A few months ago, I heard that Celtic new age princess Enya was going to write and perform a couple of works on the "Lord of the Rings: the Fellowship of the Ring" soundtrack.
I had been looking forward to that movie for about a year and tried to keep up on the news. And when I caught wind of Enya and the soundtrack, my first reaction was, well, disappointment.
While J.R.R. Tolkien's "Lord of the Rings" trilogy ("Fellowship. . . ," "The Two Towers" and "Return of the King") were written by a since-deceased English genius, I didn't think the wispy Celtic layerings of the Irish-inspired music of Enya were a good choice.
"They should have gotten Loreena McKennitt," I kept on saying to people. McKennitt's pan-Celtic sound seemed to fit better in my ears.
She is Celtic, but not strictly set in Ireland, Scotland or England. Her music contains hinted mysticism from the East and a touch of subtle Norwegian folk styles, which, to me a few months ago, would've fit better for my expectations for the Peter Jackson film.
When I received the soundtrack two weeks ago and took it for a spin, it was good. But since I hadn't seen the movie at that time, I felt the Enya works — "The Council of Elrond featuring Aníron (Theme for Aragorn and Arwen)" and "May It Be" — sounded a little off.
Boy, was I wrong.
My opinions changed after I was fortunate to attend the 12:01 a.m. screening of "Fellowship of the Ring" at the Gateway Plaza Wednesday. I was simply blown away. The movie was beautifully made and, for the most part, loyal to the book. The cinematography was breathtaking. And Enya's music was magical and perfect.
Speaking truthfully, I can't think of any other composer who would have captured the aura of the scenes in which her music was featured.
The scenes in which her music can be heard called for dreamy, background music, rather than up-front showcases. And to tell you the truth, not only does Enya's work sound great, but the whole soundtrack rules.
Composer Howard Shore effectively used the London Philharmonic Orchestra (with whom he's worked for 15 years), the New Zealand Symphony Orchestra, the London Voices, the London Oratorio Schola, featuring Edward Ross, and vocalists Elizabeth Fraser and Mabel Faletolu.
While some of the choral arrangements, on my first blind listen, sounded like a John Williams "Phantom Menace" knock off, hearing the pieces in context was an otherworldly experience.
Now when I put the "Lord of the Rings" CD in my stereo, I don't see Darth Maul, Obi Wan Kenobi and Qui Gon Ginn.
Instead, I see the Balrog stalking Gandalf, Frodo, Samwise, Aragorn, Boromir, Merry, Pippin, Gimli and Legolas in the caverns Moria to the Bridge of Khazad Dum. I see hooded Ringwraiths chasing Arwen (not Glorfindel) to the raging waters at the Ford of Bruinen near Rivendell. I see our heroes riding the River Anduin past the two monolithic stone guardians. I see the Shire and Bag End with all the hobbit holes in the lush green countryside and I see the dark, deadly faceless ringwraiths riding their black Arabian horses through the misty forests searching for the Ringbearer Frodo.
Hats off to Enya and a cheer for film director Peter Jackson for asking the musician to be a part of this glorious work in the first place.
E-MAIL: scott@desnews.com