The Rivendell arpeggios cloud over as more visitors arrive. “It’s a darker version of that opening,” notes the composer. Soon the score dabbles in significantly grimmer tones, previewing the musical palette of Mount Doom. Elrond details Isildur’s long-ago refusal to destroy the One Ring and the music bursts into a passionate rumbling of brass chords and rolled timpani before the arpeggios return again, gloomier yet, dulled by disappointment.

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