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• Posted by: Vincent   <Send E-Mail>
• Date: Tuesday, June 30, 2015, at 8:32 a.m.
• IP Address:

Double Trouble can't be called a carol as the choir sings it at the beginning of the school year. A Winter's Spell, however, IS this score's carol, a gloriously medieval piece that should have been included on the OST instead of the unlistenable mess that is The Knight Bus.

Sirius Black and Pettigrew do have thematic ideas, but Pettigrew's theme can't be found on the album.

I beg your pardon? How is there no B phrase of Hedwig's Theme in track 1?

Hagrid The Professor is not out-of-character at all. It has the same medieval tone like so many other cues of the score and has a Double Trouble variation.

What worries me is that you apparently want everything to be novel ideas. I haven't seen enough time-travel films to judge, but even if 100 films existed and they all used this ticking effect, it would still suit the scenes. Creating themes for concepts and characters isn't a novel idea either.

When you mention the abrupt finale, I have to wonder whether you watched the film before you wrote the review. The finale is indeed abrupt, but that's because of the fact that everyone keeps releasing incomplete and edited albums. I fully agree that the awkward mix of the Patronus music and the 'Saving Sirius' music is clumsy, but Williams did write a spectacular cue that plays when Hermione and Harry are flying up to the window: The Rescue of Sirius. On the one hand, your review highlights the fact that scores like these really need a complete release, but on the other it also sounds as though you just listened to the album. You don't mention A Winter's Spell or any of the other medieval cues (Double Trouble March, The Walk to Buckbeak, Map to Snow Scene or Woods Walk and Bird Flight).

You are absolutely right about the individual nature of this score, but to say that the score lacks passion sounds a little harsh to me. If any Potter score lacks passion, it would have to be Half-Blood Prince or Order of the Phoenix. The choral music during Lupin's Patronus classes still makes me shiver, but of course you won't find it on the album (because albums don't really have to contain highlights, do they...?)

The scores do turn darker, but you can also look at it from another point of view. Williams was apparently okay with the idea of dropping themes and motifs, so one could argue that this left the door open for Doyle's marvellous themes and Hooper's themes that only became themes for me after 60 listening experiences. You are right in saying that Williams is one of the best composers, so if he conciously made the decision to forget continuity, I think we should respect that choice. Also, you weren't exactly over the moon about Chamber of Secrets in your review, so isn't it a little strange to call it underrated here?

You also have to wonder whether all these forgotten themes would have made sense in the score. The Quidditch Fanfare would have sounded truly out-of-place, Harry's Wondrous World might have been too optimistic, Hogwarts Forever wouldn't add up because it's no longer the happy-go-lucky world of the Philosopher's Stone, Voldemort doesn't make an appearance in this story, etc. A Riddle reference wouldn't be logical either because Voldemort is simply talked about in this story. As for maturity, what exactly matures in this story? An abundance of new themes and ideas are introduced, but Harry still adores his father unreservedly, fails to see Snape might be a human being after all and still ignores school rules. I do agree that the Flying Theme should have been re-used. Regarding the castle's history, where exactly should such music have been placed? The Fred and George scene has no music, and I think that the medieval nature of this score already evokes enough historical feelings (again, see 'A Winter's Spell).

Doyle could indeed have referred to Williams's scores, but just try and imagine how un-Doyle-like those references should have sounded. In my opinion, a composer is at his/her best when they are allowed to do their own thing, and no law states that one has to keep JW themes in mind, and especially not when JW himself drops all of them in the first place.

I fully agree that the album leaves you wanting more, but this is not because of the score. A Winter's Spell and other unreleased cues I mentioned contain lots and lots of adventure and magic. Even the Honeydukes music box is pure childish wonder. We can already hear all the scores full of SFX in the films as well if we want to understand JW's intensions.

In short, you might want to revise this review a little bit because of all the things I mentioned before.

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