Howard Shore's magnum opus? - A music review for the Limited Deluxe Version

Vorneweg - a star deduction would have the manufacturers actually approve for re unspeakably loveless CD case. As always fragmented color from the edge as long as you repeatedly pops up and as there is acute of tearing when you try to pull a CD out of its shell. My five stars go here clearly exclusively to the music. I also warn against smaller spoilers ("Beyond Grief and Sorrow", "Guardians of the Three", "Ravenhill" and "To the Death")!

After many fans partially viscous and sometimes fragmentary previous score: "The Desolation of Smaug", provides the "action" of the last trip to Middle Earth "The Battle of the Five Armies" undoubtedly a daunting opening pitch. Where in "The Desolation of Smaug" musical themes epic grandeur or spherical in their melodies leadership were often only hinted at, Howard Shore Unleash majestically on the present work is finally back. And he does well in a way that would cause the great Richard Wagner honor - brachial triumpfierend and emotionally gripping - and finally again with the sense of the big musical moments.

The very first piece of "Fire and Water" begins apparently at a glance across the frozen lake to the city Esgaroth, over the soon unmistakable shot down remotely Smaug to bring the last film announced disaster on the people. Musically the piece is carried by his motto, that more and more powerful built in continuous repetition and then - learns of epic wide horns sounds and choirs its climax - the crowning highlight. Amusing here the brief allusion of the mayor is in between.

"Shores of the Long Lake" then initially dominated the calm after the storm - interrupted by a short "A Feast of Starlight", the romantic theme Kilis and Tauriels.

"Beyond Sorrow and Grief" opened with the majestic "Erebor" theme and then unceremoniously drifting into madness. Set pieces of "Smaug" theme to be repeated - backed by slight metallic dribble and the blades of clamps. It is believed the incipient delirium Thorin to feel his approaching arkenstein'schen, gold-hungry dwarf delusion formally.

"Guardians of the Three" are then comprehensible the appearance of Galadriel, Elrond and Saruman in Dol Guldur in the liberation of Gandalf and the fight against the Nine Sauron and again. Known set pieces from motives of the "Lord of the Rings", especially the "same" theme, "Mordor" and "Orthanc" come to mind - in particular in the conclusion of the piece has a deja-vu.

Who in "Desolation of Smaug" complained about the too sparse melodies guide the "Esgaroth" theme, will be compensated in the then following "The Ruins of Dale" that at the beginning it picks up again, followed by the "Hobbit" and then the first musical harbinger imminent hostilities.

"The Gathering of the Clouds" is this threat continues seamlessly - with the beginning slightly Celtic influences - one driven to the extreme theme "Esgaroths", only to lose themselves in the music aggressive variations of multiple elements.

"Mithril" one may then confidently count one of the highlights, which manufactures pure goose bumps the first time. Wabernd floats "Smaug" about the ongoing madness and discharged in one of the most powerful highlights: a combination of "Esgaroth" - motif with "Sons of Durin", preceded whipped through the deep sounding staccato of dwarf choirs! A big WOW!

In "Bred Of War" Howard Shore proves again once his sense of ingenious instrumentalisation: Starting with didgeridoo sounds he embarks abysmally into the darkness Gundabads and its giant bats. The strings chirping on the weirdest, drums and the didgeridoo again, crossed by metallic sounds waft incessantly up! Great cinema for the head!

"A Thief in the Night" for the time being then returns back to calmer climes. The name says it, you creeps while listening formally.

"The Clouds Burst" then again offers "Smaug", then "Erebor" and then after about three minutes for the first time clearly a whole new topic that I would like to mention with "Iron Foot 'here times.

The completion of the first CD, "Battle for the Mountain", is the subject continued almost ansatzlos and increases it in a sublime theme! The genius Shores is here above all in aufzuspielen virtuosity with various set pieces. We must expect great things to on the canvas!

The first title of CD 2, "The Darkest Hour", also lives up to its promises. Only briefly interrupted by Trommelkang the war he varies the theme of the "Sons of Durin" in slow solemn manner and amplifies the suffering offered by plaintive chorus and plaintive strings.

The following "Sons of Durin" rips a but immediately the lethargy! So much power and force, there were more than at the end of "Mithril". "Erebor" is celebrated in all its splendor and his glory! Another highlight!

"The Fallen" is then pure depression. Boys' choirs initiate a particularly plaintive version of "Erebor" theme and the same obviously have to mourn losses - like all! Half then the anger manifests itself, the "Iron Foot" theme drives the narrative forward shortly.

The following two pieces was just as much mentioned: "Ravenhill seems something with Tauriel and Kili -" To the Death "with Azog and Thorin Doing Both pieces play dramatically to all their lives (and Legolas and Bolg?).!

"Courage and Wisdom" belongs to one of my other highlights - Howard Shore combines like no other again several Leitmelodien ("Erebor", "Feast of Starlight", the "companions" or the "same") to all reconciliatory conclusion that a nevertheless melancholic leaves.

"The Return Journey" and "There and Back Again" wait - as you would expect - with the famous "Hobbit" on. Shore brings especially in "There and Back Again" again skilfully known from the "Lord of the Rings" below - so you can see the ring at least once in his mind.

In the song "The Last Goodbye" by Billy Boyd "produced at least for me the line" Night is now Falling "a certain" Annie Lennox "-Gedenksekunde. It does not detract from the quality, let him who hears for the first time in more detail, perhaps understands what I mean . Nevertheless: A successful Abschlussong!

"Iron Foot 'is then a conclusion more than worthy! Celtic influences: Uillean Pipes and Whistles build selbiges issue again to full size, including chorales and panoramas of stringed instruments on a short trip to "Esgaroth / Thal" included. For me one of the most beautiful pieces ever written, the Shore!

"Dragon-Sickness" varies then again various topics in supported form and last but not least, there are "Thrains" theme of the amended Extended Cut the wasteland Smaug on top! That's nice, but does not belong in the Battle of Five Armies!

My conclusion: lovers of modern classics are compensated with the present Soundtrack for which some criticized accessibility of its predecessor "The Desolation of Smaug" for the best. Howard Shore proves that he has lost none of his creativity the old 'Lord of the Rings "times.

A great soundtrack. All six together - in my opinion - his magnum opus!