Digital Booklet - The Hobbit_ an Unexpected Journey Original Motion Picture Soundtrack

5/25/2018 Digital Booklet - The Hobbit_ an Unexpected Journey Original Motion Picture Soundtrack

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Score Produced by HOWARD SHOREExecutive Album Producers: PETER JACKSON, FRAN WALSHand PHILIPPA BOYENS

Music Composed, Orchestrated and Conducted by HOWARD SHORE

Score Performed by LONDON PHILHARMONIC ORCHESTRA, LONDON VOICES, TIFFIN BOYS CHOIR

Music Recorded bySIMON RHODES, PETER COBBIN, SAM OKELLMusic Mixed byPETER COBBIN, SAM OKELL

Supervising Score Editor: JONATHAN SCHULTZMusic Programmer and Conformer: JAMES SIZEMORE

Music Editors: JENNIFER DUNNINGTON, MICHAEL PRT

Recorded Score Editors: KIRSTY WHALLEY, ROB HOUSTON, YANN MCCULLOUGH

Production Manager: ELIZABETH COTNOIRMusic Supervisor: KAREN ELLIOTT

Production Coordinator: ALAN FREYAccounting: RICH PALECEK

Music Preparation Supervisor:AMY BAERMusic Preparation: JILL STREATER, VIC FRASER, ANN BARNARD, DAVID GILL, JOSHUA GREEN,

JEREMY HOWARD BECK, ANDREW TOWNEND, JAMES MARANGONE

Studio Manager: COLETTE BARBEREngineer Assistants: JOHN BARRETT, GORDON DAVIDSON, MATT MYSKO, TOBY HULBERT

New Zealand Music Editors: MARK WILLSHER, STEPHEN GALLAGHER, NIGEL SCOTTLondon Music Editor: LAURENCE LOVE GREED

Auricle Operator: PETER CLARKEAssistant Music Programmer:ANTONIO ANDRADE

Assistant to the Conductor: THEO VIDGENAssistant to the Orchestrator: DANIEL MCCALLUM

LPO Artistic Director:TIM WALKERChoir Directors: TERRY EDWARDS, BEN PARRY, SIMON TOYNE

Contractors: ISOBEL GRIFFITHS, GRAHAM WOODAssisted by JO BUCKLEY, LUKE DANIELS

Concertmasters: PIETER SCHOEMAN, THOMAS BOWES

Music Recorded, Mixed and Mastered at ABBEY ROAD STUDIOSAlbum Mastered by PETER MEW

Album Edited by YANN MCCULLOUGH, JONATHAN SCHULTZAlbum Coordinator: ALAN FREY

Photos: JAMES FISHER, MARK POKORNY(Stills), BENJAMIN EALOVEGA (Artist Photo)

Executives in charge of Music for Warner Bros. Pictures: PAUL BROUCEKand ERIN SCULLYExecutive in charge of Music for WaterTower: JASON LINN

Music Business Affairs Executive: LISA MARGOLISArt Direction: SANDEEP SRIRAM


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Special Thanks from Howard Shore to: Peter Jackson, Fran Walsh, Philippa Boyens, Paul Broucek, Erin Scully, Zane Weiner, Josh Levinson,Matt Dravitzki, Robert Messinger, Jeffrey Light, Jean-Jacques Cesbron, Elizabeth Cotnoir, Simon Rhodes, Peter Cobbin, Sam Okell, Peter Mew,Jonathan Schultz, Jennifer Dunnington, Michael Prt, Yann McCullough, Alan Frey, James Sizemore, Amy Baer, Doug Adams, Karen Elliott

Special Thanks from WaterTower Music to: Peter Jackson, Fran Walsh, Philippa Boyens, Carolynne Cunningham, Zane Weiner, Eileen Moran, TobyEmmerich, Carolyn Blackwood, Alan Horn, Ken Kamins, Barry Meyer, Jeff Robinov, Ed Romano, Bruce Rosenblum, Kevin Tsujihara, Dan Fellman, SueKroll, Steve Papazian, Craig Alexander, Kate Beyda, David Blaikley, Roy Button, Charles Light, Robyn Martin, Blair Rich, Jay Rosenwink, SusannahScott, Marc Solomon, Gary Barber, Al Bendich, Roger Birnbaum, Malcolm Black, Peter Cobbin, Elizabeth Cotnoir, Brian Crowe, Nour Dardari, MattDravitzki, Fredrica Drotos, Jennifer Dunnington, Ben Ealovega, Karen Elliott, Alan Frey, Stephen Gallagher, Chris Gough, Stephen King, Josh Levinson,

Jeffrey Light, Robert Messinger, Frank Noonan, Sam Okell, Michael Prt, Michael Pellerin, Plan 9 - David Donaldson, David Long, Steve Roche andJanet Roddick, Simon Rhodes, Gene Salomon, Jonathan Schultz, Amanda Walker, Sara White, Christiaan Winchester, Mark Willsher, Paul Zaentz

WaterTower Music Thanks to: Peter Axelrad, Kim Baum, Rocco Carrozza, Deborah Fox, Michael Hafitz, Kim Guggenheim, Joe Kara,Kevin Kertes, Lucy Kolodynska, Ny Lee, Kris Little, Genevieve Morris, Jaimie Roberts, Lori Silfen, John F.X. Walsh, Robert Zick

Decca special thanks to:Dickon Sta iner, Jackie Joseph, Hassan Choudhury, Andy Daymond, Tom Lewis, Marc Robinson, Mike Bartlett , Kevin Long, JamesTorniainen, Louise Ringrose, Laura Monks, Renata Chagrin, Nadina Challoner, Alex McCulloch, Darren Rumney, Charlie Farmer, Liz Trafford-Owen


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Score published byNew Line Tunes (ASCAP) andU/A Music Inc (ASCAP)

All compositions byHoward Shore (ASCAP) except:

Portions of Disc 1: Tracks 7, 10; Disc 2: Track 5

contain excerpts of theMisty Mountains songcomposed by David Donaldson, David Long, Steve Roche and Janet Roddick.

Misty MountainsLyrics by J.R.R. Tolkien Music Composed by David Donaldson, David Long, Steve Roche and Janet Roddick Performedby Richard Armitage With Jed Brophy, Adam Brown, John Callen, Mark Hadlow, Peter Hambleton, Stephen Hunter,William Kircher, Graham McTavish, James Nesbitt, Dean OGorman, Ken Stott and Aidan Turner Produced by Plan 9and David Long Mixed by Ed Cherney Published by New Line Tunes (ASCAP) / U/A Music, Inc (ASCAP) / NativeTongue Music Publishing (ASCAP) 2012 Warner Bros. Entertainment Inc. and Metro-Goldwyn-Mayer Pictures Inc.

Song of the Lonely MountainLyrics by Neil Finn Music Composed by Neil Finn, David Donaldson, Steve Roche, Janet Roddick and David Long

Performed Neil Finn Produced by Neil Finn, Elroy Finn, Liam Finn Mixed by Dave Fridmann Recorded andengineered by Jason Huss at Roundhead Strings performed by the London Metropolitan Orchestra Conductedby James Brett Orchestra Leader: Tom Kemp Strings Recorded and Mixed by Lewis Jones Assistant Engineer:Toby Hulbert Strings Arranged by Victoria Kelly Published by New Line Music Co (BMI) / Roundhead Musicadmin by Songs of Kobalt Music Publishing (BMI)/ United Lion Music, Inc (BMI) / New Line Tunes (ASCAP)/ U/A Music, Inc (ASCAP) 2012 Warner Bros. Entertainment Inc. and Metro-Goldwyn-Mayer Pictures Inc.

Choral Text by Philippa Boyens except:The Eagles Text by J.R.R. Tolkien andPhilippa Boyens

Choral Text Translations by David Salo

Liner Notes Original Text Copyright 2012 Doug Adams

P&C2012 WaterTower Music, 4000 Warner Blvd., Burbank, CA 91522 under exclusive license to Decca, a division ofUniversal Music Operations Limited. Motion Picture Artwork C2012 Warner Bros. Entertainment Inc. Motion PicturePhotography C2012 Warner Bros. Entertainment Inc. and Metro-Goldwyn-Mayer Pictures Inc. (US, Canada & New LineForeign Territories) C2012 Metro-Goldwyn-Mayer Pictures Inc. and Warner Bros. Entertainment Inc. (All Other Territories).The Hobbit: An Unexpected Journey and The Hobbit, names of the characters, events, items and places therein, aretrademarks of The Saul Zaentz Company d/b/a Middleearth Enterprises under license to New Line Productions, Inc. Allrights reserved. Unauthorised copying, reproduction, hiring, lending, public performance and broadcasting prohibited.


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The Hobbit: An Unexpected Journeyreturns composer Howard Shore to the LondonPhilharmonic Orchestra and the compositional world he established The Lordof the Rings.Shores sweeping score to The Lord of the Ringsfollowed an operaticmodel by establishing an encyclopedic network of leitmotifs: dozens of themesthat represented cultures, characters, objects, and dramatic concepts in Middle-earth. This stirring opus is both expanded and returned to its foundationsin the composers score to The Hobbit. I have looked forward to returning tothe imaginative world created by J.R.R. Tolkien for quite a while. I read all ofTolkiens books, including The Hobbit, when I was in my twenties, says Shore.Tolkiens deep love of nature and all things green resonates deeply with me.

Sixty years before The Fellowship of the Ring,Bilbo Baggins lives a life full of comfort and utterly devoid of adventure. The musicof the Shire, the Hobbits verdant home, is never more lush or peaceful than it is in Bilbos younger days. The land is painted in thesweet green tones of a stepwise theme, and is adorned by folk instruments such as penny whistle, recorders, concertina, musette,mandolin, dulcimer, guitar, and bodhrn. But the quaint plainness of Bilbos life ceases when a wandering Wizard comes calling.

Gandalf the Grey is better known in the Shire for his fireworks than for his wizardry. Mere mention of his name evinces asprightly recurring theme for his beloved pyrotechnics. But this trip to the Shire has been precipitated by Gandalfs search forsomeone to share in an adventure. He brings with him, this time, his own theme a gentle turn that rarely exceeds a subduedmezzo fortedynamic level and is orchestrated for light woodwinds, French horn, or violins. Gandalfs theme is unassuming yetsubtly disruptive. Like the Shire, it is built on simple pitches; but where the Hobbits music forms linear patterns, Gandalfs themetwists and curls over ambiguous harmonies. It is a musical nudge out of the door a phrase that opens the Shire music to amysterious new development.

As Gandalf marks Bag End with a rune, the Shire theme is stretched over minor harmonies better suited to a Wizard than a Hobbit.It is the first time this variation has appeared in the Shire, but it will not be the last, for it becomes synonymous with Bilbos


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odd behavior. But how could he behave otherwise? Alerted by the Wizards mark and accompanied by a touch of uilleannpipes a throng of hungry Dwarves soon comes trundling into Bag End to blunt the knives and crack the plates. The Dwarves,however, intend to assault more than Bilbos cutlery. Led by Thorin Oakenshield, the company has assembled to plot their returnto the lost kingdom of Erebor. Gandalf has decreed that Bilbo is to join the Dwarves quest as their resident burglar despite hiscomplete lack of burgling experience. Bilbo protests that he is a Baggins, and thus better suited to plush chairs and musty books.But Gandalf knows that the son of Belladonna Took is tempted by the opportunity to see the world beyond his windows.

Bilbo will always be a citizen of the Shire, and its theme will always define him. The pull-and-push inherent in Bilbos dual naturescreates a unique two-part variation of the Shire theme that stretches its pentatonic-flavored harmonies into something moreexpressive and thoughtful. For better or worse, Bilbo is no ordinary Hobbit. The first half of his theme wraps itself tightly in safe,warm harmonies and cozy melodic contours. However, after a subtle harmonic turn, the theme moves into a new key and exposesBilbos emerging thirst for excitement with leaping intervals and a stout, confident tone.

The Dwarves, too, are defined by their homeland. Long ago, under the leadership of Thrr, King Under the Mountain and

grandfather to Thorin Oakenshield, Erebor was a place of great wealth and power depicted by a proud, compact figure risingin three horn-calls, but remaining stubbornly affixed to its root. Most cherished among Thrrs treasures was the Arkenstone, aluminous white gem matched to a glowing choral cluster and a stately string line in B minor. Word of Thrrs riches soon reachedSmaug the Dragon, who attacked Erebor, ousted the Dwarves, and claimed their golden hoard as his own. Countless Dwarves wereleft to wander the wilderness; their once-mighty race brought low.

Thorin has taken it upon himself to right this wrong. His theme directly recalls Erebors, though it moves by bitter steps, not proudleaps. As a lonely French horn melody passes above A minor and G major harmonies, Thorins resolve is painted with a sense oflonging and melancholy. His theme expresses grim determination and the soul of a Dwarf who cannot forgive and cannot forget. Yet

nestled in the noble remorse of Thorins theme there is hope: the stepwise motion that opens his theme is the same that begins theShire theme. Perhaps there is more to the Dwarves new burglar than meets the eye perhaps the quest for Erebor is not in vain.

Still, if Erebor is to be retaken, Smaug must be defeated. Shores theme for Smaug heaves like the bellows of a great furnace. Lowbrass and divisicelli and basses deliberately alternate between major and minor iterations of the same pulsing chord. Bass drumand Tibetan gongs rumble and clatter while low harp quivers with improvised patterns. Above this, winds and strings play a linethat worms through chromatic intervals with an exotic gleam. The Dragon still lies far to the east, however, and before the Dwarvescan reach him, a long journey awaits. With their burglar Hobbit in tow, Thorins company sets out from Bag End accompanied by


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Shores bold setting of the Misty Mountains song (composed by Plan 9 and David Long) and by a comic triple-beat clarinetfigure in D minor that represents Bilbos fussy inflexibility.

On the road, Gandalf explains that he is not the only Wizard in Middle-earth. Radagast the Brown lives along the southern bordersof Mirkwood where he cares for the flora and fauna as if they were his own. Radagasts theme is a whir of perpetual motion anoscillating flow of sawing half steps, rapid arpeggios, and swirling trills enrobed in disheveled fragments of diminished harmonies.Light percussion pecks away with accompanimental sextuplets on shakers, gourds, and woodblocks, while low strings and windsbubble upward.

Radagasts perpetual motion serves a purpose: a Necromancer now haunts Middle-earth. Little is known of this sorcerer, but thereis a disturbingly familiar ring to his themes. The Necromancer and his lair are first represented by two heavy motifs. The first isa pair of descending major thirds, and the second is a rising trellis of three ascending pitches that evades downbeats. Low windsannounce these ominous figures while timpani, Japanese taiko, and the West African dunun drum thunder in the percussion

section. But these ponderous figures are followed by a wailing line for two oboes and cor anglaisthat rises a strident half step,then descends through augmented intervals to form the theme of the Necromancer. The exotic tone of the Necromancers themecalls to mind the early days of Middle-earth, but there is a more treacherous connection as well: the same pitches that form thistheme also form the string line that perches atop Smaugs theme.

Gandalf knows Thorins company is not safe, and so leads the Dwarves through many perils to Imladris, the Last Homely Houseand home to Elrond, Master of Rivendell. Rivendells timeless music is embellished with tolling chimes, harp glissandi, and femalevoices singing Rivendell Revealed in Sindarin, the Elves common tongue. However, Elrond is not the only Elf to hold sway inRivendell and Gandalf is not the only Wizard. Also present are Galadriel, the Lady of Lrien, and Saruman, wisest of his order.

While the Dwarves momentarily set aside their troubles, Elves and Wizards gather for the White Council.

Galadriels theme guides cor anglaisthough an adapted m qam hijaz, an elegant Arabic mode, while string harmonics and monochordsoftly pulse. But the three dark themes associated with the Necromancer cast a pall over Galadriels light and they are joinedby a new figure that steals the opening pitches of the Necromancers motif and elongates the rising half step, dangling it abovethe orchestra and sustaining the dissonance as long as can be endured. It is a melodic wisp at best, but it hints at an intoxicatingpower.


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Bilbo, Thorin, and the Dwarves depart Rivendell and resume their trek eastward. But the company is seized by a host of Goblinswhose jittery, bustling rhythms are clotted with dissonant clusters and spit out in growling low orchestrations, gibbering squawksof metal percussion, and untamed meter changes that grow increasingly ungainly: three beats, five beats, seven beats, eleven beats.

Elsewhere in the Goblins caves, Bilbo encounters a pitifully emaciated figure with a taste for raw flesh. The creature Gollum offersto help Bilbo find his way if the Hobbit can best him in a game of riddles. If not, Bilbo will become his next meal. Gollumspresence is dominated by variations of his principal theme, which endlessly feeds one minor arpeggio into another to create acyclical sense of wretchedness. As Gollum focuses his mind toward wicked riddles, a more menacing chromatic line is introducedin tremolo violins and cimbalom but this too remains fractured. He is friend and enemy; his riddles are simultaneously impishgames and deadly threats. Maddened by time and obsession, Gollum is defined by contradiction.

The object of Gollums obsession is the simple ring that, in a moment of distraction, he accidentally drops on the floor of his cave.Here, the two-note figure from the White Council again sings out, but this time the theme is rounded into a conclusion that hintsat a dark power. The melody line circles back to the same pitches upon which it was first heard, as glittering accompaniments sink

from F minor to E minor. Bilbo may own the ring, but does it own him in return? Its nature and its power remains veiled,but the long history of the ring has begun a new chapter.

Bilbo finds something more than the ring in Gollums cave: he finds compassion and the courage to carry on. After fleeingGollum, Bilbo is reunited with the Dwarves, who have likewise evaded their captors with a daring escape through Goblin-town.They may be out of the frying-pan, but theyre thrust suddenly back into the fire when a pack of Warg-riding Orcs arrives.Thorins company flees to a row of pine trees, but the forest burns and the trees crack and splinter. All seems lost until the hardmusic of battle is parted by a airy minimalistic pattern for violins. The Eagles sweep in to deliver the heroes from danger, andwomens voices enter, filling out the harmony with the soft, natural profile of major seventh chords.

The final moments ofAn Unexpected Journeyare accompanied by a serene dialogue for violins and celli. But low French horns throbwith alternating D major and D minor chords and a sickly plume of violins descends through odd, stretched pitches. The Hobbitsjourney is not finished yet

DOUG ADAMSAuthor, The Music of the Lord of the Rings Films


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Album Produced by: HOWARD SHORE *

Executive Album Producers: PETER JACKSON, FRAN WALSH and PHILIPPA BOYENS

Executives in charge of Music for Warner Bros. Pictures: PAUL BROUCEK and ERIN SCULLYExecutive in charge of Music for WaterTower: JASON LINN

* except Disc 1: track 5 Produced by Plan 9 and David Long, Disc 2: track 12 Produced by Neil Finn, Elroy Finn, Liam Finn

DISC 1

1. My Dear Frodo 2. Old Friends

3. An Unexpected Party 4. Axe or Sword?

5. Misty Mountainsperformed by Richard Armitage and The Dwarf Cast

6. The Adventure Begins 7. The World is Ahead 8. An Ancient Enemy

9. Radagast the Brown 10. Roast Mutton 11. A Troll-hoard

12. The Hill of Sorcery 13. Warg-scouts

DISC 2

1. The Hidden Valley 2. Moon Runes 3. The Defiler 4. The White Council

5. Over Hill 6. A Thunder Battle 7. Under Hill 8. Riddles in the Dark

9. Brass Buttons 10. Out of the Frying-Pan 11. A Good Omen

12. Song of the Lonely Mountainperformed by Neil Finn

13. Dreaming of Bag End

Music Composed , Orchestrated and Conducted by

HOWARD SHORE

P&C2012 WaterTower Music, 4000 Warner Blvd., Burbank, CA 91522 under exclusive license to Decca, a division of Universal Music Operations Limited. Motion Picture ArtworkC2012 Warner Bros. Entertainment Inc.

Motion Picture PhotographyC2012 Warner Bros. Entertainment Inc. and Metro-Goldwyn-Mayer Pictures Inc. (US, Canada & New Line Foreign Territories)C2012 Metro-Goldwyn-Mayer Pictures Inc. and Warner Bros.

Entertainment Inc. (All Other Territories). The Hobbit: An Unexpected Journey and The Hobbit, names of the characters, events, items and places therein, are trademarks of The Saul Zaentz Company d/b/a Middleearth

Enterprises under license to New Line Productions, Inc. All rights reserved. Unauthorised copying, reproduction, hiring, lending, public performance and broadcasting prohibited.

Digital Booklet - The Hobbit_ an Unexpected Journey Original Motion Picture Soundtrack

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