There will be Spoilers in this review.

I'll try to not make this as long as I'd want it to be, but I actually loved this score. Without getting so much into the finer details, I actually felt this music was the most fitting for a Harry Potter film with the exception of the first movie, and perhaps the third. As "Liz" commented in her post, the key thing about this score was that this one reflects the mood of the books and films much more than Williams' or Doyle's did. They are both overall, in my opinion, much too epic. It sometimes sounds more like music for *coughcough* a space opera rather than a series that is much more personal. And here is what attracts me the most about this score: it feels personal.

Look, Hooper's work is in no way as rich as William's or even Doyle's. And I wasn't particularly impressed by his work for the fifth film. But when it comes to complementing what was happening on screen, this score gets a 5 from me. This movie was not about the magic and adventure and discovery of a mysterious hidden world that the first 2 films, and somewhat the third, were about. It's a film that is much less about the wonder of magic, and much more about the personal feelings of romance, heartbreak, internal turmoil and loss. There are basically only 2 parts in the movie I feel were truly "epic" and those parts sounded fittingly so. "Journey to the Cave", around 1:30ish I believe, and Inferi in the Firestorm after 1:10 are the two most epic scenes in the movies, and the music fitted those scenes with subtle perfection. Heck, during that moment in Journey to the Cave, with Dumbledore and Harry in the middle of the stormy waters and the waves splashing by, I actually heard a few people in the theater comment "This music is so epic right now". The same for the scene with dumbledore manipulating fire against the inferi. And the Malfoy's Mission reflects everything going on in the tormented Malfoy's mind and his secret practice perfectly.

A score doesn't have to be more complicated or include more instruments to be more fitting towards the movies. Hooper and Doyle's work is probably better to listen to on its own, but it just doesn't fit the cinematography and emotions on screen as well; there was a marriage of audio and video in this film that was quite impressive. The most personal movie has the most personal music.

I listened back on all 6 soundtracks yesterday, and having watched the 6th movie twice already, my opinion is only more concrete. Maybe I'm a bit biased though, with HP6 being easily my favorite movie thus far and being one of the lucky few who was able to see it in IMAX.

> Heck, during that moment in Journey to the Cave, with Dumbledore and Harry
> in the middle of the stormy waters and the waves splashing by, I actually
> heard a few people in the theater comment "This music is so epic
> right now". The same for the scene with dumbledore manipulating fire
> against the inferi. And the Malfoy's Mission reflects everything going on
> in the tormented Malfoy's mind and his secret practice perfectly.

First of all, LOL to those people's comment. Could they be any more obvious? Secondly, it's not very hard to be "epic" with music, if that term even applies here. It's just loud strings in this case.

And I don't know if this part is really appropriate. It's too adventurous, and Harry and Dumbledore aren't exactly going on an adventure, are they? This is a dangerous mission. I think Hooper should have played up the "Dumbledore's doom" aspect of the story at this point (as the cave scene does ultimately lead to the headmaster's fate) with a sorrowful but epic theme - a sort of withering grandeur. His choice of melody here just sort of meanders back and forth with no sense of direction, which I suppose you could argue represents the waves at sea, but the sea itself shouldn't be the focus. Just when you think a part of the melody should end, he adds a note or two. And of course, playing up the doom aspect would require that the scene before this set the tone, which it does not. So my theory wouldn't really work in the film, but I thought I'd say it anyway.

> Hooper and Doyle's work is probably better to listen to on its own, but it
> just doesn't fit the cinematography and emotions on screen as well.

Why not? It's not like every moment, or even most moments, of the music were epic.

I think that soundtracks driven more by underscore than by melody or themes (like HBP) tend to give the illusion that they better fit their visuals. This is simply because they so easily blend into the background due to their lack of focus on melody and to their simple constructs. That's not to say that a simple score like this never works wonders; often they do, but I just happen to dislike this particular one.

Ahh, I always appreciate intelligent responses ^_^.

> First of all, LOL to those people's comment. Could they be any more
> obvious? Secondly, it's not very hard to be "epic" with music,
> if that term even applies here. It's just loud strings in this case.

Firstly, whether they were obvious or not isn't really a big deal. What I guess I was trying to illustrate is that the music ultimately is meant to impact its listeners in some way, whether by standing out on its own, augmenting the on-screen happenings, or preferably, both. That I head people saying that, and that I was thinking so myself, along with my partner, stood out to me. Admittedly once more, Imax makes everything seem better lol.

> And I don't know if this part is really appropriate. It's too adventurous,
> and Harry and Dumbledore aren't exactly going on an adventure, are they?
> This is a dangerous mission. I think Hooper should have played up the
> "Dumbledore's doom" aspect of the story at this point (as the
> cave scene does ultimately lead to the headmaster's fate) with a sorrowful
> but epic theme - a sort of withering grandeur. His choice of melody here
> just sort of meanders back and forth with no sense of direction, which I
> suppose you could argue represents the waves at sea, but the sea itself
> shouldn't be the focus. Just when you think a part of the melody should
> end, he adds a note or two. And of course, playing up the doom aspect
> would require that the scene before this set the tone, which it does not.
> So my theory wouldn't really work in the film, but I thought I'd say it
> anyway.

Hmm, I don't really get the overly adventurous feel from that part. Adventurous I get from say, "Buckbeak's Flight" in Prisoner of Azkaban. Which, does indeed fit the scene where it is played perfectly. Or parts of "Golden Egg" in the Goblet of fire soundtrack, a track which though pleasant to listen to, I feel was overdone in terms of relating to the movie. That piece of Journey to the Cave though, I thought was perfectly fitting, and I actually feel it describes much of what you said you would have preferred. I don't get an "adventurous" feel from it, but rather I get one of impending doom. The repetitive, rapid string strokes before 1:34 build up the tension of the journey to come, and once 1:34 comes around, well, I get that feel of someone headed towards something immensely dark and powerful, on a remote location. And again, it feel personal. More complicated instrumentation or more prominent melodies I honestly feel would take away from the importance of it being Harry and Dumbledore's journey alone.

> Why not? It's not like every moment, or even most moments, of the music
> were epic.

I'm really not so sure about that. Epic is too broad a term I guess, though its my fault for introducing it. Listening back on the soundtracks, and having watched the previous 5 movies over in anticipation for HBP, I do often feel like things were overdone at times, which I never felt this time around(though you could argue that was because they were underdone, lol). Examples would be in the more "actiony" music of Prisoner of Azkaban, such as "The Werewolf scene" or "Monster Books and Boggarts". On the other hand, the Azkaban score also contained some of my favorite pieces of music. A Window to the Past was probably my favorite track on the album, because it embodied perfectly how intimate Lupin and Harry's conversation was, and the music represented exactly what it was titled, a window to the past.

> I think that soundtracks driven more by underscore than by melody or
> themes (like HBP) tend to give the illusion that they better fit their
> visuals. This is simply because they so easily blend into the background
> due to their lack of focus on melody and to their simple constructs.
> That's not to say that a simple score like this never works wonders; often
> they do, but I just happen to dislike this particular one.

I agree completely with this, except I don't find it to be really an illusion in this case. The reason I say this is that the magic in this movie is tremendously less "in your face" than in any other iteration. Except for the Quidditch scene, Dumbledore going Gandalf on us at the end, and a select few other pieces, this movie is very little about the magic, and very much about the emotions going on in the minds and hearts of the characters. Harry and Hermione I felt perfectly conveyed the feeling of someone comforting his heartbroken best friend. In short, this movie is nothing like the first.

I find it quite funny that the reviewer mentions the reintroduction of Hedwig's theme in "Ginny" being a "breath of fresh air", because watching the movie, I can clearly recall thinking "that was so out of place". Don't get me wrong, Hedwig's theme will forever live as one of the most iconic themes in film history, but for that moment, it was inappropriate.

> Ahh, I always appreciate intelligent responses ^_^.

Thanks! I argue with people a lot, but I always try to back up what I'm saying, because I hate when people just say, "You're wrong!"

> Hmm, I don't really get the overly adventurous feel from that part.
> Adventurous I get from say, "Buckbeak's Flight" in Prisoner of
> Azkaban. Which, does indeed fit the scene where it is played perfectly. Or
> parts of "Golden Egg" in the Goblet of fire soundtrack, a track
> which though pleasant to listen to, I feel was overdone in terms of
> relating to the movie. That piece of Journey to the Cave though, I thought
> was perfectly fitting, and I actually feel it describes much of what you
> said you would have preferred. I don't get an "adventurous" feel
> from it, but rather I get one of impending doom. The repetitive, rapid
> string strokes before 1:34 build up the tension of the journey to come,
> and once 1:34 comes around, well, I get that feel of someone headed
> towards something immensely dark and powerful, on a remote location. And
> again, it feel personal. More complicated instrumentation or more
> prominent melodies I honestly feel would take away from the importance of
> it being Harry and Dumbledore's journey alone.

Hmmm... I really do get that adventurous feel. Certainly one of tension, like you said, but still an adventure. Does anyone else get this feeling? I guess I would prefer something more heartbreaking and haunting (I can think of moments in John Debney's Dragonfly score that would fit this part perfectly, although it wouldn't have fit the rest of the music). "Haunting" is the right word, I think. Oh well...I'm not the composer. I was just hoping for a different type of score.

I don't think more complicated instrumentation is necessary here, but I am curious as to why you think that a more prominent melody would take away anything from the moment.

> I'm really not so sure about that. Epic is too broad a term I guess,
> though its my fault for introducing it. Listening back on the soundtracks,
> and having watched the previous 5 movies over in anticipation for HBP, I
> do often feel like things were overdone at times, which I never felt this
> time around(though you could argue that was because they were underdone,
> lol). Examples would be in the more "actiony" music of Prisoner
> of Azkaban, such as "The Werewolf scene" or "Monster Books
> and Boggarts".

Well, I think you could argue that back in PoA, the sense of tangible danger wasn't as present as it is by HBP. Back then, people didn't take the story AS seriously, and I certainly get the feeling that John Williams was being a little tongue-in-cheek with his action. But, yeah, it is over-the-top, but possibly intentionally so. That's one of the reasons I like it; it's playful. And I can definitely see why some people would think the past music has been too epic, as Williams's use of large choirs and a full orchestra doesn't leave much room for the musical aspect of the series to grow.

> I find it quite funny that the reviewer mentions the reintroduction of
> Hedwig's theme in "Ginny" being a "breath of fresh
> air", because watching the movie, I can clearly recall thinking
> "that was so out of place". Don't get me wrong, Hedwig's theme
> will forever live as one of the most iconic themes in film history, but
> for that moment, it was inappropriate.

I remember thinking the same thing. That theme has been used in the some of the weirdest moments in this series, though I do think Williams employed it best (even though it was massively overdone in the first half of Sorcerer's Stone).

By the way, the only thing in these scores I think has really been missing is the use of a piano. I know Hooper used it a little bit in "Malfoy's Mission", but its so fleeting and distant that it barely registers with the score as a whole.

> I don't think more complicated instrumentation is necessary here, but I am
> curious as to why you think that a more prominent melody would take away
> anything from the moment.

I guess I'm not really sure, I guess it has to do with something psychological for me. More concrete melodies for me usually tend to define something known. Obviously there are melodies that give the feeling of the exact opposite, but I don't know. The whole scene of Harry and Dumbly alone in the middle of the water approaching the cave, was beautifully shot(or well, CGI'd =P), and the music compliments the visuals perfectly as is. A more prominent melody I think shifts the focus a bit from a moment that was so visual. And the duo has no clue as to what awaits them, so I felt the more subdued melody helped that feel. Oh well, i can't explain it too accurately lol. But watching that scene over ( http://www.youtube.com/watch?v=1xhagLXwKhg ), I can't really see it done too much better, though I'd love to hear William's take on it. I guess we'll see that in the 7th, which is overall much more "epic" than the probably all the other books put together lol.

> Well, I think you could argue that back in PoA, the sense of tangible
> danger wasn't as present as it is by HBP. Back then, people didn't take
> the story AS seriously, and I certainly get the feeling that John Williams
> was being a little tongue-in-cheek with his action. But, yeah, it is
> over-the-top, but possibly intentionally so. That's one of the reasons I
> like it; it's playful. And I can definitely see why some people would
> think the past music has been too epic, as Williams's use of large choirs
> and a full orchestra doesn't leave much room for the musical aspect of the
> series to grow.

*Spoilarzzz*
Very true, that's a good point. Which is why it's nice to hear he's likely coming back for the final two installments, because if theres any time to be epic with a full orchestra, it's definitely in deathly hallows. The track for the "Godric's Hallow" and "The Battle of Hogwarts" and a whole bunch of other large action set pieces should be very interesting to hear from Williams. Especially because of the contrast between him creating the cheeriest and most playful music of the series and creating the darkest and grandest ones for the 7th movie.

> I remember thinking the same thing. That theme has been used in the some
> of the weirdest moments in this series, though I do think Williams
> employed it best (even though it was massively overdone in the first half
> of Sorcerer's Stone).

Williams definitely used it best. Which makes sense, since it's his theme and all.

> By the way, the only thing in these scores I think has really been missing
> is the use of a piano. I know Hooper used it a little bit in
> "Malfoy's Mission", but its so fleeting and distant that it
> barely registers with the score as a whole.

Ahh definitely! I thought the same thing. I really wasn't a big fan of Hoopers work for Order of the Phoenix, because both I didn't feel it complimented the visuals very much, nor was it up to the same snuff as Williams' work. But one thing I did like was his implementation of the piano in "Another Story", even if it was only for a short time there. But it highlighted the piece perfectly.

With Williams back for the Final two movies though, I think theres something every one can look forward too ^_^

The cues in the ocean and during the firestorm in the cave definitely fit the scene and sound amazing in the theater, I also love Dumbledore's Farewell cue, both in film and in score. But 3 cues in a 150 minute film don't cut for a good score. It's a 2 star score even though I keep listening to those parts and keep loving them.
A 4-5 star score needs to have perfect cues for the entirety of the film, not just a small part.

this is close to my favorite potter score (Cos & GoF are REALLY fighting for that #1 position, and they both have great music Unreleased sadly. now, i think Hoopers OOTP work is a 4 star at best, cause he did write some badass score to HP5, but this is a 3 star album at worst. Mr. hooper, I COMMEND YOU, AND AM SAD TO SEE YOU LEAVE!

BTW, PLEASE SIGN THE HARRY POTTER COMPLETE SCORES PETITION - http://www.petitiononline.com/13131331/petition.html

obviously, im starting it early so we can get alotta sigs!

> *Spoilarzzz*
> Very true, that's a good point. Which is why it's nice to hear he's likely
> coming back for the final two installments, because if theres any time to
> be epic with a full orchestra, it's definitely in deathly hallows. The
> track for the "Godric's Hallow" and "The Battle of
> Hogwarts" and a whole bunch of other large action set pieces should
> be very interesting to hear from Williams. Especially because of the
> contrast between him creating the cheeriest and most playful music of the
> series and creating the darkest and grandest ones for the 7th movie.

> With Williams back for the Final two movies though, I think theres
> something every one can look forward too ^_^

Personally I'd like for Doyle to have continued with his score for GoF. His action cues for Golden Egg, Black Lake and (especially) The Maze brilliantly captued the sense of magical danger that the book and film depicted. As unlikely as I know it is, should he return to the franchise to here him expand on his superb cues for Voldemort and Harry for me would be the perfect accompaniment for Deathly Hallows.

Still, preferred Hoopers score for this than his weedy one for Phoenic (possession notwithstanding).

> There will be Spoilers in this review.

> I'll try to not make this as long as I'd want it to be, but I actually
> loved this score. Without getting so much into the finer details, I
> actually felt this music was the most fitting for a Harry Potter film with
> the exception of the first movie, and perhaps the third. As
> "Liz" commented in her post, the key thing about this score was
> that this one reflects the mood of the books and films much more than
> Williams' or Doyle's did. They are both overall, in my opinion, much too
> epic. It sometimes sounds more like music for *coughcough* a space opera
> rather than a series that is much more personal. And here is what attracts
> me the most about this score: it feels personal.

> Look, Hooper's work is in no way as rich as William's or even Doyle's. And
> I wasn't particularly impressed by his work for the fifth film. But when
> it comes to complementing what was happening on screen, this score gets a
> 5 from me. This movie was not about the magic and adventure and
> discovery of a mysterious hidden world that the first 2 films, and
> somewhat the third, were about. It's a film that is much less about the
> wonder of magic, and much more about the personal feelings of romance,
> heartbreak, internal turmoil and loss. There are basically only 2 parts in
> the movie I feel were truly "epic" and those parts sounded
> fittingly so. "Journey to the Cave", around 1:30ish I believe,
> and Inferi in the Firestorm after 1:10 are the two most epic scenes in the
> movies, and the music fitted those scenes with subtle perfection. Heck,
> during that moment in Journey to the Cave, with Dumbledore and Harry in
> the middle of the stormy waters and the waves splashing by, I actually
> heard a few people in the theater comment "This music is so epic
> right now". The same for the scene with dumbledore manipulating fire
> against the inferi. And the Malfoy's Mission reflects everything going on
> in the tormented Malfoy's mind and his secret practice perfectly.

> A score doesn't have to be more complicated or include more instruments to
> be more fitting towards the movies. Hooper and Doyle's work is probably
> better to listen to on its own, but it just doesn't fit the cinematography
> and emotions on screen as well; there was a marriage of audio and video in
> this film that was quite impressive. The most personal movie has the most
> personal music.

> I listened back on all 6 soundtracks yesterday, and having watched the 6th
> movie twice already, my opinion is only more concrete. Maybe I'm a bit
> biased though, with HP6 being easily my favorite movie thus far and being
> one of the lucky few who was able to see it in IMAX.

I think the bunch that hate the score will either view you as a simpleton, or a child that has no knowledge of "proper" music

I completely agree with you! This score was great at complementing what was on screen. Although i don't understand why they replaced "wizard wheezes" with "fireworks" from the 5th film. Like "wizard wheezes" was way better.

Even as a listening experience on the soundtrack its a huge step up from the previous film. And Hoopers themes are well developed especially in the latter half.

However i do think the producers had problems with Hooper. Like why replace good pieces like wizard wheezes with cues from previous films? it just doesn't make sense.

If you embrace this new musical style in the Harry Potter world your bound to find something good in Hoopers score.

The score is easily worth at least 3 stars.