengard, Amon Hen, The Forbidden Pool)
– “The Call” (Helm’s Deep, The Hornburg, Forth Eorlingas)
– “The Last Son” (The Steward of Gondor)
The Revelation of the Ringwraiths
This song was written in Adûnaic, the ancient language of Númenor. This is appropriate because some of the Ringwraiths had Númenórean origins. Also, Adûnaic is a harsh language to the ears, and whenever it is sung, it drives a ruthless beat, just as the Ringwraiths drive their horses. However, it can also be used softly, still urgent, but almost hidden behind the violins, violas, and other string instruments. The lyrics are:
Nêbâbîtham Magânanê. We deny our maker.
Nêtabdam dâurad. We cling to the darkness.
Nêpâm nêd abârat-aglar. We grasp for ourselves power and glory.
Îdô Nidir nênâkham, Now we come, the Nine,
Bârî ‘n Katharâd. Lords of Eternal Life.
When this song is sung, the horns back the choir up with a strong dah-dat! that reinforces the message. It is a scary song, a scary symbol of the Ringwraiths, who “deny our maker.”
Fate of the Elves
This song, featured in “Lothlórien” (in FotR), “The Leave Taking” (in TTT), and a martial version (drums and a heavier beat, so it sounds like a war song) of it in “The Hornburg (in TTT), has been identified as the theme for Lothlórien. The first three lines are written in Sindarin, and the next three in Quenya. This suits a theme for Lothlórien – Celeborn is Sinda, and Galadriel is Noldo. The Noldor spoke Quenya for a long time until it was banned in Beleriand. The lyrics are as follows:
Man ammen toltha What to us comes?
i dannen morn The Fall Dark
Si danna atha… now fell
nauva. shall be.
Melmemma nóren sina Our love for this land
nur ala ëaro nur… Is deeper than the deeps of the sea…
The last two lines, sung in Quenya, show more strongly than the rest of the song why it is entitled “Fate of the Elves.” They are tied to the land, reluctant to leave it. They are among the last of the elves to leave Middle-earth. The lyrics themselves came from a poem which says: “Our love for this land/Is deeper than the deeps/Of the sea./Our regret is undying/Yet we will cast all away/Rather than submit./What should be shall be.” These words come from a passage in FotR in “The Mirror of Galadriel,” in which Frodo asks Galadriel what she wishes to happen. She says that she wishes that “what should be shall be,” and she says that the love of the land for the elves “is deeper than the deeps of the sea.” This song shows the pain of the elves – to leave for their homeland where they are promised happiness, or to stay in their land where they know happiness.
The Seduction of the Ring
This song is sung by a boys’ choir, soft but eerie, an accompaniment to the Ring’s attempts to fall back into the hands of men. It is first heard in “The Treason of Isengard” (FotR), but only as the boys hum the tune, and accompanied by lyrics on Caradhras, but the music for that part is not on the soundtrack. (You can hear it online at Hirgon’s Lord of the Rings music clips, entitled “Caradhras.” The Seduction of the Ring starts about 35 seconds into the song.) Later, on “Amon Hen,” (FotR) as Boromir tries to take the Ring from Frodo, it is also heard. The last time is in “The Forbidden Pool” (TTT), when Faramir is tempted by the Ring. The lyrics are sung in Quenya:
I tuo i macil The strength, The weapon
[A]staldoron mauri The needs of the valiant
nai Cor[ma] Be the Ring
I tuo i macil (your) strength, (your) weapon
Á lelyat túrenna go to victory
The lyrics were inspired by a passage in FotR in the chapter “The Council of Elrond”, in which Boromir tries to convince the Council to give the Ring to Gondor: “The Men of Gondor are valiant, and they will never submit; but they may be beaten down. Valour needs first strength, and then a weapon. Let the Ring be your weapon, if it has such power as you say. Take it and go forth to victory!” The song has turned it around, making it so the Ring is saying the words “take me, and go to victory.”
The Call
One of Tolkien’s most beloved songs is “Eorl’s Hymn,” a lament of Rohan. Howard Shore uses it in three songs throughout TTT – “Helm’s Deep,” “The Hornburg,” and “Forth Eorlingas.” Translated into Old English (Rohirric), Eorl’s Hymn (also named “The Call” by many soundtrack fans) takes on a whole new level. Only the first four lines are used in the soundtracks, but the whole song has been translated into this:
Hwær cwóm helm? Hwaer cwóm byrne? Where is the helm and the hauberk,
Hwær cwóm feax flówende? and the bright hair flowing?
Hwær cwóm hand on hearpestrenge? Where is the hand on the harp string,
Hwær cwóm scir fýr scinende? and the red fire glowing?
Hwær cwóm lencten and hærfest? Where is the spring and the harvest
Hwær cwóm héah corn weaxende? and the tall corn growing?
Hwá gegaderath wuduréc of Who shall gather the smoke of
wealdholte byrnende? the dead wood burning?
Oððe gesiehth of gársecge Or behold the flowing years
ðá géar gewendende? from the Sea returning?
In “Helm’s Deep,” Eorl’s Hymn is used as the warriors ride off from the column during the warg attack on the refugees who are fleeing to Helm’s Deep. In “The Hornburg,” it is a poignant cover over the sounds of fathers and sons being ripped away from families and suited up for war. In “Forth Eorlingas,” the song is used for the part where Gandalf reveals himself to the Three Hunters.
The Last Son
Some people have thought that the saddest scene in the entire trilogy is when Faramir and his knights ride off on their suicide mission. The song “The Last Son,” featured in the beginning of “The Steward of Gondor,” adds to this sadness, reminding the listener of the fact that Faramir was Boromir’s brother, and now that his brother is gone, Faramir is burdened unfairly with an extra load. The song is sung as Faramir and his knights are riding down the streets of Minas Tirith on their way to Osgiliath. The lyrics are sung in Sindarin by a full choir with a quiet but martial drum behind, adding that extra lament of war to it:
Boe le henio You must understand.
E sí câr athad iyn He does the duty of two sons now.
Ane ah a phen For himself; and for the one
I ú athelitha. who will not return.
The lyrics come from the RotK, when some of the citizens of Minas Tirith are discussing Lord Denethor – “’They give him no rest,’ some murmured. ‘The Lord drives his son too hard, and now he must do the duty of two, for himself and for the one that will not return.’” Sadly, Lord Denethor does not realise this, and drives his son nearly to his death.
The choral pieces in the soundtracks are not always given their due credit, perhaps because they blend so seamlessly with the rest of the music. However, given more examination, they add a whole new depth to the movie, a strong weapon in Howard Shore’s arsenal.
by Alya
