Gandalf leads the Fellowship into Dwarrowdelf, and Shore's music expresses the sad beauty of the fallen city. "We called it faded
glory, or ruined grandeur. I wrote it based on the Alan Lee drawings. Later, when Gimli is in front of the crypt you hear a bit of
the Dwarrowdelf theme again, because he's mourning the loss of Balin. And you'll hear it once more in Moria."
In Balin's tomb, the Fellowship is attacked by a league of Orcs. However, instead of hammering
the action home, Shore's score suddenly drops out after a preparatory build-up.
"It was Peter's idea," the composer recalls. "He thought it would be more brutal and
realistic to end the score when the fighting began. It seemed more life-threatening."
In the midst of the fracas the Cave Troll enters the tomb; as it hunts Frodo, so does
Shore's score. This, the second of Shore's monster compositions, is the most emotional
of the collection. After the orchestra reels with a series of musical hammer strokes
representing the Cave Troll's deliberate tantrum, the score pauses for a heartbreaking
moment of introspection. Frodo is presumed dead at the hands of the troll, a pathetic
creature who threatened the Fellowship out of fear and confusion. With a sorrowful jolt,
the members of the company realize that their quest will not be victimless. "You hear the
Dwarrowdelf theme again when the hobbits are on top of the troll trying to bring it down," Shore explains. "It's been chained up
by the Orcs and it's angry. It doesn't want to hurt anybody, but they won't feed it unless it does. You feel sorry for the cave troll."
As the next wave of Orcs moves in, the Fellowship flees to Moria's second hall. The Orcs' Five Beat pattern pounds out a few bars
before the Fellowship theme rips through the orchestra in one of the most thrillingly heroic statements in the entire score. Only
in Moria is the entire nine-member Fellowship ever called to action. Here the brave theme appears in a fluid 3/4 time, directly
opposing the Orcs' rocky 5/4. Eventually the meters battle each other for dominance, overlapping in dense polyrhythmic shapes
clamoring through a furious crescendo.

UNUSED CONCEPT:
Like Arwen's prayer for Frodo,
Gimli's solemn words at the foot
of Balin's casket were originally
set to be echoed by chorus singing
an original text by Philippa
Boyens, "Dwarvish Interlude."
The concept was abandoned before
Shore scored the sequence.

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