In Which I Laud the CSO's Performance of "The Lord of the Rings Symphony" as a Flawless Expression of the Divine

Truly, the Cincinnati Symphony Orchestra, the May Festival Chorus, and the Cincinnati Children’s Choir put on an excellent performance of Howard Shore’s The Lord of the Rings Symphony on Saturday 29 September 2007 under the direction of conductor Markus Huber. This six movement work, more of a tone poem, as Shore himself acknowledges, consists of a bit over two hours of the music from The Lord of the Rings film trilogy. This, of course, does not cover all the music in the nine hours of film, but it is a laudable selection, covering the gamut of thematic material and demonstrating the brilliant orchestration that is consistent throughout the score. Thus while any selection from the film score would have served very well, the carefully considered choices were even better.

Music Hall was quite crowded for the event, with a massive majority of its seats filled. This particular concert attracted a more colorful bunch than most, including a great many children, thanks to the popular appeal of the films. Indeed, this audience attested even more to the genius of the music. Looking around me from the beginning to the end of the concert two and one-half hours later, I saw the utmost attention (except the sleeping child in the row in front of me) and the complete metaphysical involvement from nearly everyone. Never have I observed so many moved to ecstatic tears drawn by music alone, and never have I myself so many times felt such rapturous reactions and compulsions to weep simply by considering the ideas represented by the music entering my ears. Of course, I had heard all these notes countless times before, but to be in the presence of their production was overwhelming. An excellent gentleman I once knew, a first-rate musician who died at the age of ninety-nine in January of the year 2006, expressed to me the his appreciation of the vast superiority of a live performance over a recording. This is proof that he was right.

The concert began, as one might logically suppose, on the first notes of the film score. Similarly, it ended on its final notes. Once the lights dimmed, there was nothing but euphony until intermission. Following intermission, the same applies until the final, endless applause. Apart from the music, there was a projection of concept art from the films on a screen hanging above the stage. Always, the image was relevant to the music, and it thus provided an interesting reminder of Middle Earth throughout. More subtly but still out of the ordinary were the lighting effects on the stage, illuminating the performers with colors evocative of the subjects of the music. Green light came with the light themes of the Shire. Red accompanied the dark pulsations of the Balrog’s steps across the bridge of Khazad-dûm. Gold shone on the stage in the melancholy peace of the Grey Havens. These effects well augmented the uniqueness of the event.

The soloists, too, were wisely chosen, for their voices were most pleasing, and brought yet another novelty to the performance, as the nuances of their particular styles of singing of course differ from the original performers of the music. That being said, they all portrayed their parts with great justice to the music, and thus it gained by their respective presences. In every language from both dialects of Elvish to English, and all the others, as well, the words remained excellently enunciated with fine timbre and tune; therefore, greatest of praise to them all.

When at last the concert reached its end, I must admit I could have remained to listen for several more hours. Indeed, I would not hesitate to attend the concert again, given the opportunity. If within reason I would be able to travel to Paris on November 3 or 4, I would certainly obtain tickets to The Lord of the Rings Symphony to see it conducted by Howard Shore himself. I can offer naught but praise for such an excellent performance of what is perhaps Shore’s masterpiece; without doubt one of the most important symphonic works of our time. It is not often that a film score creates such an enduring impact. It is even rarer that a film score can detach itself from the film and stand alone as its own art. If this is not a testament to the power of the score, I know not what is. I myself know that I am a happier and healthier person for having been there.