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The bass drum strokes underpinning the first appearance of the Seduction of the Ring each coincide with a shot of Frodo’s vest pocket, boring a palpable sense of danger into an otherwise innocuous image. These echoing impacts—marked in Shore’s score as “low, distant disturbance”—underpin the first hummed setting of the Seduction of the Ring. (Here again, the One Ring struggles to articulate its seductive message to the less corruptible hobbits.)

After the first use of the Journey There, Shore presents material from two of the story’s most significant themes. Reluctantly, Sam steps through a Shire cornfield and remarks that he’s never before been this far away from his home. “You’re hearing a little bit of the piece from the end,” remarks the composer. “It’s the Hymn Setting, or ‘In Dreams,’ and it’s the first time you hear it.” Immediately following, Shore’s music suggests that the Fellowship of the Ring has begun to form. Cor anglais and French horn (see instrumentalists, the London Philharmonic Orchestra) announce a brave, but humble take on the material. “This is the first time you hear it because it’s the two of them setting out together,” the essence of Fellowship.

TEXTS
IN DREAMS
Words and Music by Fran Walsh, Howard Shore
FIRST HEARD: DISC THREE | TRACK NINE
When the cold of winter comes
Starless night will cover day
In the veiling of the sun
We will walk in bitter rain
But in dreams
I still hear your name
And in dreams
We will meet again
When the seas and mountains fall
And we come, to end of days
In the dark I hear a call
Calling me there
I will go there
And back again.

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

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