The Road Goes Ever On (Tolkien/Swann)

[Estelyn Telcontar]

Though music reviews are usually not placed on the Books forum, I’m posting this one here for as special reason. In every Tolkien bibliography, this book is listed, not just because JRRT wrote the poems which Donald Swann set to music. He not only consented to and approved of the project, as it was done during his lifetime, but cooperated and collaborated in the production of this wonderful book.

Though I’ve been looking for this book since I read about it a couple of years ago, I didn’t find it until last month, in a London bookshop. Thanks to Peter Jackson and the interest rekindled by the movies, books that were out of print have been published anew. (This is a third edition, by HarperCollins, and includes a CD of all of the songs.)

I’d like to describe the book visually before I go on to review the musical aspects. It’s gorgeous! – so much so, as a matter of fact, that a non-fan family member suggested it should be displayed on the coffee table instead of staying on my piano. The black dust-jacket is decorated with Tengwar texts written by Tolkien himself. He also wrote the Notes and Translations on the Elvish texts for “Namárië” and “A Elbereth Gilthoniel”. Those are great reading for all who are interested in the language, but the hand-written Tengwar calligraphy fascinates me most.

The book contains the original six songs of the cycle plus three more that were composed later. The solo notes are set for medium voice and the piano accompaniments are intermediate to moderately advanced level. They are in a very classical style, reminiscent of Schubert’s and Schumann’s art songs. The melodies did not all immediately appeal to me, though I’m quite familiar with the style. (I'm a classically trained pianist who has enjoyed accompanying soloists in the past.) They don’t feel quite “hobbity” enough to me – too artful, you might say (to paraphrase Nokes). However, they’re growing on me as I hear them repeatedly, and they give an interpretation of the poems which enriches my understanding, even though they’re not likely to become my favorite melodies.

In the Foreword, Swann tells of the origin and development of his composition and the meetings he had with JRR and Edith Tolkien (she was an accomplished pianist!) about the songs. From Carpenter’s biography, I know that they were sung at the Tolkiens’ Golden Wedding anniversary in 1966, with the composer playing the piano and William Elvin (fortuitous name!) singing.

Here are the individual titles; I will include notes on the CD performance, most of which is sung by William Elvin (a wonderful baritone voice, very good interpretation of the songs!) and played by Donald Swann.

1. The Road Goes Ever On – This melody is the theme of the song cycle and shows up later on in some of the other pieces. It has too much of a hymn feeling for that poem, in my opinion, but it is singable and enjoyable.

2. Upon the Hearth a Fire Is Red – The melody I consider the best interpretation! It’s jolly and sounds like the hobbits would have had fun singing it.

3. In the Willow-Meads of Tasarinan – The melody is kept in a minor key and sounds somewhat melancholy and quite appropriate for an Entish song.

4. In Western Lands - This melody has some complicated transpositions that make it tricky to sing, so it doesn't sound like Sam to me.

5. Namárië – The melody to this Elvish song came from Tolkien himself, who wasn’t comfortable with Swann’s interpretation, suggesting this one. It sounds like a Gregorian chant (his Catholic influence?) and is unaccompanied, with an instrumental introduction, interlude, and coda.

6. I Sit Beside the Fire – This is a very nice tune that fits the words well. Listening to it moved me, especially since it breaks into (7.) “A Elbereth Gilthoniel” after the words “I listen for returning feet and voices at the door”, a very touching idea. Those Elven words are set to the theme melody again, and I like it here. It makes those lines sound very hymn-like.

8. Errantry – This is a delightfully fast-paced melody to the whimsical poem from “The Adventures of Tom Bombadil”! Tricky to perform, it’s not a sing-along song, but fun to hear.

9. Bilbo’s Last Song – The recording of this song touched me deeply, even moving me to tears. The composer sings it himself, and though his voice does not have Elvin’s professional quality, being a bit wavery and less clear, it is perfect for this poem – Swann is Bilbo!

10. Lúthien Tinúviel – On the CD, this is sung by Clive McCombie, whose voice I don’t enjoy as much as Elvin’s. (It has more tremolo than I like.) This is the one piece on which I find the piano accompaniment too restless for the solo melody.

All in all, this book is definitely worth purchasing if you’re interested in music, or even just to show it off on your bookshelf. Among all the various musical interpretations of Tolkien’s poetry, this one is special, as it is the one most closely connected directly with him. It makes me realize, though, that musical images are just as individual as visual ones. Another person’s melodies will never be identical with mine!