The Hobbit and The Lord of The Rings Trilogy Soundtracks [OST] 320kbps

The Hobbit and The Lord of The Rings Soundtracks 320kbps





The Hobbit: An Unexpected Journey [Soundtrack, Special Edition]

The Special Edition of the Original Motion Picture Soundtrack to The Hobbit: An Unexpected Journey contains the full score from the film with seven extended score cues, six exclusive bonus tracks, and deluxe liner notes packaged in a 2 CD hardcover digibook. The Soundtrack features original score by Academy Award winner Howard Shore recorded at famed Abbey Road Studios by the London Philharmonic Orchestra. Additionally it includes an original song, Song of the Lonely Mountain, written and performed by Neil Finn (Crowded House).
One of today's most respected, honored, and active composers and music conductors, Howard Shore previously worked with director Peter Jackson on The Lord Of The Rings Trilogy, which stands as his most towering achievement to date. He won three Academy Awards for his music for those films.

The Lord of The Rings Trilogy Soundtracks:
The Limited Edition 3-CD version includes the first two soundtracks (Fellowship of the Ring and The Two Towers) packaged in a special slipcase and comes with all 18 character cards from the trilogy.

The Lord of the Rings: The Fellowship of the Ring [Enhanced, Soundtrack]

Score composer Howard Shore has informed this first installment of the Lord of the Rings trilogy with his distinctly modern sensibilities. Revolving loosely around a brief, heroic brass theme, this epic is infused with a powerful rhythmic thrust and a musical range that encompasses centuries (from the Renaissance pastoralism of "Concerning Hobbits" to the fiery, Prokofiev-influenced drama of "A Knife in the Dark"). Key to the score's sense of mystery and magical place are the rich choral passages that are interspersed throughout, some so ominously gothic they make The Phantom Menace's "Duel of the Fates" sound almost sunny by comparison. Enya's contributions ("The Council of Elrond" and the song "May It Be") add a sense of organic tranquility, but it's Shore's Wagnerian-scaled orchestral score that should long be cherished by admirers of film music and hobbits alike.

The Lord of the Rings: The Two Towers [Soundtrack]

Howard Shore's music for the massively successful first film chapter of Tolkien's Ring saga won him the Oscar® for Best Original Score, something of a surprise given the music's ambitious scale and determinedly dark overtones, factors that handily blurred the line between typical film fantasy music and accomplished concert work. Its sequel takes the same, often Wagnerian-scaled dramatic tack, following the film's story line into even more brooding and ominous dark corners. The previous film's Hobbit-inspired pastoralism is supplanted here by rich ethnic textures that expand the musical scope of Middle-earth and the World of Men; the Hardanger, a Norwegian fiddle, represents the Rohan and the North African rhaita colors the Mordor theme, while log drums, dilruba, wood xylophone, and cimbalon add intriguing textures elsewhere. The score's looming orchestral clouds are brightened by Shore's masterful choral writing, which infuses ancient liturgical influences with various solo turns by Isabel Bayrakdarian, indie-pop star Sheila Chandra, Ben Del Maestro, and Elizabeth Fraser. "Gollum's Song," the composer's concluding collaboration with lyricist Fran Walsh, is delivered with Björkish, postmodern angst by Emiliana Torrini, and helps punctuate the story's modern sense of allegory.


The Lord of the Rings: The Return of the King [Enhanced, Soundtrack]

This final chapter of Peter Jackson's sprawling adaptation of Tolkien's "Ring" trilogy closes out one of the most accomplished cycles in cinema--and film music--history. As he's done for the saga's first two installments, composer Howard Shore has honed a mature, brooding orchestral masterpiece that's long on subtle shadings of mood and nuance, while eschewing the hollow bombast that's characterized all too many mainstream action and adventure films for three decades. If anything, he's pared this chapter of his music for Middle Earth even closer to the bone, the trilogy's familiar themes repeated with a sparing hand that only heightens their dramatic power. Like Herrmann before him, Shore has a preternatural understanding of orchestral timbres and their almost mystical connections with human emotions, and he's used it here to close out this remarkable trilogy with Wagnerian dramatic sweep, yet one with a distinctly modern, understated melodic sense that is Shore's alone. James Galway and Renee Fleming make key instrumental and vocal contributions, respectively, while Annie Lennox's soulful "Into the West" makes the expected, if unobtrusive, bow to the theatrical pop song conventions.