One of the best pieces of score from the entire trilogy is contained in "Theoden Rides Forth", which brings together a large number of the film's thematic ideas. The two story lines of The Two Towers end in the next two tracks. The second disc also ends on a quiet note with Frodo and Sam's scenes with Faramir in "Rock and Pool" and "Faramir's Good Council", the latter of which includes an choral piece for the Ring's seduction that was not used in the film. These cues are part of the extended cut score that Howard Shore recorded following the film's theatrical release, also around the time he began developing the Gondor theme for The Return of the King. This statement is preceded by a hint at the Ring theme and is darker and more sorrowful, also ending with the very briefest hints at the Ring theme. The first statement is a triumphant fanfare, but a second one comes at the end of the scene when they show a glimpse of the Gondor flag. The Gondor theme makes its final appearance in this film (to be greatly developed in The Return of the King) in "Sons of the Steward", the added scenes of Faramir's memories of Boromir and his father at Osgiliath. Isabel Bayrakdarien's performance in "Evenstar" is one of the best vocal solos from the films, helping to define the very unique tone Shore chose for the elves and Arwen's story, much of which is told in dreams or memories. This cue contains a very brief statement of the Gondor theme when Aragorn reveals he is from the line of kings. The cue "Evenstar" from the original soundtrack is extended to "One of the Dunedain" to include the added scenes of conversation between Aragorn and Eowyn.
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