hem normal hem de special edition versiyonu 11 aralık 2012'de piyasaya sürülecek olan, the lord of the rings serisinde olduğu gibi yine howard shore tarafından bestelenmiş, şimdiden sayısız insanı heyecandan heyecana sürükleyen, gün saydıran film müzikleri albümü. iki diskten oluşmakta ve içeriği şu şekilde:

disc: 1
1. my dear frodo
2. old friends (extended version)
3. an unexpected party (extended version)
4. blunt the knives performed by the dwarf cast
5. axe or sword?
6. misty mountains performed by richard armitage and the dwarf cast
7. the adventure begins
8. the world is ahead
9. an ancient enemy
10. radagast the brown (extended version)
11. the trollshaws
12. roast mutton (extended version)
13. a troll-hoard
14. the hill of sorcery
15. warg-scouts

disc: 2
1. the hidden valley
2. moon runes (extended version)
3. the defiler
4. the white council (extended version)
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 mountain (extended version) performed by neil finn
13. dreaming of bag end
14. a very respectable hobbit
15. erebor
16. the dwarf lords
17. the edge of the wild

ayrıca:

https://www.youtube.com/…ature=youtube_gdata_player

(wings of gwaihir - 12 Kasım 2012 23:48)

tanıdık melodilerin yine duyulduğu, bazı yeni temaların eklendiği soundtrack. bu bir bakıma iyi, bir bakıma kötü nerede neyin çıkacağını tahmin ediyorsunuz eğer benim gibi howard shore'un üçlemedeki çalışmasına aşina iseniz. yalnız dinlediğim kadarıyla richard armitageın güzelim vocalinden sonra neil finn pek çekilmiyor, keşke song of the lonely mountain'i da o söyleseydi. alınacak, arşive katılacak orası ayrı.

(flut - 3 Aralık 2012 14:54)

çıktı mı çıkmadı mı anlayamadığım albüm. malum ortamlarda 3 hafta önce çıkmış gözüküyor hemde 320 kbps olarak ancak bir itlik var gibi.

(inancsiz deve - 5 Aralık 2012 21:12)

üçlemeden aşina olduğumuz shire'ın bir nevi coverının bulunduğu albüm. yaylılarla daha bir derinden girmişler besteye, aşırı sevilesi bir şey olmuş.

(cemkirious - 9 Aralık 2012 00:04)

1 saat kadar önce (bkz: itunes store türkiye) ' de gezinirken delüks versiyonun çıkmış olduğunu görüp, hemen satın aldım. açıkçası muhteşem bir soundtrack var karşımızda , toplam 32 parça ve 30 küsur sayfadan ibaret bir kitapçıkla satılıyor itunes store'da.

şunu da belirtmek isterim ki (bkz: amazon.co.uk) 'den standart versiyonun cd'sini de sipariş ettim,tabii arşivim için.

son 4 gün kala filme ilaç gibi geldi açıkçası ...

(bono - 10 Aralık 2012 16:27)

torrent sitelerine düşmüştür. mükemmel bir müzik şöleni yaşatıyor resmen bize. the lord of the rings complete recordings'ten sonra orta dünya'ya tekrar dalmış olduk. metrobüste, otobüste her yerde dinlerim şimdi ben bunu.

iki sürümü yayınlandı. biri 26 şarkıdan oluşan 1 saat 42 dakikalık normal sürüm, diğeri ise 32 şarkıdan oluşan 2 saat 7 dakikalık özel sürüm.

torrentten indirdim ama kesinlikle orijinali satın alınacak. şimdilik idare et howard shore abicim. birkaç kez dinledikten sonra beğendiğim parçaları buraya sıralarım.

(efreet sultan - 12 Aralık 2012 01:17)

(bkz: #31525414)

(deathbringer - 30 Aralık 2012 18:33)

bunu dinlerken isterseniz çay için isterseniz ödev yapın yada çamaşır asın... yaptığınız her şey ağır çekimde galadriel asilliğinin üstüne thorin karizmasının eklenmesiyle mana kazanıyor. zaman mekan algısı kayboluyor falan.

biraz tehlikeli.

ayrıca olmamış falan diyenler bir kulak çubuğu ile temizliklerini yapsınlar pls.

(domestos - 3 Ocak 2013 01:49)

film müziklerini sevenler, bestecilikle ilgilenenler ve okumaya üşenmeyecekler için aşağıda soundtrack albümünün special edition versiyonunun kitapçığında yer alan kısmı kopyalıyorum. bu yazıda, howard shore'un hobbit film müziklerini bestelerken izlediği yollar, kullandığı makamlar, enstrümanlar, temaların gerekçeleri, birbirlerine dönüşümleri, arkaplanları ve benzeri konularda oldukça ilginç ve keyifli detaylar bulabilirsiniz. hangi tema nerede, ne için başka bir temayla karışıyor, bu karışım hangi tonda yapılıyor, hangi enstrümanı gerektiriyor, bunların olay örgüsü ve karakterlerle bağlantıları neler ve bunun gibi şeylere kafa yoranlara özellikle tavsiye ederim:

"the hobbit: an unexpected journey returns composer howard shore to the london philharmonic orchestra and the compositional world
he established in the lord of the rings. shore’s sweeping score to the lord of the rings followed an operatic model by establishing an
encyclopedic network of leitmotifs: dozens of themes that represented cultures, characters, objects, and dramatic concepts in middleearth.
this stirring opus is both expanded and returned to its foundations in the composer’s score to the hobbit. “i have looked forward to
returning to the imaginative world created by j.r.r. tolkien for quite a while. i read all of tolkien’s books, including the hobbit, when i was
in my twenties,” says shore. “tolkien’s 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 music of the shire,
the hobbits’ verdant home, is never more lush or peaceful than it is in bilbo’s younger days. the land is painted in the sweet green tones of
a stepwise theme, and is adorned by folk instruments such as penny whistle, recorders, concertina, musette, mandolin, dulcimer, guitar, and
bodhrán. but the quaint plainness of bilbo’s life ceases when a wandering wizard comes calling.

gandalf the grey is better known in the shire for his  reworks than for his wizardry. mere mention of his name evinces a sprightly recurring
theme for his beloved pyrotechnics. but this trip to the shire has been precipitated by gandalf’s search for “someone to share in an adventure.”
he brings with him, this time, his own theme — a gentle turn that rarely exceeds a subdued mezzo forte dynamic level and is orchestrated for
light woodwinds, french horn, or violins. gandalf’s theme is unassuming yet subtly disruptive. like the shire, it is built on simple pitches; but
where the hobbits’ music forms linear patterns, gandalf’s theme twists and curls over ambiguous harmonies. it is a musical nudge out of the
door — a phrase that opens the shire music to a mysterious 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
(b minor–g minor). it is the first time this variation has appeared in the shire, but it will not be the last, for it becomes synonymous with bilbo’s
“odd” behavior. but how could he behave otherwise? alerted by the wizard’s mark — and accompanied by a touch of uilleann pipes — 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 bilbo’s cutlery. led by thorin oakenshield, the company has assembled to plot their return to the lost kingdom of erebor. gandalf has
decreed that bilbo is to join the dwarves’ quest as their resident burglar — despite his complete 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 bilbo’s dual natures creates a
unique two-part variation of the shire theme that stretches its pentatonic-flavored harmonies into something more expressive 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 exposes bilbo’s 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 thrór, king under the mountain and grandfather
to thorin oakenshield, erebor was a place of great wealth and power depicted by a proud, compact figure rising in three horn-calls,
but remaining stubbornly affixed to its root (a–c; a–d; a–e). most cherished among thrór’s treasures was the arkenstone, a luminous
white gem matched to a glowing choral cluster and a stately string line in b minor. word of thrór’s riches soon reached smaug the
dragon, who attacked erebor, ousted the dwarves, and claimed their golden hoard as his own. countless dwarves were left to wander
the wilderness; their once-mighty race brought low.

thorin has taken it upon himself to right this wrong. his theme directly recalls erebor’s, though it moves by bitter steps, not proud
leaps. as a lonely french horn melody passes above a minor and g major harmonies, thorin’s resolve is painted with a sense of longing
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 thorin’s theme there is hope: the stepwise motion that opens his theme is the same that begins the shire 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.

shore’s theme for smaug heaves like the bellows of a great furnace. low brass and divisi celli and basses deliberately alternate between
major and minor iterations of the same pulsing chord (f major–f minor–f major– f minor). bass drum and tibetan gongs rumble and clatter
while low harp quivers with improvised patterns. above this, winds and strings play a line that worms through chromatic intervals
with an exotic gleam (e–e–f–a ; e–f–a –a –a –c ). the dragon still lies far to the east, however, and before the dwarves can reach him,
a long journey awaits. with their burglar hobbit in tow, thorin’s company sets out from bag end accompanied by shore’s bold setting of the
“misty mountains” song (composed by plan 9 and david long) — and by a comic triple-beat clarinet figure in d minor that
represents bilbo’s fussy in exibility.

on the road, gandalf explains that he is not the only wizard in middle-earth. radagast the brown lives along the southern borders
of mirkwood where he cares for the flora and fauna as if they were his own. radagast’s theme is a whir of perpetual motion — an
oscillating 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 winds bubble
upward. above this dense collection of forest murmurs, boys chorus sings a text by phillippa boyens: “meno, edveno / o galad vos i
lais / lim, meno lim / na fuin, trí dhuaith … ” (“away! away! / from soft leaf-light / hurry! hurry! / through dark of night … ”).

radagast’s perpetual motion serves a purpose: a necromancer now haunts middle-earth. little is known of this sorcerer, but there is
a disturbingly familiar ring to his themes. the necromancer and his lair are first represented by two heavy motifs. the first is a pair
of descending major thirds, and the second is a rising trellis of three ascending pitches that evades downbeats. low winds announce
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 anglais that rises a strident half step, then descends through
augmented intervals to form the theme of the necromancer. the exotic tone of the necromancer’s theme calls to mind the early days of
middle-earth, but there is a more treacherous connection as well: the same pitches that form this theme also form the string line that perches
atop smaug’s theme.

smaug is yet uncommitted to any cause but his own, and remains a distant threat. a more immediate peril is the pack of orcs that hunts
the dwarves. a theme for low brass stalks the forest alongside the barbaric horde. it is the second theme in the score to comprise a pair of
descending thirds — though a fifth pitch falls an additional half step and clatters in aleatoric patterns (g–e –f–d–d ). the fatalistic line is sharp,
vicious, and unrelentingly predatory.

not all of the dwarves’ enemies are so cunning, however. in the forest, bilbo encounters a trio of trolls: crude behemoths who have stolen a pair
of the dwarves’ ponies and plan to make a meal of their prize. bilbo is assigned the responsibility of retrieving the ponies, but he is no more
a hero than he is a burglar. while his triple-meter d minor theme protests, bilbo does his best to enact a rescue, but he only manages to make
the situation worse. the trolls, too, are represented by a theme in triple meter — a grunting ‘waltz humoresque’ that becomes less amusing as it
progresses from delicate pizzicato strings to low reeds and menacing brass.

even at its most threatening, the music of the trolls is blunt and brutish. by contrast, the music of the wargs is sleek, lean, and sharp as an
arrow. over repeated eighth notes, four-note patterns in e minor simultaneously rise and fall, snapping tight like the jaws of the wolf-like beasts.
tromping figures for piano and taiko underpin snarling brass fanfares, and the orchestra races through a breathless presto that threatens to
overcome the weighty music of the dwarves.

gandalf eventually leads the dwarves to the safety of imladris, the last homely house and home to elrond, master of rivendell. rivendell’s
timeless music is embellished with tolling chimes, harp glissandi, and female voices singing “rivendell revealed” in sindarin, the elves’ common
tongue. however, elrond is not the only elf to hold sway in rivendell — and gandalf is not the only wizard. also present are galadriel, the
lady of lórien, and saruman, wisest of his order. while the dwarves accept the invitation issued in rivendell’s choral text — “edwenno brestaid
en-amar” (“lay down your troubles, set aside your fear”) — elves and wizards gather for the white council.

galadriel’s theme guides cor anglais though an adapted maqam hijaz, an elegant arabic mode, while string harmonics and monochord softly pulse.
female chorus sings: “ninque sile mise nár / nóna silme andané” (“a white fire shines within her / the light of a star, born long ago”). but
the three dark themes associated with the necromancer cast a pall over galadriel’s light — and they are joined by a new figure that steals the
opening pitches of the necromancer’s motif and elongates the rising half step, dangling it above the orchestra and sustaining the dissonance as
long as can be endured (b–c). it is a melodic wisp at best, but it hints at an intoxicating power.

bilbo, thorin, and the dwarves depart rivendell and resume their trek eastward over the misty mountains. thunder and lightning flash in the
sky and the immense stone-giants shake to life. low brass hurtles block chords back and forth while repeated wind and string ostinatos pelt
down around them. the company escapes the giants, but is seized by a host of goblins whose jittery, bustling rhythms are clotted with dissonant
clusters and spit out in growling low orchestrations, gibbering squawks of metal percussion, and untamed meter changes that grow increasingly ungainly:
three beats, fie beats, seven beats, eleven beats. the dwarves are delivered to the great goblin, the slovenly leader of goblin-town. the
goblins’ music is a ramshackle collection of skittish angles and unpredictable convulsions. pinched melodic figures for low winds march through
crumbling rhythmic accompaniments as the orchestra seems to be in two meters at once, and a chaotic uncertainty takes hold of the score.
elsewhere in the goblins’ caves, bilbo encounters a pitifully emaciated figure with a taste for raw flesh. the creature gollum offers to help bilbo
find his way — if the hobbit can best him in a game of riddles. if not, bilbo will become his next meal. gollum’s presence is dominated by
variations of his principal theme, which endlessly feeds one minor arpeggio into another to create a cyclical sense of wretchedness. as gollum
focuses his mind toward wicked riddles, a more menacing chromatic line is introduced in tremolo violins and cimbalom — but this too remains
fractured. he is friend and enemy; his riddles are simultaneously impish games and deadly threats. maddened by time and obsession, gollum
is defined by contradiction.

the object of gollum’s 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 hints at a dark power
(b–c; b–c–b–a–c–b). 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 dons the ring and is rendered invisible. gollum, desperate to reclaim his “precious,” dashes to the cave’s door and unwittingly shows bilbo
the way out. but gollum blocks the exit, so bilbo draws his sword and lifts it to the creature’s throat. he is poised to strike, but the arpeggiated
figures that have decorated gollum’s cave momentarily settle back into the same sad theme that played when he first appeared. a pitiful motif
passes from f# minor to b minor as gollum’s face is wracked with sorrow. pity stays bilbo’s hand and, with a leap, he slips away.
bilbo finds something more than the ring in gollum’s cave: he finds compassion and the courage to carry on. after fleeing gollum, 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 fryingpan,
but they’re thrust suddenly back into the fire when a pack of warg-riding orcs arrives. thorin’s company flees to a row of pine trees, but
the forest burns and the trees crack and splinter. all seems lost until the hard music of battle is parted by a airy minimalistic pattern for violins.
the eagles sweep in to deliver the heroes from danger, and women’s voices enter, filling out the harmony with the soft, natural profile of major
seventh chords.

the final moments of an unexpected journey are accompanied by a serene dialogue for violins and celli. but low french horns throb with alternating
d major and d minor chords and a sickly plume of violins descends through odd, stretched pitches (f –e ; f –e –d–c ). the hobbit’s journey
is not finished yet…

doug adams
author, the music of the lord of the rings films"

http://pixxelemon.files.wordpress.com/…edition2.pdf

(wings of gwaihir - 10 Ocak 2013 19:17)

lord of the rings üçlemesinin müzikleriyle karşılaştırıp duruyorum istemsizce. üçlemenin müzikleri çok farklı hisler yaşatıyor insana fakat bu albümde beni böyle hislendiren tek parça richard armitage'ın sesinden misty mountains oldu.
diğer parçalar da güzel şimdi onca besteye bok atmak bana düşmez zaten de fellowship of the ring'deki kadar umut dolu parça yok bir kere (two towers gibi olmuş o açıdan). sürekli bir savaş teması, karanlık bir ortam vs, hele ilk diskte. ikinci diskin başları o kadar hor hor hor gerginlik vermiyor, daha sakin sessizler o yüzden bir o kadar güzeller. neşeli parça olarak adlandırabileceğim bir parça yine yok, tamam filmin tonu da genel olarak öyle çok "biz gideriz dağlara hey dağlara" modunda neşeli eğlenceli değildi zaten fakat en azından insana bir "road trip" havası verebilecek parçalar duymak istiyor bünye.
neyse. neticede hoş olmuş tabii. dinlerken 5 günlük işi 3 günde bitirdim misal.

(helluin - 15 Ocak 2014 11:16)