Program Notes

Johan de Meij’s first symphony, The Lord of the Rings, is based on the trilogy of that name by J.R.R. Tolkien. This book has fascinated many millions of readers since its publication in 1955. The symphony consists of five movements, each illustrating a personage or an important episode from the book. The movements are:

I. GANDALF (The Wizard)
II. LOTHLORIEN (The Elvenwood)
III. GOLLUM (Sméagol)
IV. JOURNEY IN THE DARK
a. The Mines of Moria
b. The Bridge of Khazad-Dûm
V. HOBBITS

The symphony was written in the period between March 1984 and December 1987 and had its première in Brussels on 15th March 1988, performed by the Groot Harmonieorkest van de Gidsen under the baton of Norbert Nozy. In 1989, The symphony The Lord of the Rings was awarded first prize in the Sudler International Wind Band Composition Competition in Chicago, and a year later, the symphony was awarded by the Dutch Composers Fund. In 2001, the orchestral version was premiered by the Rotterdam Philharmonic Orchestra and recorded by the London Symphony Orchestra.

Although it is not simple to summarize such an extensive and complex work, the main outline is as follows: the central theme is the Ring, made by primeval forces that decide the safety or destruction of the world. For years it was the possession of the creature Gollum, but when the ring falls into the hands of the Hobbits, the evil forces awake, and the struggle for the ring commences. There is but one solution to save the World from disaster: the ring must be destroyed by the fire in which it was forged: Mount Doom in the heart of Mordor, the country of the evil Lord Sauron.

It is the Hobbit Frodo who is assigned to carry out this task, and to assist him, a company, the Fellowship of the Ring, is formed under the leadership of Gandalf, the wizard, which includes the Hobbits Sam, Peregrin and Merin, the Dwarf Gimli, the Elf Legolas, Boromir and Aragorn, the later King. The companions are secretly followed by Gollum, who does not shun any means, however perfidious, to recover his priceless ring. However, the companions soon fall apart and after many pernicious adventures and a surprising dénouement, Frodo and Sam can at last return to their familiar home, The Shire.

Explanation of the movement:

I. GANDALF (The Wizard) The first movement is a musical portrait of the wizard Gandalf, one of the principal characters of the trilogy. His wise and noble personality is expressed by a stately motif which is used in a different form in movements IV and V. The sudden opening of the Allegro vivace is indicative of the unpredictability of the grey wizard, followed by a wild ride on his beautiful horse, Shadowfax.

- Program Note by Johan de Meij

Riften is a city in Skyrim located in the expansive world of Elder Scrolls, the fifth installment of an action role-playing video game saga developed by Bethesda Game Studios and published by Bethesda Softworks. Skyrim is an open-world game that, by any video game standard, is geographically massive and more closely related to an online MMORPG (massively multiplayer online role-playing game) than to its console and pc competition.

Skyrim is a beautiful world, from mountainous, snowy regions to open tundra plains, sea coasts, beaches, thick woods, lakes and hot spring-fed swamps. Large cities, villages, forts, ancient ruins, caves, lone houses, sawmills, and abandoned shacks dot the atlas. One can spend hours just walking or riding horseback from one side of the continent to the other, doing nothing but experiencing its wondrous environment and lore. It is truly a game worthy of total immersion. Oh, and I should mention that it is also a deadly world, torn apart by civil war and dragons who have resurfaced after thousands of years, not to mention the cult of vampires that are also threatening to take over the world.

Riften is a seedy, crime-filled, and nearly lawless city. Located on a waterfront with skooma-addicted dock workers and corrupt guards, it also boasts the headquarters of the Thieves Guild. Sadly enough, it is also the location for the world's orphanage and the Temple of Mara, the place where the good citizens of Skyrim have to go to get married, you included.

Weddings in Skyrim are about survival as much as fondness or imagined love. Courtship can be as simple a dialogue as “Are you interested in me? Why yes, are you interested in me? Yes. It’s settled then.” Sometimes the dialogue is more along the lines of “You are smart and strong. I would be lucky to have you. I would walk the path of life beside you ‘til the end of time if you will have me.” Although this game feels somewhat like the iron age with magic and dragons, it has a progressive, flourishing society.

In Skyrim, if so desired, your spouse can and will fight beside you. They will die for you or with you. For most of them, that death is permanent. You cannot remarry (not without cheating anyway). What was is over, and there will be no other. Being the hopeless romantic that I am, I found the whole situation intriguing and heart-wrenching, especially if related or injected into real-world circumstances. In one instance, while playing the game, I emerged from the chapel with my brand new husband, only to have him killed later that evening in a vicious full-on vampire attack right outside the temple. (Hey! No fair! I knew I should have married a warrior and not a merchant. I restarted the game.) Skyrim weddings are happening in the middle of a world full of violence, disease, war, and death, something Earth is all too familiar with.

Riften Wed is the music for loves and unions, past and present such as this. A love, a wedding, a lifetime shared by two people in the middle of a storm that threatens to tear them apart. Where “‘til death do us part” is not only a reality, it’s a given. Where love is a gift worthy of all the joy and pain it demands. One life, one love, one ending. This music is for those that are truly Riften Wed.

- Program Note by composer

Finally, we journey to a galaxy far, far away as we present the music from the iconic Star Wars Trilogy - a collection of films that redefined the concept of epic spectacles in cinema. The phenomenal success of Star Wars, along with its companion films The Empire Strikes Back and Return of the Jedi, captured the imaginations of audiences worldwide, igniting a renewed interest in grand-scale cinematic experiences.

Set in a futuristic and otherworldly landscape, the three films are, in essence, historical tales with underlying themes of morality, the struggle between good and evil, and the power of love to conquer all. Originally designed to be part of a larger nine-part series, each film stands alone as a complete narrative while hinting at a broader, interconnected saga. As the characters age and production technology advances, the enduring appeal of these films continues to captivate audiences, as evidenced by their re-release in the United States, generating massive interest and box-office success.

Of particular musical significance, the Star Wars project catapulted John Williams to international fame, solidifying his reputation as one of the most gifted composers for film and television. Departing from the traditional approach of composing short "cue music" for specific scenes, Williams crafted expansive, free-standing compositions that complemented large segments of the films, contributing to the epic nature of the storytelling.

The five musical excerpts presented offer a diverse range of emotions, excitement, and beauty. The themes for Leia and Yoda have become recognizable and beloved, evoking a sense of nostalgia and emotion. "The Darth Vader Death March" and "The Main Title Music" have become timeless classics, celebrated and cherished by audiences worldwide.

Hidden within this set of excerpts lies a true gem - the third movement, "The Battle in the Forest," from Return of the Jedi. This vivacious and humorously Prokofiev-esque composition underscores the Ewoks' fight against the imposing metallic giants, adding a lighthearted touch to the intensity of the film's climax.

As we delve into the musical tapestry of the Star Wars Trilogy, we invite you to relive the timeless magic and adventure that has resonated with generations of moviegoers. The music of John Williams, with its masterful blend of symphonic grandeur and cinematic brilliance, has become an integral part of the Star Wars legacy, enriching the storytelling and captivating the hearts of fans, young and old.