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Oh, good! That is exactly where I hoped it wound up; something known among the “grown-ups”, not discussed, and not shared with the younger ones until they were “of age”, whatever that meant to their culture at that time. Knowing that you’ve kept the line of Isildur unbroken seems to be such an...

Corey keeps saying that Estel is the only one to have been fostered there, and the notion that the Dunadain thought the last Heir of Isildur was dead seems really odd to me. I’m not sure what it contributes to the story arc (though I’m still in the middle of that frame discussion, so more may...

I expect this has already been covered, since I’m writing 3 years after the fact, but in listening to the discussion of the frame (Season 3-2), Corey says that Estel is the only one to be fostered in Rivendell. In fact, in Appendix A it says that all the Chieftans of the Dunadain were fostered...

I’m binging my way along, and am just finishing up the session on music for Season 2. Phil Menzies, I wanted to let you know that I started to cry as I listened to the theme of the Two Trees. The beautiful hope in that ascending melody with the steady pulse beneath just swept me along; it’s...

I just heard an energetic string trio by Gideon Klein: . Perhaps it’s because I was just listening to Season 1.01, but it made me think of the Valar doing their first creations (first movement), and then Melkor‘s destruction and their grieving the losses (second movement). Mostly I think...

I’m sure many French horn players could tell you about the occasionally evil ways of that instrument!

Interesting! I rather thought the second theme was the Elves, and the third the humans (including hobbits, even though they are not revealed until much, much later).

LOVE this! It’s very much the sort of thing I was thinking of. Just looked her up: of COURSE!! She’s Saami, and they had/have a strong influence on Finnish music and culture. In fact, the “witch” characters in the Kalevala are seen by some as analogs for the Saami magic users. Gotta get...

Lovely! This might be a time to use the Finnish kantele for the harpish theme that is trapped and circling (see my comment on the kantele way back in the thread for Season 0 — I’ve just begun to listen to the SilmFilm project and am still catching up!).

I’ve not heard any of the discussions beyond Season 0, so this may be way off base, but I’m wondering how the concept of inescapable doom fits with Tolkien’s theme (one of many, of course!) of the necessity of free will in all choices, in order to carry out the theme/plan of Iluvatar...?

Makes me sorry to have missed the Moot, as I am a singer and know something of Finnish pronunciation — NOT identical to Quenya, of course, but similar!

Not actually proposing this as a model, but just to show another treatment: I think Liszt is the king of bombast, but there are some quieter, almost reflective bits here as well.

I’ll have to catch up at some point, but since I’m currently Anytime auditing John Garth’s superb course on T in the world wars, my time is rather full! But I’ll do my best.

This is the Finnish national folk instrument, the kantele [KAN-tel-eh]. According to the Kalevala [KAH-le-vah-lah], the Finnish national epic, it was created by the wise old wizard Vainamoinen [VINE-ah-moy-nen] from the jawbone of a pike, with the fishguts for strings (if memory serves)...

I’ve only just started listening in, so I’m still in Season 0, in which there was a discussion of music and magic, specifically battle. I thought I’d mention the Finnish traditional runic singing, as described in the national epic The Kalevala, which was a big inspiration for Tolkien. Here’s a...