While conceptualizing the score for Lord of the Rings, Howard Shore made a dramatic and deliberate return to the Wagnerian "Gesamtkunstwerk". He viewed his music for the trilogy to be one comprehensive work; in essence, an “opera” in three acts. This idea impacted his choice of instrumentation, the size of his orchestra, extensive themes[1] and an unapologetic use of the leitmotif. Over ninety per cent of the trilogy has musical accompaniment,[2] marking it more in the style of the Hollywood Golden era, and Wagner’s “unendliche melodie” (endless melody) that links music and drama together.
The Fellowship of the Ring’s opening functions similar to an operatic overture.[3] Almost eight minutes long, the “Lothlorian” theme is established by a women’s chorus; a mysterious motif in minor key. This is replaced almost immediately by the melancholy Ring theme, also in minor key. The Ring theme is repeated continuously by the strings in the ensuing minute, and returns again later in the Prologue. By the end of the opening music, there is no question that the theme is intentional and enduring. Shore has successfully implanted the shadowy four measures in our heads.
The Fellowship of the Ring’s opening functions similar to an operatic overture.[3] Almost eight minutes long, the “Lothlorian” theme is established by a women’s chorus; a mysterious motif in minor key. This is replaced almost immediately by the melancholy Ring theme, also in minor key. The Ring theme is repeated continuously by the strings in the ensuing minute, and returns again later in the Prologue. By the end of the opening music, there is no question that the theme is intentional and enduring. Shore has successfully implanted the shadowy four measures in our heads.
As the prologue ends, the mood changes and the key shifts from Eb minor to E flat major as we are introduced to the Hobbits.[4] The carefree melody, more thematic than leitmotivic at its introduction, begins on recorder and is taken up by a solo fiddle-like violin. The Hobbits are musically established as a joyful, peaceful community.
Shore uses the same format in the opening of the second film of the trilogy, The Two Towers. This time, he combines the Ring theme with a new leitmotif that represents Rohan. It is introduced as tentative, via its thin scoring and vague resolution, reflecting what Judith Bernanke calls, “…the uncertain future of Men.” However, as the story plays out, a strong, definitive version of the Rohan theme will be heard.[5]
Shore uses the Fellowship melody as thematic “glue” throughout all three films to connect characters and action. It recurs in shortened motivic form as the story is revealed and more characters join in the journey, in combined form with other themes, and in heroic form when the Fellowship agrees to destroy the Ring. When the Fellowship breaks up, so does its theme, becoming more fragmented and uncertain. Shore even uses multiples themes in fugue form to reflect the group’s split.[6] The independent lines reflect the separate paths of the members, leaving a musical question about what is to come in the story line.
Howard Shore states that his musical motifs“ can act as ‘guideposts’ directing viewers’ attention to onscreen events as well as their relationship with other dramatic elements.[7] The Lord of the Rings trilogy represents a modern-day application of the the leitmotivic approach that is still a successful treatment in film scoring.
[1] Judith Bernanke, "Howard Shore's Ring Cycle: The Film Score and Operatic Strategy." In Studying the Event Film: The Lord of the Rings. Ed. Harriet Elaine Margolis, Sean Cubitt, Barry King, and Thierry Jutel. (Manchester: Manchester University Press, 2008), 176.
[2] Ibid.
[3] Ibid, 178.
[4] Ibid, 179.
[5] Ibid.
[6] Ibid, 181.
[7] Ibid, 183.
[2] Ibid.
[3] Ibid, 178.
[4] Ibid, 179.
[5] Ibid.
[6] Ibid, 181.
[7] Ibid, 183.