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"During the Years of the Trees, after most of the Valar had withdrawn completely from Middle-earth and hidden themselves in Aman, Oromë still hunted in the forests of Middle-earth on occasion.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.

Symphonic Tales of The Silmarillion - Seventh Movement: Aulë, Smith of the Valar - Compositional Diary

At last the seventh movement of the Symphonic Tales of the Silmarillion cycle is ready! Portraying Aulë, creator of the land masses of Arda, father of the Dwarves. He was the divine master of crafts, smithing many things, among them the Chains of Melkor. Link

"As Aulë is a smith, he is the Vala most similar in thought and powers to Melkor, in that they each gloried in the fashioning of artful and original things. Both also came to create beings of their own. But while Aulë strove to be true to the original intent of the Music of the Ainur, and submitted all that he did to the will of Ilúvatar, Melkor wished to control and subvert all things, and was jealous of the creations of others so that he would try to twist or destroy all that they made. There was long strife between Aulë and Melkor both before and after the creation of Arda. Aulë, however, traditionally opposed attempts to fight Melkor, for fear of the damage that would be wrought to Arda.
When the Elves came to Valinor, the Ñoldor became the students of Aulë. Fëanor was his greatest pupil, and from him learned to make gems through craftsmanship that is now forgotten. This would eventually lead to the Silmarils, the greatest creation of handiwork within Arda. On the Flight of the Noldor, the Noldor who returned to Valinor under Finarfin named themselves the Aulendur, Followers of Aulë. Despite his lordly skill, Aulë is humble and compassionate, and indeed the Dwarves survived only because Aulë submitted them to the will of Ilúvatar. His spouse is Yavanna, with whom he dwells in central Valinor." -- http://lotr.wikia.com/wiki/Aul%C3%AB

The arrangement is heavily relying on choral parts, especially accented on the bass section of the choir, representing the dwarven folk who He created. 
It consists of two main characteristic parts: first one is depicting the more serious, epic nature of this divine figure. At start the choirs are going light accompanied by some wind and stringed instruments playing piano, then switching to a higher gear with the epic Godzilla hits and some quick string runs and brass progressions. 
The second part is giving a cheerful salutation to the archangel with quickly evolving melody in the forte part and slower choral parts, both in a graceful, light and positive context. 
Hope you'll enjoy it!

Major material upload to YouTube

Dear friends and fans,

There's been a big series of uploads to the official pZi YouTube channel.

'Music for the Wired Generation'
First there's 7 tracks of the long play album 'Music for the Wired Generation' in a playlist you can find here featuring such tracks as 'Vortex of Freedom: Dune' and 'Spaceman's Ease'. You can still find the full album on Spotify, iTunes, Google Music and Amazon as well.
Playlist of Music for the Wired Generation

  


'Epic Tracks'
Secondly there's a new playlist for my recent epic fantasy tracks made in the classical genre, such as 'Power of the Awakened Ones' and 'The Invincibles'. Daring, epic and powerful compositions awaiting you now on the YouTube channel as well.
Playlist here.

Game Soundtracks

Here's a list of the games Pal Zoltan Illes had part in scoring for:

Ziggurat by MilkStone - action RPG, partly, 2 tracks of the full soundtrack. Blogpost here.
OpenDungeons - open source fantasy real time strategy
Scourge - open source fantasy RPG
Godhead - open source fantasy RPG
JClassicRPG - fantasy RPG engine

Check the Contact page if you would like to send business related communication.
Thank you!

Ambience tracks in top selling Steam indie game 'Ziggurat'

Recently my two earlier tracks of fantasy ambience genre has hit the Steam market in the game called Ziggurat by Milkstone indie game dev company. Amongst other great tracks in the album it is the ones that are played while discovering foreboding areas in the fast paced action RPG game, which much resembles the old classic game Hexen from the 1990's. You can have a listen to the tracks on Jamendo. Both are quite low profile, game music soundtrack alike stuff. I recommend to listen to the full album if you want some unique classical/sountrack experience.
Temple Exploration: https://www.jamendo.com/en/track/1123287/temple-exploration-ambient and
Cave Exploration: https://www.jamendo.com/en/track/1123293/cave-exploration-ambient
The full album is available here: https://www.jamendo.com/en/list/a134283/scourge-2-game-music
The game's official page is available here: http://www.milkstonestudios.com/games/ziggurat/
 

pZi - Ars Poetica

Let stand here a mix of Ars Poeatica / Self Biography for the curious.

Business Contact: "timong.balden @ gmail dot com" , for commissions and licensing released material or custom commissions.

Follow the artist: Facebook , Spotify 

"I was born in 1980, raised in Hungary, a beautiful European country in the heart of Europe, in Budapest, the capital city. Always immersed in music, let it be rock, metal, symphonic, electronic, game music, soundtracks. That's where my influences come from.

Most composed of genres: soundtrack, electronica, orchestral music, epic music, fantasy themes, sci-fi themes, fictional music, new folk/world, chill-out, ambient music, game music

Artistic influences (not including all) in music and literacy:
Classical Music: Beethoven, Stravinsky, Mussorgsky, Liszt, Wagner
Game Music: Jeremy Soule, Frank Klepacki, Inon Zur
Rock/Metal: Megadeth, Metallica, Sentenced, Sepultura
Contemporary Epic Music: Howard Shore, Thomas Bergersen
Electronica: Front Line Assembly, Depeche Mode, Kraftwerk
Fantasy: J.R.R. Tolkien, R. A. Salvatore, Wayne Chapman
Sci-Fi: Frank Herbert, Isaac Asimov, Ray Bradbury

My mission in the musical world is to mirror a universe and give a visionary glimpse to a place where I myself and my children would want to live. A sanctuary place where the listener can immerse his imagination and turn towards an internal panorama where it's good to exist or to burst us to even better levels of the future. I'm much interested in social and moral questions.

Major releases I've composed and produced are:

2008- : Various game soundtracks, major part classically orchestrated (Link)
March/2014: Galactoscopic
June/2014: Freedom Utopia
November/2014: Music for the Wired Generation

I've started my musical career in 2008 composing mainly symphonic/orchestral music for games, and as a composer slowly started directing myself towards instrumental ambient and electronic music for everyday listening. Focusing on instrumental music, melody, moods and musical story building you should expect me to tell stories, strongly theme based and most of the time easy to adapt your imagination to and immerse.
After a longer period of orchestral composition from 2008 to 2011, I've started to refocus myself on music that let's you relax, boost yourself, travel with it, go on with work or to ease your everyday chores while you put it on the speakers. Since 2011 main focus is on producing those tracks. Especially focusing on incorporating sci-fi/fantasy/new age/utopia music and theme elements into the weave of my pop-rock, chill and fusion tracks.

All through these times I've been experimenting with fusioning my favorite elements of music, that you hopefully might just as well like: electronic music, elements of rock, ethnical instrumentation, orchestral instrumentation and classical themes along with sci-fi/fantasy/new age/utopia elements, just to get the musical stories work like magic and entertain. Please, follow and support if you like what you hear!"