The Lord of the Rings: The Rings of Power (soundtrack)

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The Lord of the Rings: The Rings of Power (Season One: Amazon Original Series Soundtrack)
TROP s1 soundtrack.jpg
Soundtrack album by
Howard Shore (title theme) and Bear McCreary (original score)
ReleasedAugust 19, 2022 (2022-08-19)
Recorded2021–2022
Studio Abbey Road Studios
AIR Studios
Synchron Stage Vienna
Genre Soundtrack
Length2:40:54
Label

The original soundtrack to the Amazon Prime Video television series The Lord of the Rings: The Rings of Power features a musical score composed by Bear McCreary and a main title theme composed by Howard Shore, who previously scored the film trilogies The Lord of the Rings and The Hobbit by Peter Jackson. McCreary wrote nearly 15 new themes, inspired by Shore's earlier work. The score includes various musical styles and fictional languages, constructed by author J. R. R. Tolkien. Recording involved a 90-piece orchestra and 40-member vocal choir working in London, Vienna, and Los Angeles.

Contents

Season 1: Amazon Original Series Soundtrack was released on all major streaming services on August 19, 2022, two weeks prior to the official premiere. It was led by two singles from McCreary's score – "Galadriel" and "Sauron" – released exclusively on Amazon Music on July 21. [1] The album features 40 tracks. The physical soundtrack will be marketed by Mondo and is set for release on CD (October 14) and vinyl (January 13, 2023). [2] Additional soundtrack albums featuring the full score for each episode will be released after the episode premieres. [3]

Background

"I’m a huge fan of the J.R.R. Tolkien books, of the legendarium, the mythology and the Peter Jackson films. They were, in a way, at the nexus of my childhood and adulthood, the last films that took me away as a child. I watched those films over and over and over."

— McCreary, about the Lord of the Rings films and its main inspiration that drew him to work in the series. [4]

Howard Shore, the composer for the Lord of the Rings and Hobbit films, was reported to be in discussions with Amazon about working on the series in September 2020. He was said to be interested in developing musical themes but not necessarily composing the entire score. [5] A year later, Shore was confirmed to be in talks for the series, [6] when composer Bear McCreary was reported to be involved as well. [5] Their hiring was officially announced in July 2022, with McCreary composing the score and Shore writing the main title theme. [1] McCreary said the main theme was created independently of the score, but he felt the two "fit together so beautifully". [7] The Head of Music at Amazon Studios, Bob Bowen, opined that both musicians have "deep understanding of the Tolkien legendarium". [7]

Recording and production

"In our show, we are seeing these societies at their peak. So, yes, there’s a connection, but it doesn’t sound the same. In the ‘Hobbit’ films, the dwarfs were a people in diaspora, lost and hoping to retrieve their homeland. Here we see the might of Khazad-dûm, one of the mightiest cities in all of Tolkien’s work, and we see it at its peak. It has this churning industrial energy. It is not sad and forlorn, it’s powerful. My hope is that if anyone watches our show and then watches the Peter Jackson films, there will be a continuity of concept."

— McCreary, on the idea of the show. [4]

McCreary began working on the series in July 2021, and said it was a "once-in-a-lifetime opportunity" to work on such an ambitious score with the creative freedom that he wanted. He spent nearly two months writing new musical themes based on the scripts, which he compared to that of writing a symphony, and then used those to compose nine hours of music for the first season over eight months. Each themes had two sections, an introduction and the development of that theme. He wanted to honor Shore's musical legacy and hoped to create a "continuity of concept" between the series and films, with the 15 new themes he wrote for the season being added to the "pantheon of memorable melodies" that Shore had written. He did note that his music would reflect the series' depiction of "these societies at their peak" compared to Shore's music for the Third Age which had "a wistfulness and a melancholy". [4] McCreary used different approaches for the different groups in the series: the music for the Elves features "etheral voices" and choir, the Dwarven music has "deep male vocals", the Harfoots have music based in natural sounds, and the harmonic language for Númenor has Middle Eastern influences. [8]

The score for each episode took four days to record, using up to 90-piece orchestras at Abbey Road Studios and AIR Studios in London as well as a 40-person choir at Synchron Stage in Vienna. For the choral music, McCreary pulled text from Tolkien's writings and worked with the series' language experts to write new lyrics in Tolkien's fictional languages, including the Elvish languages Sindarin and Quenya, the Dwarvish language Khuzdûl, Black Speech, and the Númenórean language Adûnaic. He added each themes had been crafted with close consultation with the language experts, further stating that "the context of what is being said, and the language in which it is being said, matches what you are watching". Soloists were recorded in Los Angeles and across Europe playing folk instruments such as the hardanger fiddle, nyckelharpa, bagpipes, and bodhrán drums. McCreary was still writing music for the first season in Los Angeles while recording for most of the episodes took place, but he was able to conduct the orchestra for the final episode at AIR Studios in April 2022. [4] The score also featured two performances from the actors, Sophia Nomvete and Megan Richards, who respectively played Princess Disa and Poppy Proudfellow. [9] [10]

Track listing

All music composed by Bear McCreary, except where noted: [4] [2]

Season One: Amazon Original Series Soundtrack
No.TitleLength
1."The Lord of the Rings: The Rings of Power Main Title" (composed by Howard Shore)1:34
2."Where the Shadows Lie" (featuring Fiona Apple [11] )3:49
3."Galadriel"3:44
4."Khazad-dûm"3:21
5."Nori Brandyfoot"2:50
6."The Stranger"5:04
7."Númenor"4:32
8."Sauron"2:46
9."Valinor"2:40
10."In the Beginning"7:50
11."Elrond Half-elven"3:24
12."Durin IV"3:05
13."Harfoot Life"2:22
14."Bronwyn and Arondir"2:48
15."Halbrand"2:56
16."The Boat"4:09
17."Sundering Seas"2:42
18."Nobody Goes Off Trail"4:26
19."Elendil and Isildur"4:17
20."White Leaves"4:43
21."The Secrets of the Mountain"3:50
22."Nolwa Mahtar"2:03
23."Nampat"2:35
24."A Plea to the Rocks" (featuring Sophia Nomvete)3:48
25."This Wandering Day" (featuring Megan Richards)2:11
26."Scherzo for Violin and Swords"1:53
27."Sailing into the Dawn"4:19
28."Find the Light" (Amazon Music exclusive)3:27
29."For the Southlands"4:33
30."Cavalry"4:07
31."The Promised King" (Amazon Music exclusive)4:06
32."Water and Flame"3:30
33."In the Mines"8:15
34."The Veil of Smoke"5:00
35."The Mystics"7:55
36."Perilous Whisperings"2:42
37."The Broken Line"5:56
38."Wise One"8:45
39."True Creation Requires Sacrifice"5:52
40."Where the Shadows Lie (Instrumental)"3:05
Total length:2:40:54

Additional soundtracks

The additional soundtracks for The Rings of Power, featured full score for each episode, which were released after the episodes' premiere. [4] The soundtrack for the first two episodes: "A Shadow of the Past" and "Adrift" were released on September 1 and 2, respectively. [12] [13] [14] The soundtrack to "Adrift" was initially released on August 31, ahead of the series' premiere, but was removed and then made available again on September 2. [13] [14]

Reception

Zanobard Reviews wrote "while many of McCreary’s new themes are indeed amazing and very memorable, some are sadly a bit less so, with a few blending into each other to the point where they are rather difficult to identify and separate at times, which does dampen the whole “orchestral tapestry” thing a tad. Howard Shore’s brief contribution to The Rings Of Power is also a bit of a disappointment, as a singular and rather forgettable ninety second cue just isn’t enough to make any meaningful impact on the score, no matter how LOTR-y it may sound. Bear McCreary does channel a little bit of Shore in his compositional style (particularly in the more Elven moments) but the music here is certainly and identifiably McCreary’s, which will please some, and heavily displease others [...] the composer does seem to just give it his enthusiastic all here, to some seriously impressive musical results overall which honestly is all we can really ask for. In essence then; if you’re coming here expecting the second coming of Howard Shore’s Lord Of The Rings and all the iconic music that would entail, you are going to be disappointed. If you’re here with just the expectations of a solid fantasy score, a couple of decent themes and a good orchestral time though; you’ll be utterly blown away by how good this is." [15]

Thomas Bacon of Screen Rant wrote "The Lord of the Rings: The Rings of Power soundtrack to date is absolutely stunning, perfectly complementing the lavish cinematography and remarkable special effects. Shore's theme is stylistically evocative of Peter Jackson's classic The Lord of the Rings movies (likely the reason he was hired in the first place). McCreary, meanwhile, is a skilled composer whose own personal style has been heavily influenced by Shore's work, making him a perfect thematic match. At the same time, though, his music is subtly different - in keeping with the Second Age setting of The Rings of Power, which deals with a very different version of Middle-earth." [16] Writing on the "Khazad-dûm" theme, Bacon said "it is one of the most striking themes, with thunderous drums and deep chants to present the Mines of Moria before the Dwarven kingdom's downfall", [16] and "Nori Brandyfoot" called that the theme "is evocative of the Hobbits, but with (appropriately enough) a far more adventurous feel." [16] He concluded "McCreary's score doesn't quite live up to Shore's, but frankly it was never going to. Still, it is remarkably impressive and serves as a testimony to the composer's real skill and talent." [16]

Sophia Alexandra Hall of Classic FM , called the score as "a mystical musical return to middle earth". [17] Juliette Harrisson of Den of Geek had reviewed the score "McCreary’s Celtic-flavored composition is the perfect continuation of Shore’s work". [18] Ben Sledge of The Gamer "Composer Bear McCreary has created a soundtrack with shades of the Ainulindalë". [19] Alicie Rose Dodds of Game Rant said "If Shore’s Middle Earth was one of melancholy and the wistful crumbling of one great race, then McCreary’s Middle Earth is one that speaks loudly of the might of these cultures at the pinnacle of their power. His music plays like the predecessor to Shore’s, like the music of mighty people before they fell to sickness, greed, and ruin. The best comparison is that Shore’s music is like the faded and often crumbling frescos of a church, still mighty, beautiful, and powerful, but lacking the color and vibrancy of when it was first created." [20]

The main theme to Rings of the Power, written by Howard Shore, was nearly streamed over 117,000 times in Spotify, while the themes "Galadriel" and "Khazad-dûm" streamed over 100,000 times. [16]

Charts

Chart performance for The Lord of the Rings: The Rings of Power (Season One: Amazon Original Series Soundtrack)
Chart (2022)Peak

position

UK Soundtrack Albums (OCC) [21] 33
US Soundtrack Albums (Billboard) [22] 24

Release history

Release dates and formats for The Lord of the Rings: The Rings of Power (Season One: Amazon Original Series Soundtrack)
RegionDateFormat(s)LabelRef.
VariousAugust 19, 2022 Amazon Studios [23]
[24]
October 14, 2022 CD Mondo [2]
[25]
January 13, 2023 Vinyl [26]

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Adrift (<i>The Lord of the Rings: The Rings of Power</i>) 2nd episode of the 1st season of The Lord of the Rings: The Rings of Power

"Adrift" is the second episode of the first season of the American fantasy television series The Lord of the Rings: The Rings of Power, based on the novel The Lord of the Rings and its appendices by J. R. R. Tolkien. Set in the Second Age of Middle-earth, thousands of years before Tolkien's The Hobbit and The Lord of the Rings, it follows a large cast as they face the re-emergence of evil. The episode was written by Gennifer Hutchison and directed by J. A. Bayona.

Adar (<i>The Lord of the Rings: The Rings of Power</i>) 3rd episode of the 1st season of The Lord of the Rings: The Rings of Power

"Adar" is the third episode of the first season of the American fantasy television series The Lord of the Rings: The Rings of Power, based on the novel The Lord of the Rings and its appendices by J. R. R. Tolkien. Set in the Second Age of Middle-earth, thousands of years before Tolkien's The Hobbit and The Lord of the Rings, it follows a large cast as they face the re-emergence of evil. The episode was written by Jason Cahill and Justin Doble, and directed by Wayne Che Yip.

The Great Wave (<i>The Lord of the Rings: The Rings of Power</i>) 4th episode of the 1st season of The Lord of the Rings: The Rings of Power

"The Great Wave" is the fourth episode of the first season of the American fantasy television series The Lord of the Rings: The Rings of Power, based on the novel The Lord of the Rings and its appendices by J. R. R. Tolkien. The episode was written by Stephany Folsom and the showrunners J. D. Payne & Patrick McKay, and directed by Wayne Che Yip.

Partings (<i>The Lord of the Rings: The Rings of Power</i>) 5th episode of the 1st season of The Lord of the Rings: The Rings of Power

"Partings" is the fifth episode of the first season of the American fantasy television series The Lord of the Rings: The Rings of Power, based on the novel The Lord of the Rings and its appendices by J. R. R. Tolkien. The episode was written by Justin Doble, and directed by Wayne Che Yip.

Udûn (<i>The Lord of the Rings: The Rings of Power</i>) 6th episode of the 1st season of The Lord of the Rings: The Rings of Power

"Udûn" is the sixth episode of the first season of the American fantasy television series The Lord of the Rings: The Rings of Power, based on the novel The Lord of the Rings and its appendices by J. R. R. Tolkien. The episode was written by Nicholas Adams, Justin Doble, and the showrunners J. D. Payne & Patrick McKay, and it was directed by Charlotte Brändström.

The Eye (<i>The Lord of the Rings: The Rings of Power</i>) 7th episode of the 1st season of The Lord of the Rings: The Rings of Power

"The Eye" is the seventh episode of the first season of the American fantasy television series The Lord of the Rings: The Rings of Power, based on the novel The Lord of the Rings and its appendices by J. R. R. Tolkien. The episode was written by Jason Cahill and it was directed by Charlotte Brändström.

Alloyed (<i>The Lord of the Rings: The Rings of Power</i>) 8th episode of the 1st season of The Lord of the Rings: The Rings of Power

"Alloyed" is the eighth and final episode of the first season of the American fantasy television series The Lord of the Rings: The Rings of Power, based on the novel The Lord of the Rings and its appendices by J. R. R. Tolkien. The episode was written by Gennifer Hutchison, and the showrunners J. D. Payne & Patrick McKay, and it was directed by Wayne Che Yip.

The music of The Lord of the Rings film series, composed by Howard Shore to accompany Peter Jackson's films, exists in multiple recordings. It was heard by cinema audiences in the "theatrical" version, also released on DVD. Three single-disc albums were then released, forming briefer concert-pieces that broadly aligned with the narrative content of each film. Limited Deluxe CD versions contained additional bonus tracks. Extended versions of the films were released on DVD, with additional scenes and their accompanying music. A multi-disc set, The Complete Recordings, covered the entire score of the extended versions of the films on CD. A CD, The Rarities Archives, accompanied a 2010 book by Doug Adams. Finally, Shore edited The Lord of the Rings Symphony in six movements from the score, for concert performance.

References

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