Howard Shore: A Good Omen

What! The Hobbit? Yes, The Hobbit. With the coming of the second instalment of The Hobbit (The Desolation of Smaug, in theatres December 13, 2013), I thought it would be fitting to showcase Howard Shore’s work from The Hobbit: An Unexpected Journey.  In particular, I’ve highlighted A Good Omen. I’m a fan of Shore’s work, and I love how he draws inspiration from the book and the imagery.  If I were as talented as him, this is probably what I’d do — fashion the essence, the image in sound.  For more on the creation of the soundtrack, check it out here.  The literally gets to eat, live and breathe the world of Tolkien, and that shows in his work.

With the drop in temperature, my musical taste has oscillated between swing/swing-pop (think back to the 1960s) and orchestral/instrumental beauties.  As snow starts to build up, I assure you I’ll be listening to more swing.  For the time being, I am quite taken with some of the composing greats of the twentieth and twenty-first century.  These include John Williams, Hans Zimmer, and yes even the atypical Clint Mansell with his cold, non-vibrato strings (re: Lux Aeterna).  They all weave intricate tales without words, using instrumentally-conveyed motions and colours in painting-like fashion.

Another one of those pieces that doesn’t need a scene.  If you need one, either watch the movie, or imagine a time where you’re at the precipice of defeat. And then, somehow, the sun rises and you aren’t. /end scene


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