По итогам последнего музыкального разбора TheOneRing с Дагом Адамсом (они полностью прокомментировали музыку в Трилогии "Хоббит", Complete Recording к ВК и закончили альбомом "The Rarities" из книги Адамса), Джим Уэйр
выложил в твиттере полный набор моментов в оригинальных, однодисковых саундтреках к ВК, которые отличаются от композиций, вошедших в фильм:
THE FELLOWSHIP OF THE RING
THE PROPHECY - This is a different edit of alternate prologue material for a shorter cut of the sequence. This and the version on the RARITIES ARCHIVE have mutually exclusive material. This piece uses two unique choral texts - ‘The Prophecy’ and ‘The Battle of Dagorlad’, both in Quenya - not heard anywhere else in the trilogy. There’s no ‘History of the Ring’ theme here, but we do hear ‘The Power of Mordor’ for the first time. After a hint of it at the Council of Elrond, it returns in full force in THE RETURN OF THE KING.
CONCERNING HOBBITS - This is an edited version of the theatrical composition, and is a good example of a piece being entirely replaced in the Extended Edition. The version used in the film is actually a subtly different take, most noticeable in the fiddle performance.
THE SHADOW OF THE PAST - the first part of this was replaced with statements of ‘The History of the Ring’. This original version features smoky, alto flute variations on Gollum’s ‘Pity’ material instead. The remainder of this track is an excellent example of how material was condensed for the original album - this is about fifteen minutes of music trimmed down to three and a half minutes.
THE BLACK RIDER - this includes a section of music dialled out in the final mix, intended to underscore the Hobbits hiding from the Ringwraith. Frodo’s temptation to put the ring on his finger is underscored with the Mordor skip-beat and a tense build of aleatoric strings and choral material. This was mirrored in another unused composition from THE RETURN OF THE KING, intended for Frodo being tempted towards Minas Morgul. It uses the same choral text in a similar setting.
AT THE SIGN OF THE PRANCING PONY - the majority of this appears in the film, but the last minute includes a unique orchestral setting of the Ringwraith material, intended for the Ringwraiths ransacking the ‘decoy’ room in the inn. The scene plays unsecured in the final film. The tail end of this track is the unused transition to Weathertop - this can be heard in full with chorus in OUT FROM BREE on the RARITIES ARCHIVE.
FLIGHT TO THE FORD - the first part underscoring the appearance of Arwen is an alternate take with a softer performance. Arwen’s face-off against the Ringwraiths is underscore with furious aleatoric outburst of French horns - Shore’s preferred version of the composition. Arwen’s prayer at the tail end of the track - echoed by the chorus in a rare use of English - is a shorter version here too.
THE GREAT RIVER - includes the shorter theatrical composition for the Lothlorien gift-giving sequence. The extended edition composition was actually written first, but not orchestrated or recorded until April 2002. Keen-eared listeners may also note an extra trumpet line that isn’t heard in the film. This is an example of a line marked as ‘cued’ within the score. These were typically recorded two ways - with and without the cued material (in this case the trumpet line). The end is the final version of the Argonath sequence, utilising ‘The History of the Ring’. Compare and contrast with the Gondor-based alternate on the RARITIES ARCHIVE.
THE TWO TOWERS
THE WHITE RIDER - The opening of the track is a lightly edited version of Gandalf’s confrontation with a Saruman-possessed Théoden, but immediately after that is the original composition for the introduction of Shadowfax.
It’s a little lighter and more choir-focused than the final brassier version.
FORTH EORLINGAS - the opening - utilising ‘Gandalf the White (in Nature)’ - was not used, ultimately being replaced with a tracked rendition of ‘The Reclamation of Nature’. The COMPLETE RECORDINGS feature an alternate, slightly more forceful take of the ‘Gandalf the White (in Nature)’ material. This motif was later utilised for Gandalf the White’s first appearance, replacing a different composition. Digressing slightly, but the original version of Gandalf the White’s first appearance (and some other interesting bits and pieces) can be heard in the FAN CLUB CREDITS at the end of THE TWO TOWERS EXTENDED EDITION.
THE RETURN OF THE KING
THE WHITE TREE - This track features an alternate composition for the lighting of the beacons. This version is more triumphant and less tense, focusing on major rather than minor harmonies. Incidentally, this is take 5740(!) - all recorded takes were numbered consecutively from the first FELLOWSHIP sessions in New Zealand through to the last ROTK EE sessions at Watford Colosseum. The film version - with minor harmonies - was actually recorded first, at the first session on the first day of recording for THE RETURN OF THE KING.
CIRITH UNGOL - this piece includes a winding cor anglais line that was not used in the final film. Another example of a melodic line being ‘cued’ and recorded both ways.
INTO THE WEST - It’s the Wagnerian ending that is of note here. Whereas the film version ends with a long crescendo, this version softly dissipates into nothing.