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Sunday, April 19, 2015

"Symphonic Tales of the Silmarilli" - the next long play album is finally here

And it's here. Final editing and mastering has been finished and the first form of digital distribution has started on BandCamp. Be among the firsts to grab 'Symphonic Tales of the Silmarilli'

Months of work has now come to a milestone. While the story is not yet over, as this is the first cycle of the Symphonic Tales, but this amassed material was shouting for release, before venturing onwards to the stories of the newly coming races of Arda, the First Born and the others to follow them. While that's not in my plans to start it immediately after this release, it's on the road map.
https://palzoltanilles.bandcamp.com/album/symphonic-tales-of-the-silmarilli


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Wednesday, April 15, 2015

Symphonic Tales of The Silmarillion - Eight Movement: Oromë, The Hunter Lord - Compositional Diary

Here rides the hunter lord on his stallion Nahar, he, the Horn-Blower, menace to all the dark creatures of Arda and Morgoth. The one who remained most time on Arda before returning to Valinor.


"During the Years of the Trees, after most of the Valar had withdrawn completely from Middle-earth and hidden themselves in Aman, Oromë still hunted in the forests of Middle-earth on occasion. Thus, he was responsible for finding the elves when they awoke at Cuivienen, and the first to name them the Eldar.[3]
Being a powerful huntsman, he was active in the struggles against Morgoth. He had a great horn called the Valaróma and a great steed named Nahar.[2] Huan, a Hound from Valinor, once belonged to him and was later given to Celegorm, one of the Sons of Fëanor.[4] 
" - source: http://lotr.wikia.com/wiki/Orom%C3%AB

The composition is mixing a few characteristic themes...after starting out with an intense, quite arrhythmic part it goes into a strong choral part introduced with fine staccato clarinet runs and a heavy marcato strings section. It depicts the fearless Vala archangel's might and furious hunting powers that swept through the forests of Arda even in the most menacing times when the Shadow of Morgoth was creeping over. After a small bridging part comes the more heroic, positively uplifting part culminating in a quick arpeggio of violin runs to give the over the edge burst, and depicting the majestic nature of the divine being. To accentuate the main melody, celesta is hitting up the beats of the brass melody, and a quick marcato of the string ensemble is following all through in the background. The main theme is also repeated by a choral part. After all this, a variation of the first powerful choral part is heightening the tension before the brass melodic uplifting line is returning with grace to win over, and thus the piece ends.