As a result, Shore spent nearly four years on the composition, compared to a period of 6–8 weeks per film, and a week or two of recording, as practiced by most film composers. In keeping with his operatic vision, Shore used the three scripts and the book itself to write themes even before having film reels to compose to. Shore orchestrated the music himself, and conducted all of the orchestral sessions and many of the choral and soloist sessions.
However, he insisted on staying away from electronic or synthesized music. The score uses a neo-romantic, 19-century style and structure, derived from Shore's desire to have the music sound antiquated, but he nevertheless married it to modern and at times avant-garde techniques including atonal sections, unusual instrumental choices and orchestral set-ups, aleatoric writing, partly-spoken sprechstimme voices and syncopated rhythms, as well as borrowing from eastern scales, medieval styles of music, contemporary film music idioms for specific setpieces, classical idioms for some of the music of the Shire, new-age and contemporary idioms for the end-credits songs, etc. He envisioned the scores to all three films as a through-composed cycle, a grand opera told in three parts, involving a large network of leitmotifs, large choral and orchestral forces (including additional " bands" of instruments besides the main orchestra), frequent use of singing voices, both in choirs and through a wide ensemble of vocal soloists. Shore agreed to take the project in early 2000. Howard Shore, composer of The Lord of the Rings series' film score Shore visited the set and met with the filmmakers and various people involved in the production including the conceptual designers Alan Lee and John Howe (who would contribute to his Symphony and Doug Adams's book on the score), the actors Elijah Wood, Sean Astin and Andy Serkis, the screenwriter Philippa Boyens (who became Shore's principal librettist for the score), and saw assembled footage of all three films. The films were also temp-tracked sparsely with pieces from the scores to Braveheart and Last of the Mohicans. Shore was chosen by the filmmakers (who also considered the American composer James Horner and the Polish composer Wojciech Kilar ) when they found themselves temporarily-tracking parts of the assembled footage to pieces from his existing scores.
The scores are often considered to represent one of the greatest achievements in the history of film music in terms of length of the score, the size of the staged forces, the unusual instrumentation, the featured soloists, the multitude of musical styles and the number of recurring musical themes used.
LORD OF RINGS ONLINE MUSIC CREATION SERIES
The music of The Lord of the Rings film series was composed, orchestrated, conducted and produced by Howard Shore.
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