We all know the epic, sweeping scores of Howard Shore’s Lord of the Rings film trilogy. It’s become synonymous with Middle-earth, instantly transporting us back to that magical world. But what if I told you that long before Howard Shore picked up a baton, another composer had already begun setting Tolkien’s words to music?
Let’s rewind to 1965. British composer Donald Swann, known for his whimsical collaborations with Michael Flanders, embarked on a unique project: putting Tolkien’s poetry from The Lord of the Rings to music. It wasn’t a random endeavor. Swann was a genuine admirer of Tolkien’s work.
His journey led him to the doorstep of none other than J.R.R. Tolkien himself. The meeting, facilitated by Tolkien’s daughter Priscilla, took place around her piano, the only one available. It was an intimate gathering, with Swann presenting his compositions directly to the source of their inspiration.
Imagine the scene: the soft press of piano keys, Swann’s voice filling the room with melodies inspired by Middle-earth, and Tolkien, the architect of this universe, listening intently. One can only imagine the emotions that filled the air, a meeting of minds passionate about bringing Tolkien’s words to life through a different art form.
The first piece Swann shared was “The Road Goes Ever On.” This iconic song, originally penned by Bilbo Baggins in The Hobbit, marks significant moments in both The Hobbit and The Lord of the Rings. Bilbo sings it upon his bittersweet return to the Shire after his first adventure. It resurfaces in The Lord of the Rings as both Bilbo and Frodo find themselves drawn back to its familiar melody. In the films, it’s Gandalf who carries the tune.
This initial meeting between composer and author led to a beautiful collaboration. Their work culminated in a book aptly titled The Road Goes Ever On: A Song Cycle, a testament to their shared vision. Published in 1967, the book featured Tolkien’s verses alongside Swann’s musical settings. It offered a unique way to experience Middle-earth, bridging the gap between the written word and the evocative power of music.
While Howard Shore’s cinematic score might be the soundtrack most associate with The Lord of the Rings today, Donald Swann’s work stands as a fascinating precursor, a hidden gem that offers a different, yet equally valid, musical interpretation of Tolkien’s rich world. It serves as a reminder that artistic interpretations can be wonderfully diverse, each offering a unique lens through which to appreciate the magic of Tolkien’s masterpiece.
