LOTR | The Fellowship of the Ring | A Knife in the Dark (Adùnaic)
A Knife In The Dark is the seventh track of The Lord of the Rings: The Fellowship of the Ring - Original Motion Picture Soundtrack by Howard Shore. It is played during the period of time during the Ambush at Weathertop.
- The Revelation of the Ringwraiths: Sung by The London Voices.
- A Moth in Isengard: Sung by boy soprano Edward Ross.
NATURE'S RECLAMATION, a theme for Nature, is music that spans events in the movies. Quiet as a moth, determined as angry Ents, it "represents Nature's resistance of encroaching evil" (Doug Adams, CR--FOTR). In Tolkien's world, Nature is a culture alongside of the Elves, Dwarves or Men. He also notes that the simple, pure melody of the Moth music is a 'antidote to the industrial beating of Isengard'.
The Wraiths attack the hobbits on Weathertop while Shore develops his Mordor themes in d-minor, slowly building a crescendo as the hooded villains move in for the kill. Even timpani get in on the action, presenting heavy melodic phrases from the Threat of Mordor.
– THE CAVERNS OF ISENGARD
With an electrifying burst of Fellowship fragments, Strider intercepts the Wraiths, and Shore introduces the Heroics of Aragorn’s next stage of development. Rising shapes in French horns recall the shady cello phrase that accompanies Aragorn in Bree, now emphasizing a bolder heroism. “He saves Frodo,” says Shore.
“He’s Aragorn the hero - Aragorn the savior of Frodo. He’s so essential to the Fellowship.” The defeated Wraiths skulk back into the night while the Threat of Mordor hisses curses at their vanquishers. The collective dangers of Middle-earth, however, are far from conquered. Isengard has been ripped to shreds, converted into a deadly collection of machines and malice. The score introduces the Five Beat Pattern as the soulless drive of the once beautiful land, and the Isengard/Orc theme as its call to arms. “Here’s all that metal percussion,” Shore says, ominously. “It’s the industrial might of Middle-earth.” Also debuting here is material from the opposite end of the spectrum Nature’s Reclamation. This theme’s first appearance is flanked on either side by the Orcs’ bellicose Five Beat Pattern. Although the pattern fades when the Nature theme enters, the score actually calls for the London Philharmonic percussion section to continue playing the entire time.
Shore wrote this way, fully intending to dissolve a section of the Five Beat Pattern so that that this rhythm would never lose its energy. In the film, the Pattern reenters after the vocals with a ruthless sense of continued drive.
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