featuring every poem from The Lord of the Rings, amongst them two versions of "Namárië", both composed by the ensemble leader Caspar Reiff. The first, sung by the Danish Mezzo-soprano Signe Asmussen, sets the original Quenya text to music; the second version features the English translation spoken by the actor Christopher Lee (who played Saruman in the movies). Howard Shore In his music for The Lord of the Rings film series, composed between 2000 and 2004 to support Peter Jackson's film trilogy, Howard Shore made use of part of Namárië. The scene "The Fighting Uruk-hai" is accompanied, non-diegetically, by a female chorus singing the poem in Quenya, over images of the Elf-lady Galadriel gazing at the remaining eight members of the Fellowship of the Ring as they leave Lothlórien. Other composers In 2001, the Finnish composer wrote a setting of the poem for the musical Sagan om Ringen ("The Lord of the Rings") at the Swedish Theatre, Helsinki. In 2008, the Spanish neoclassical dark wave band published a studio album called Namárië. Among other Tolkien-inspired songs it features a track Namárië: El Llanto de Galadriel ("Namárië: Galadriel's Lament"). Kogaionon magazine called it a mature and complex album "with a medieval and ... forceful aura". Analysis As the longest text in the Elvish language Quenya that Tolkien provided in The Lord of the Rings or elsewhere, Namárië has attracted the attention of linguists. Helge Fauskanger has made a word-by-word analysis of the text, noting that the version in The Road Goes Ever On is "nearly" identical to that in the novel: Tolkien added accent marks to indicate stronger and weaker stresses to guide the singer. Fauskanger describes the language used in the poem as the "Late Exilic" or "Third Age" variant of Quenya. Fauskanger comments that while "Valimar", named in the poem, normally denotes the city of the Valar, the poem uses it to mean the whole of Valinor, the blessed realm. The philologist Allan Turner states that Tolkien meant the poem to embody the Elvish culture from the deep past that Galadriel remembers. The poem does not rhyme or scan conventionally; Jonathan McColl, writing in Mallorn, comments that while he prefers poems which use those devices, he finds "even ... the translation" of Namárië poetic, while the original Quenya with its Gregorian setting is "lovely". The Quenya word namárië is a reduced form of á na márië, meaning literally "be