David writes: I thought that you might like to know that there are still tickets available for the Howard Shore LOTR Symphony at the Royal Albert Hall in London on the 23rd September 2004. The performance on the previous evening of the 22nd was sold out immediately, and the second date was then offered and put on sale from the 3rd August. The Royal Albert Hall management tell me that they are concerned that the hundreds who were turned away from the first performance may not be aware that the second is being run the following evening and/or booking now. We want a full house! Can you publicise this? Howard Shore has kindly agreed to this second date, and we don’t want to let him down! [More]
Category: Concerts
Whether through the six volumes of Tolkien’s classic novel or Peter Jackson’s spectacular film adaptation of the epic, The Lord of the Rings has fascinated audiences of all ages for 50 years. Now fans can relive the magic in a new way with Creating The Lord of the Rings Symphony: A Composer’s Journey Through Middle Earth. This exclusive concert presentation of the films’ unforgettable music, conducted by its composer Howard Shore, will have its Canadian television premiere on Bravo! NewStyleArtsChannel Saturday, September 4 at 8:30pm ET. [More]
Mirabella in San Diego writes: I was at my local library and saw a big poster for the following: The Port of San Diego is sponsoring a free public concert by the National City Community Concert Band to present “Music from Stage & Screen” at Pepper Park in National City. They will feature music from West Side Story, Lord of the Rings, Pirates of the Caribbean, and other movies and musicals. The concert will take place on Sunday, August 8, at 6PM. Bring your blankets and lawn chairs!
Lee writes: We are very close to announcing a new addition to the Lord of the Rings Symphony tour schedule, this one in Detroit on October 16, 2004 at the Fox Theatre, and we’d like to offer your readers another pre-sale opportunity, just like we did for the Chicago show. As in Chicago, TORN readers should use password “RING” to purchase tickets before the general public on-sale. We’re very excited that the Detroit Symphony Orchestra will be performing the symphony in Detroit. Due to scheduling conflicts, Mr. Shore will not be in attendance. At this point I do not know who the conductor will be. [TICKETS]
Howard Shore’s THE LORD OF THE RINGS SYMPHONY with The New Jersey Symphony Orchestra
John Mauceri, conductor / Sissel, vocalist / Montclair State University Chorale / New Jersey Youth Chorus
TWO PERFORMANCES ONLY: Friday, December 3, 2004 at 8:00pm and Saturday, December 4, 2004 at 8:00pm
NJPAC and NJSO join forces to present the NY Metropolitan Area premiere of THE LORD OF THE RINGS SYMPHONY: SIX MOVEMENTS FOR ORCHESTRA AND CHORUS, a multi-media extravaganza featuring music from the blockbuster big-screen trilogy whose soundtrack recordings have sold over 4 million copies. This once-in-a-lifetime concert will feature composer Howard Shore’s monumental, Grammy and Academy Award-winning score from all three Lord of the Rings films in a six-movement, two-hour musical journey into the realm of Middle Earth – from the tranquility of the Shire to the horrors of Mordor and explosive Mount Doom. To enhance the musical experience, storyboard sketches from the movie trilogy and original illustrations for the centenary edition of J.R.R. Tolkien’s books will be projected above the orchestra. This spectacular event will incorporate more than 200 performers, including the full New Jersey Symphony Orchestra and two choruses.
Tickets for this performance range from $15 to $68. Tickets are on sale now through, via phone toll-free at 1-888-466-5722, online at www.njpac.org, and at the NJPAC Box Office, One Center Street, Newark, open Mon. to Sat. from 12pm to 6pm, and Sun. from 10am to 3pm. (A $2 facility fee will be added to the price of each ticket purchased through NJPAC. No discounts apply for this special engagement. Please note that the NJPAC Box Office will be closed from August 2 through 29; during that period, tickets will be available online at www.njpac.org and via phone at 1-888-466-5722.)
BonMothma writes:
I have enjoyed offering fans the chance to see what it’s like to experience “The Lord of the Rings Symphony” from the point of view of a singer in the Mendelssohn Choir (read PART I & PART II). I had planned to talk about this past week’s rehearsals and performances in this final chapter. Last night, however, Dr. Page, the director of the choir, made it clear to me that he does not like details of the rehearsals being made public.
Honestly, it never occurred to me that this might be the case. I liken it to watching all the behind-the-scenes stuff on the extended DVD’s. It gives me a greater appreciation for the finished product when I see the hard work and care that went into it. Obviously, not everyone feels this way, and I will abide by Dr. Page’s wishes.
However, I do not wish to leave this story unfinished, so I’ll skip the rehearsals and talk about what it was like to experience these performances from the stage.
First of all, a bit more about the piece itself. Listeners will hear music other that what’s listed in the program.
The first movement lists “The Prophecy – Concerning Hobbits – The Shadow of the Past – A Short Cut to Mushrooms – The Old Forest – A Knife in the Dark.” It concludes with the music from “The Treason of Isengard” – the wizard fight.
The second movement lists “Many Meetings – The Ring Goes South [this includes some music from FOTR EE when Arwen and Aragorn look at each other as the Fellowship is leaving] – A Journey in the Dark – The Bridge of Khazad-dum – Lothlorien – Gandalf’s Lament – Farewell to Lorien [FOTR EE, Galadriel’s gifts] – The Great River [There is some music from Amon Hen in here next, including some from the score but not on the soundtrack album] – The Breaking of the Fellowship.”
The third movement lists “Foundations of Stone – The Taming of Smeagol – The Riders of Rohan – The Black Gate is Closed – Evenstar – The White Rider – Treebeard – The Forbidden Pool.” I didn’t notice anything additional in this movement.
The fourth movement lists “The Hornburg – Forth Eorlingas – Isengard Unleashed – Gollum’s Song.” Again, nothing additional to what was listed.
The fifth movement lists “Hope and Memory [Pretty much all of “Minas Tirith” is added here] – The White Tree – The Steward of Gondor – Cirith Ungol – Anduril.”
The sixth movement lists “The End of All Things [it actually begins with “The Fields of the Pelennor” – the whole thing, then plays part of “Hope Fails” before going into “The End of All Things.”] – The Return of the King – The Grey Havens – Into the West.”
The setup for these performances differs according to the venue, I’m sure, but for us, the choir was set up behind the orchestra. The screen was above our heads and just in front of the choir. Howard Shore was not extremely pleased with this set up, because the pictures are not supposed to be the focus, but it was the only way to do it at Heinz Hall. It was hard for me to not look up at the pictures when I had down time in the performance, but I glanced at them during the last rehearsal when I could.
Howard Shore’s conducting style was a pleasure to experience. He was very animated and expressive. For me, it really helped set the mood for whatever was happening musically. Offstage, he is quiet and reserved, but very gracious with his fans.
The sound of the Pittsburgh Symphony Orchestra was balanced very differently for me because the percussion section was directly in front of us, and the French horns were in front of them. The strings sounded very far away sometimes (they were), but it gave me an opportunity to hear things in a totally new way. The percussion section was a sight to behold. There were some interesting things used to get the right sounds for the Isengard and Treebeard music. My favorite percussion moments were the drums at the beginning of “The Fields of the Pelennor,” and an occasional deep bass drum, that softly punctuated some of the quieter moments.
One of my favorite instrumental moments was “The Forbidden Pool.” I loved the combination of instruments that creates the sound of water in that sequence. I also loved the music for the lighting of the beacons. The horns all sounded so majestic.
It’s hard to pick one section that I liked singing best. Actually, one of my favorites was a part I did not sing – the Moria part when the Fellowship see the city of Dwarrowdelf. I loved hearing the men’s voices swell at that climax. We moved from Khazad Dum to Lothlorien, which was a big change. I loved singing that part – very ethereal. I think my other favorites were pretty much everything in the fifth and sixth movements, especially “The Steward of Gondor” – a very haunting sound.
I got to talk a bit with Sissel after Wednesday’s rehearsal. She is a very gracious and beautiful lady. I enjoyed listening to her renditions of “Gollum’s Song” and “Into the West,” but where she really shined was on the high parts. “Evenstar” was beautiful, but my favorite was in “The Return of the King,” where Arwen and Aragorn are reunited. Everything gets quiet, and all you hear is her voice. It was stunning.
Howard Shore, if you’re reading this, thank you for your beautiful work on these movies and for putting together such a brilliant symphony. I’m looking forward to the release of the boxed set. I apologize for anything I’ve said in these posts that may have revealed more than you would have wished. I’m just an enthusiastic fan who is very grateful to have experienced this, and wished to share it with those who can’t.
I am also grateful to Dr. Page for allowing me to sing with the Mendelssohn Choir. And I wish to thank Fred-O, whose letter to the Pittsburgh Symphony Orchestra prompted them to book these concerts. The final performance for this was on my birthday. To sing my favorite music on my birthday is the best present I could receive. I had to keep my composure and focus for these performances, but once I had finished last night, I began to cry. It was so wonderful and beautiful to participate in this, and I am sorry that it’s over. I will never forget it.