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"Lament for Gandalf" Words & Music by Philippa Boyens & Howard Shore; Performed by Elizabeth Fraser.

The Fellowship ventures into Lothlórien and so the mystical theme of these Elves returns, featuring soprano Miriam Stockley, female chorus, monochord and a prominent sarangi solo. “Lothlórien is more exotic,” explains Shore. “Rivendell is about learning and knowledge, but this is different.” The Lothlórien music stretches into sustained, arrhythmic shapes that sound neither dangerous nor comforting, but create a sense of unanswered anticipation.

After a phrase from the ney flute, a rolling tam-tam and a flourish of brass and strings carry the members of the Fellowship into Caras Galadhon, while cascading harps and female voices (singing “Galadriel’s Song”) maintain the ambiguously impressive air.

But all turns to sadness once hobbits, Elves, Men and a Dwarf pause to grieve the loss of Gandalf. Elizabeth Fraser and a female chorus trade phrases in a call-and-response texture with the monochord. In this despondent ceremonial music, the “Lament For Gandalf”, Shore explores his adapted Maqam Hijaz scale over drone-like open harmonies in the low strings.

Text from J.R.R. Tolkien
Adapted by Philippa Boyens
Quenya Translation by David Salo
Cenin i Herumor | I perceive the Dark Lord
Sámarya hanyenye | I comprehend his mind
Oio mahta-mahtala | Ever groping
Cenien sanwenya | To see my thought
Ananta… | But still…
Pahta i ando! | the door is closed!

Ela i cále! | Behold the light!
Nenya sina | Nenya is this
Corma úhátima | Ring, unbreakable
I haryanye. | That I possess.

Words and Music by Philippa Boyens and Howard Shore
Quenya and Sindarin Translation by David Salo
Verse 1: Quenya
A Olórin i yáresse | O Olórin whom in time past
Mentaner i Númeherui | The West-lords sent
Tírien i Rómenóri | To guard the East-lands
Maiaron i Oiosaila | Of Maiar, the Ever-wise
Manan elye etevanne | Why did you depart from
Nórie i melanelye? | A country which you loved?
Verses 2 and 3: Sindarin
Mithrandir, Mithrandir, A Randir Vithren | Mithrandir, Mithrandir O pilgrim grey
ú-reniathach i amar galen | You will not wander the green earth
I reniad lín ne môr, nuithannen | Your journey in darkness, ended.
In gwidh ristennin, i fae narchannen | The bonds cut, the spirit rent
I lach Anor ed ardhon gwannen | The Flame of Anor from earth departed
Calad veleg, ethuiannen. | A great light, blown out.

Words and Music by Philippa Boyens and Howard Shore
Quenya Translation by David Salo
Melmelma nóren sina | Our love for this land
Núra lá earo núri | Is deeper than the deeps of the sea
Ilfirin nairelma | Our regret is undying
Ananta ilyar eccatuvalme | Yet we will cast all away

Ar ullume nucuvalme: | Rather than submit
Nauva i nauva. | What should be shall be.

Listening Example: Disc Three | Track Two | 0:00
As the Fellowship first reaches the woods surrounding Lothlórien a solo woman’s voice intones the land’s Eastern flavored theme. The singer is Miriam Stockley, a London-based performer who has sung with Elton John, Annie Lennox, David Bowie and on the scores for Rob Roy, Great Expectations and others.

Listening Example: Disc Three | Track Two | 7:22
Fraser came to the performing world as the lead singer and lyricist of the highly influential Cocteau Twins. In The Fellowship of the Ring and The Two Towers, her voice is associated with the mystical music of Lothlórien and can be heard in Fellowship on the “Lament For Gandalf.”

For ages the Elves of Rivendell have maintained an open relationship with humans, so while they retain their signature musical styles and motives, there are no unique instruments that set them apart from the men of Middle-earth. Not so for the mysterious and ambiguous Elves of Lothlórien. Despite the fact that this culture eventually proves itself compassionate towards the plights of Mankind, it retains a thaumaturgic detachment. Shore paints these Elves in the Eastern bell-like tones of droning strings and winds.

Listening Example: Disc Three | Track Two | 0:00
The monochord’s history is as mysterious as its many uses. The instrument itself consists of a large wooden box over which a single string is held in place by pegs. An adjustable bridge allows the monochord to shift pitch while the performer either plucks or bows the string. Monochords have been used as scientific instruments (Pythagoras used its harmonic vibrations to study ratios), astronomy (Ptolemy), philosophy (Kepler’s “Harmony of the Spheres”), musical teachings (Guido of Arezzo’s “Guidonian Hand”), and for the curative properties of its vibrations. In Middle-earth, our mystical monochord is used for the Elves of Lothlórien, where it provides a low
droning melancholy over which the melody flows. The monochord used for this recording had 50 strings strung across the bridge.

Listening Example: Disc Three | Track Two | 0:24
The sarangi, a bowed string instrument common to Indian classical music, is constructed from a single block of wood, covered in parchment and generally strung with three or four gut strings under which 35 to 40 resonating strings run.

Listening Example: Disc Three | Track Two | 3:12
An end-blown cane flute, thought to have originated in Egypt approximately 3000 years B.C., the ney flute spread throughout the Middle East over a series of centuries, with cultures adopting differing styles and performance techniques. Neys are among the world’s oldest flutes, and are still extremely prevalent in the music of Morocco and Persia.

© The Annotated Score (The Music of The Lord of the Rings Films)

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