目录
| # | 曲目 | 时长 |
|---|---|---|
|
1 |
The Noble Wood (I Roderyn) [From “The Hobbit”] | 00:05:38 |
|
2 |
Where the Shadows Lie (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:02:18 |
|
3 |
The History of the Ring (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:02:26 |
|
4 |
A Long-Expected Party (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:02:50 |
|
5 |
The Seduction of the Ring (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:01:34 |
|
6 |
A Black Shadow (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:02:59 |
|
7 |
Last Homely House (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:03:56 |
|
8 |
Turning Southwards (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:01:43 |
|
9 |
The Road Under the Mountain (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:01:22 |
|
10 |
The Halls of Durin (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:04:22 |
|
11 |
Durin’s Bane (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:04:46 |
|
12 |
The Golden Wood (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:02:12 |
|
13 |
Gandalf’s Lament (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:02:03 |
|
14 |
Beyond Lothlórien (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:01:56 |
|
15 |
The Anduin (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:01:57 |
|
16 |
The White Hand (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:02:50 |
|
17 |
The Passing of Boromir (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:02:41 |
|
18 |
The Fate of the Bearer (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:03:15 |
|
19 |
In Dreams (From “The Lord of the Rings: The Fellowship of the Ring”) | 00:03:36 |
|
20 |
Catania | 00:02:47 |
|
21 |
Esther Kahn (Paris Suite) | 00:03:32 |
|
22 |
Eastern Promises (From “Eastern Promises”) | 00:04:07 |
|
23 |
Tatiana / Trans-Siberian Diary (From “Eastern Promises”) | 00:05:37 |
|
24 |
The Fly (From “The Fly”) | 00:01:53 |
|
25 |
Plasma Pool (From “The Fly”) | 00:01:52 |
|
26 |
Stathis Enters (From “The Fly”) | 00:02:09 |
|
27 |
The Stairs (From “The Fly”) | 00:01:34 |
|
28 |
The Jump (From “The Fly”) | 00:01:26 |
|
29 |
Finale (From “The Fly”) | 00:02:53 |
|
30 |
Naked Lunch (From “Naked Lunch”) | 00:02:09 |
|
31 |
Fadela’s Coven / Dr. Benway (From “Naked Lunch”) | 00:05:20 |
|
32 |
Ed Wood (From “Ed Wood”) [Transcr. for Theremin and Orchestra] | 00:04:38 |
|
33 |
Grave Robbers (From “Ed Wood”) [Transcr. for Theremin and Orchestra] | 00:01:17 |
|
34 |
This Is the One (From “Ed Wood”) [Transcr. for Theremin and Orchestra] | 00:04:07 |
|
35 |
Crash (From “Crash”) | 00:03:33 |
|
36 |
CineTerra (From “Crash”) | 00:01:05 |
|
37 |
Mechanism Of Occupant Ejection (From “Crash”) | 00:02:08 |
|
38 |
Mirror Image (From “Crash”) | 00:03:00 |
|
39 |
Where’s the Car? (From “Crash”) | 00:02:31 |
|
40 |
Sexual Logic (From “Crash”) | 00:03:58 |
|
41 |
Road Research Laboratory (From “Crash”) | 00:02:14 |
|
42 |
Chromium Bower (From “Crash”) | 00:01:39 |
|
43 |
Triton (From “Crash”) | 00:02:14 |
|
44 |
Prophecy Is Dirty and Ragged (From “Crash”) | 00:03:36 |
专辑简介
Contemporary composer Howard Shore releases his new album that features a perfect synthesis of the three concerts he gave in the spring of 2023 at the Maison de Radio France in Paris. Two of the presented concerts feature the Orchestre Philharmonique de Radio France, one conducted by Ludwig Wicki and the other by Bastien Stil. The third concert focuses more on his experimental compositions, revealing the extent of Shore’s chameleon-like ability to switch between the most varied of genres and scales. A small group of inspired soloists – Olivier Doise, Jean-Paul Gasparian, Raphaëlle Moreau, Stéphane Guillaume and Lydia Kavina – took it in turns to give brilliant performances.
Known best for his work on the soundtrack for the ‘The Lord of the Rings’ trilogy, followed a decade later by ‘The Hobbit’, Shore is considered one of the most innovative contemporary film composers for more than 40 years now. “In my opinion, film music is one of the rare territories where a composer can write freely, providing that he chooses the films and subjects that suit his personality. You learn to establish a relationship with the director based on trust, so that they will encourage you to express yourself in a personal way, to be different and ambitious. It’s about cooperation, perspective, and conviction,” says Shore.
