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"During the Years of the Trees, after most of the Valar had withdrawn completely from Middle-earth and hidden themselves in Aman, Oromë still hunted in the forests of Middle-earth on occasion.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.
Showing posts with label jrrtolkien. Show all posts
Showing posts with label jrrtolkien. Show all posts
Wednesday, April 15, 2015
Sunday, March 29, 2015
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!
"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!
Saturday, February 28, 2015
Symphonic Tales of The Silmarillion - Fourth Movement: Manwë, King Of The Valar - Compositional Diary
The fourth piece in the series is at last ready! 'Manwë, King Of The Valar'
The composition is parted into 3 important units. Starts out with a majestic minor scale chord progression and idea using choir and french horns as the main means for the melody. The strings are taking the chords on its back as it happens all through the piece. This part symbolizes the high ranked archangel's majestic nature. The music suddenly rolls into an agitated, action packed second part where the heavy staccato of the full strings ensemble is elevated by heavy brass melodies. Also a quickly rolling piccolo and solo violin staccato part is spicing up the inertia. After this part runs out, we get to the third one, the major scale theme of the Vala, where the ideas and chords is channeling the wise and positive nature of this archangel. It's rhythmical flow is helped by a synchronized, march like pattern of snare and different divisions of the orchestra. After this we get back to a repetition of the first part with new elements in the instrumentation, and then to a beefed upp and shuffled repetition of the second part, with an even heavier staccato of the string ensemble and heavier percussion entering. A final trailer like elevation of the harmonies gives the ending.
Hopefully you will enjoy the new piece, and find it appropriate to give the theme for this character of utter importance in the Tolkien universe.
The composition is parted into 3 important units. Starts out with a majestic minor scale chord progression and idea using choir and french horns as the main means for the melody. The strings are taking the chords on its back as it happens all through the piece. This part symbolizes the high ranked archangel's majestic nature. The music suddenly rolls into an agitated, action packed second part where the heavy staccato of the full strings ensemble is elevated by heavy brass melodies. Also a quickly rolling piccolo and solo violin staccato part is spicing up the inertia. After this part runs out, we get to the third one, the major scale theme of the Vala, where the ideas and chords is channeling the wise and positive nature of this archangel. It's rhythmical flow is helped by a synchronized, march like pattern of snare and different divisions of the orchestra. After this we get back to a repetition of the first part with new elements in the instrumentation, and then to a beefed upp and shuffled repetition of the second part, with an even heavier staccato of the string ensemble and heavier percussion entering. A final trailer like elevation of the harmonies gives the ending.
Hopefully you will enjoy the new piece, and find it appropriate to give the theme for this character of utter importance in the Tolkien universe.
Sunday, February 15, 2015
Symphonic Tales of The Silmarillion - Third Movement: Ulmo, Lord of the Waters - Compositional Diary
Dear Fans and Friends,
I'm happy to report that after a longer period of silence, the third movement of the symphonic tales has been rolled out. The focus now has been shifted from the story telling of the Ainulindale to the portrayals of Valar derived from the Valaquenta of The Silmarillion.
The first in the portrayal series is the majestic, dreadful and all surround Lord of the Waters, Ulmo, the lonely divine figure of the mythology of Tolkien. Second in power to Manwe, most hated by Melkor, knowing of all news on Arda through all the waters flowing through and surrounding the landmass of the world.
"ULMO, Heru Rasa, or in English - Lord of the Seas, was second in power of the Valar only to Manwe. He was one of the nine Aratar, or those of chief power and reverence. He was a loner, the only one of the Valar to not have a wife (wife here is not in the common sense, but one who has similar interests and share deeds). He would never stay in one place for long, and took to resting anywhere he might be. He seldom came to the Councils of Mahanaxar, and only when in great need. He preferred to stay in Arda, not by walking on the land, as his form would fill man or elf with great dread. All waters were under his government; bays, rivers and even the waters under the earth. It is through these that he kept in touch with Arda, and thus knew more of the goings on with the children of Iluvatar than even Manwe."
The music is somewhat starting as an enervated and sad, musing part which shows the lonesome preference of this Vala, and also incorporates powerful and majestic parts which symbolizes his appearance before the mortal beings of Arda. The major part of the orchestral sections this time goes to the low and middle brass and also the contrabasoon and is accompanied by accentuated choral parts. Also touches some modern elements of compositional work with many less common harmonies and also random-like notes which depicts the watery, hard to glimpse nature of this divine figure. Strives for positive, uplifting images at times with some clearer, major chord resolutions, but also dwelling in strong, fast and agitated parts that outlines the unpredictable nature of the waters and the powers of this all-mighty Vala.
I'm happy to report that after a longer period of silence, the third movement of the symphonic tales has been rolled out. The focus now has been shifted from the story telling of the Ainulindale to the portrayals of Valar derived from the Valaquenta of The Silmarillion.
The first in the portrayal series is the majestic, dreadful and all surround Lord of the Waters, Ulmo, the lonely divine figure of the mythology of Tolkien. Second in power to Manwe, most hated by Melkor, knowing of all news on Arda through all the waters flowing through and surrounding the landmass of the world.
"ULMO, Heru Rasa, or in English - Lord of the Seas, was second in power of the Valar only to Manwe. He was one of the nine Aratar, or those of chief power and reverence. He was a loner, the only one of the Valar to not have a wife (wife here is not in the common sense, but one who has similar interests and share deeds). He would never stay in one place for long, and took to resting anywhere he might be. He seldom came to the Councils of Mahanaxar, and only when in great need. He preferred to stay in Arda, not by walking on the land, as his form would fill man or elf with great dread. All waters were under his government; bays, rivers and even the waters under the earth. It is through these that he kept in touch with Arda, and thus knew more of the goings on with the children of Iluvatar than even Manwe."
The music is somewhat starting as an enervated and sad, musing part which shows the lonesome preference of this Vala, and also incorporates powerful and majestic parts which symbolizes his appearance before the mortal beings of Arda. The major part of the orchestral sections this time goes to the low and middle brass and also the contrabasoon and is accompanied by accentuated choral parts. Also touches some modern elements of compositional work with many less common harmonies and also random-like notes which depicts the watery, hard to glimpse nature of this divine figure. Strives for positive, uplifting images at times with some clearer, major chord resolutions, but also dwelling in strong, fast and agitated parts that outlines the unpredictable nature of the waters and the powers of this all-mighty Vala.
Wednesday, January 7, 2015
Symphonic Tales of The Silmarillion - Compositional Diary #1
"There Was Eru, The One"
- J.R.R Tolkien
I've been working for a few days now on the first title of the epic sized opus I'm trying to achieve. Symphonic music with some hybrid elements, telling one of the most compelling modern mythical tale ever conceived, The Silmarillion's uncountable tales and details poured into music in a yet unknown level of detail.
Regarding the first title, finally I've decided to "cut back" the scope of the first title, and instead of depicting the Ainulindalë I'll rather concentrate on Eru Iluvatar only. Giving a first long part to the Creator of the tolkienesque universe, I think I couldn't really go another way around. The conceiving one omnipotent mind of all the happenings of the world, deserves a whole title.
I'll tell you a little bit about how currently the composition is going. Opens with a slow musical scale intro and drives into a strong and clear fanfare part (as you could imagine). Then it turns to the Love Eru is showing in his mind for all the yet to be created beings and things in a more emotional part written in a major key (hopefully you won't feel it too happy, but rather as the strong emotional, spiritual and rational care and sign for all the yet to come). Then the music turns into an epic minor key, to put a sight on the Historical details that start to form in the all knowing mind, right before creating the Ainur from his thoughts to start forming reality.
So that's how this is going. Needs so much care, the bar is set so high. I can't tell you how hard it is to imagine that I can live up to these standards. But we will see. The first title's first public version is nearing steadily. :-) I wish I could show you something already, but I want it perfect, at least perfect for a first version (I'm sure it's going to change when the whole Symphonic Tale will get into further shape).
- J.R.R Tolkien
I've been working for a few days now on the first title of the epic sized opus I'm trying to achieve. Symphonic music with some hybrid elements, telling one of the most compelling modern mythical tale ever conceived, The Silmarillion's uncountable tales and details poured into music in a yet unknown level of detail.
Regarding the first title, finally I've decided to "cut back" the scope of the first title, and instead of depicting the Ainulindalë I'll rather concentrate on Eru Iluvatar only. Giving a first long part to the Creator of the tolkienesque universe, I think I couldn't really go another way around. The conceiving one omnipotent mind of all the happenings of the world, deserves a whole title.
I'll tell you a little bit about how currently the composition is going. Opens with a slow musical scale intro and drives into a strong and clear fanfare part (as you could imagine). Then it turns to the Love Eru is showing in his mind for all the yet to be created beings and things in a more emotional part written in a major key (hopefully you won't feel it too happy, but rather as the strong emotional, spiritual and rational care and sign for all the yet to come). Then the music turns into an epic minor key, to put a sight on the Historical details that start to form in the all knowing mind, right before creating the Ainur from his thoughts to start forming reality.
So that's how this is going. Needs so much care, the bar is set so high. I can't tell you how hard it is to imagine that I can live up to these standards. But we will see. The first title's first public version is nearing steadily. :-) I wish I could show you something already, but I want it perfect, at least perfect for a first version (I'm sure it's going to change when the whole Symphonic Tale will get into further shape).
Tuesday, January 6, 2015
A New Project: Musical Story of the First Age of Middle Earth and of the Quenta Silmarillion
- "There was Eru, the One, who in Arda is called Ilúvatar; and he made first the Ainur, the Holy Ones, that were the offspring of his thought..."
- —First words of the Ainulindalë
 |
| Ainulindale by Alassea Earello |
Honestly I'm looking forward to pouring my inspiration into it. and yet the bar is set really high this time, I feel the topic demands the next level of perfection. My goal is to remain in the boundaries of enjoyable music (I couldn't really do much else anyway ) yet if possible with classical values of dynamics and variety of structure..Also be prepared for the addition of some very sophisticated modern ambient like synthesizers, as I feel it adequate to pronounce some characteristics of the tale. Synthesizers, just as classical instruments can represent a high order and also great improbabilities. It's going to be used humbly and modestly, to underline the power of the musical material.
Summing it up, I hope I won't stumble too much on the way, and also I wanted to articulate my gratitude towards all of you for your continuous support!
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