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•	Song Album

•	Score Album

•	Song Album

The songs in the two Wicked films, on the whole, offer individual moments of outstanding appeal but, due to Schwartz's method of changing direction and key liberally, mixing in spoken passages at will, they will alienate some listeners. Don't be surprised if you find the balance of the all-around better songs to exist in the first film. In the second entry, Jeff Atmajian's orchestrations are still quite good, providing a very heavily symphonic presence to the concept with excellent results. It's such a major change from the play even though the drum kit and electric guitar are still prevalent. They often enter the orchestral openings in tasteful ways and never really intrude, providing the stage pit sound while also satisfying the needs for a monumental feature. Because of the immensity of the orchestral presence in the songs, they flow extremely well with John Powell's score. Much has been written about the intelligence of the composer's adaptation of Schwartz's melodies and factoring of his own ideas in Wicked, and his astonishing attention to detail continues Wicked: For Good. There are nuggets of smart reference everywhere in this score, some of them almost too subtle to even notice but still toiling in the background. The composer takes the opportunity to adjust some of the emphasis in his own themes, allowing some evolution and introducing new motifs as appropriate. A few of his themes from the previous score are minimized or seemingly dropped. One of the most interesting aspects of Powell's approach to Wicked: For Good is that the narrative doesn't present him as many opportunities to unleash pure orchestral chaos or beauty. In the first film, for instance, his music for the train sequence is highly impactful and popular, and the action music involving the flying monkeys at the tale's end is harrowingly powerful. The pacing of the second movie offers fewer such moments, and they are generally shorter; Powell doesn't use them to really shine with his presence outside of the insanely resounding action in "Lies in the Sky" and the simple tonal beauty in few other passages. Still, his contributions are immeasurably important to the film; it just so happens that they seem more connected to the Schwartz material in this entry. The carryover of choral passages from the songs to the score is especially critical to the success of the finale.

Once again for Powell, there are smirk-inducing references to the music from the 1939 movie in Wicked: For Good. The aforementioned variant of the "Oh-we-oh" chant from The Wizard of Oz at start of "March of the Witch Hunters" is joined more obviously by a full statement of "If I Were King of the Forest" as the Cowardly Lion is addressed in this story, the composer keenly taking the theme much darker in personality. Most of the core, new and song-oriented themes from Wicked return in similar fashion in the second film. The first four notes of "For Good" remain the main theme of the whole narrative, Powell's dark magic motif twisting that progression for a separate suspense tool. Schwartz's opening bars of "No One Mourns the Wicked" are still the basis for the score's Wicked Witch theme. His "Unlimited" theme sticking around both the songs and score are derivative from the first seven notes of "Over the Rainbow." The persistent Madame Morrible theme is based upon an early passage in "The Wizard and I." Elphaba's compellingly pretty destiny motif is referred to by Powell as the "Elphaba's Green Toy" identity, built from a line in "No One Mourns the Wicked" and factoring strongly in the final scenes in Wicked: For Good. Powell's impressive flying monkeys theme recurs but is abandoned as the characters' allegiances shift. His Grimmerie theme, a disguised version of "Something Bad," receives a few reprises as well. Expanded in this score is a motif utilized in the prior score's "Transformations" cue, and while there has been some discussion that this identity is built out of the "Miss Gulch" theme from The Wizard of Oz, it may as well be referred to as the Drago motif, because it far more closely resembles Powell's How to Train Your Dragon scores. Several motifs from the composer's score for Wicked are minimized to the extent that don't play any major role in this narrative. These include both Elphaba's empathy motif and happiness motif, and also seemingly missing is the wonder and new life fanfare that had so graciously captured the optimism of the Shiz and other brighter sequences in the first film. Losing these themes' original incarnations makes narrative sense, as there's really nothing wholly positive happening to require them, but if Powell pushes them into darker territory here, he does so obtusely.

Powell does offer four prominent new, recurring themes in Wicked: For Good, and two of them really add to the fantasy and adventure of the tale. These include the animal freedom theme, one that Powell describes as endlessly circling back on itself because of the imprisonment. The deep choral presence for identity is its giveaway; while there is really good ensemble choral work in this score as conducted by Powell himself, his use of both male and female voices in that group for the animals has been a highlight of these scores. The disparate applications of the voices for beauty in "Popular Wedding Music" and horror in the immediately subsequent "Cages, Chaos and Cake" is impressive. The animal theme is ominously conveyed on choir at the start of the score and dominates around the song of "The Wicked Witch of the East." Also new, Elphaba's fight motif is a flying fanfare of rebellion that is heard only twice in the score, including the opening scene as well, but it's a smashingly rousing identity. Two new identities exist for Glinda, too, joining the melodies of "Popular" to define her more complicated character by this point. Powell's theme for Glinda's maturation is the more romantic of the two, a positively charming identity somewhat redundant with "Popular" but better capturing her genuine goodness in its ascending figures. Some might find this theme pretty, airy, and lacking substance in its loftier instrumentation, but it eventually extends nicely out of the "Popular" melody for a regal presence. At the same time, Powell provides Glinda a lies and doubt theme, that originally takes the lighter form of the maturation theme and later guides her tougher moments. Using an eight-note phrase with ascending and descending two-note figures up front, this theme changes quite a bit in character throughout the score as she confronts her own demons. There are other minor tidbits drawn from "Defying Gravity" and "No Good Deed" for Elphaba's story, though they aren't as obvious. These ideas give Powell more than enough material, alongside all the preexisting and new song melodies, to sustain his score with them, even if there are many passages of unmelodic material that simply serve as a bridge to the outward motific references. This review shall run through each score cue to identify the major themes and point of interest in their context, and while this survey is not meant to be totally exhaustive, it covers all major renditions of each theme.

The score for Wicked: For Good opens strikingly with the animal freedom theme on deep choir in "Building a Golden Road," guiding the first 70 seconds of the cue with a clever reference to the "Wonderful" melody as counterpoint at 1:00. As the action of Elphaba's attack commences, her fight motif explodes at 2:00 and leads directly into a monumental brass rendition of "No Good Deed" at 2:14. The cue culminates with a massive statement of "No One Mourns the Wicked" at 2:27, which parlays directly into the similarly bombastic opening of the "Every Day More Wicked" song. A solid accompaniment for the opening scene of aerial harassment upon the construction of the yellow brick road, you hear both of the score's major new themes not related to Glinda right away. As the narrative shifts to update us on the life of Glinda, Powell introduces both of her new themes early in "Bubbles and Rainbows," the one for maturation at 0:05 and lies and doubt at 1:01. The Madame Morrible theme returns at 1:44 and makes its logical segue into the melody of "Thank Goodness/I Couldn't Be Happier" at 1:59. After a diversion for the dark magic theme at 3:13, the fluffy, harp and string atmospheres revert back to "Popular" at 3:40, the Glinda maturation theme at 4:21, and then another alternation between those two ideas at 4:43 and 4:55, respectively. In the more tense "Backstage Confrontation," Powell contrasts "For Good" at 0:03 with "Popular" at 0:17, later allowing further exploration of the Glinda lies and doubt theme at 1:06 with more contemplation. A tired rendition of "I'm Not That Girl" over chimes at 1:40 yields another slight sidetrack into "Thank Goodness/I Couldn't Be Happier" at 1:59. The highlighted action cue of "Lies in the Sky" applies the ostinato of the "Unlimited" theme right off the bat under "No Good Deed" on flighty woodwind and string lines with an interjection from the Madame Morrible theme at 0:09. The flying monkeys theme lets rip in its full, xylophone-rambling force with brass at 0:54, followed immediately by the dark magic theme at 1:01. Elphaba's fight motif receives two statements once again at 1:12 to close the cue with ambitious zest. The "Forest Furnishings" cue stews in soft, ambient phrases from the songs until a fleeting reference to "Dancing Through Life" at 0:42, which flows directly into the dark magic theme. Elphaba's destiny motif accesses the chimes and xylophone again for a touch of fantasy at 1:36. There are fragments of "Defying Gravity" that tickle around the edges of this cue.

The musical narrative in "Governor Nessa's Petty Proclamations" is vital, a quick clarinet reference to "For Good" at 0:06 setting the stage for the Nessa theme portion of "The Wicked Witch of the East" at 0:33. It's in this cue that Powell really emphasizes the reprises of the "Something Bad" melody, starting at 1:24, smartly equating the Munchkins' destiny with that of the animals. The new animal freedom theme comes into play lightly at 1:33 before being overtaken by Nessa's material from "The Wicked Witch of the East" at 1:50. But the animals' theme reprises its deep choral stance at 2:19 and still cannot escape its cycle during its crescendo of power, and at 2:52 the "Unlimited" ostinato and themes from "No Good Deed" and "Something Bad" join in successively. The animal theme at 3:21 resolves to a solo cello and choral lament for "Something Bad" at 3:42. Also exuding sadness is "Oz is Lost," which begins with Powell's low string tribute to "If I Were King of the Forest" before working its way into the animal freedom theme at 0:50 for a grim conclusion. In "Sisterly Reunion," the composer lightly explores the Nessa theme from "The Wicked Witch of the East" on high woodwinds and harp before the dark tones of the animal material slightly influence the build-up to a quick reference to "No One Mourns the Wicked" at 1:08. The Nessa theme persists with more urgency at 1:49 for a suspenseful crescendo. The "All Around the Wicked Witch of the East" cue contains the instrumental underbelly of song, "The Wicked Witch of the East," which was edited together from this cue for its album presentation. Opening with the chords of "The Wicked Witch of the East," this long cue builds to the distinctively choral Grimmerie theme at 0:36 but bursts with positive energy at 1:05 as Nessa's theme realizes its brightest moment for her levitation. Ascending lines from "The Wizard and I" at 1:25 and the "Unlimited" theme at 1:31 shift back to the fuller, romantic melody of "The Wicked Witch of the East" at 1:37. After providing a straight instrumental background from the song's romantic portion for Boq, the animal freedom theme takes over with Nessa's rage at 2:55, sending us into the Grimmerie theme again at 3:28. The propulsive instrumentals from "The Wicked Witch of the East" return at 4:22 for Nessa's vocal performance, and the cue closes with a quiet reminder of "Every Day More Wicked" at 4:51. While some listeners might quibble with the song instrumentals included in this cue, there was really no other way to present the surround score material.

The tone remains troubled in "Tin Woodman," Powell building from "Defying Gravity" at 0:08 to "No Good Deed" at 0:22 and the Wicked Witch theme at 0:51. The sour melodrama on strings at 1:18 comes from "The Wicked Witch of the East" and culminates with a choral climax at 1:49 for the dark magic theme as the Tin Man makes his exit. On the brighter side, the Glinda maturation theme (0:08) and Glinda lies and doubt theme (0:49) are lovely and optimistic over lightly driving percussion in "Wedding Preparations." Elphaba's destiny motif is reprised on strings at 1:13 for a contemplative moment that extends to "Popular" at 2:15, but the cue provides an evocative rendition of "Something Bad" at 2:48 for heightened emotional dread, perhaps predicting the outcome of Glinda's nuptials. A preview of "Wonderful" starts with moderate urgency at the outset of "A Model Wizard," building intensity until "Defying Gravity" interrupts with weight at 0:41. A tender rendition of "The Wizard and I" follows at 1:33, leading into Elphaba's destiny motif at 1:51 before the "Wonderful" tease leads out to the song. One of the biggest disappointments of "Monkey Freedom" is that the flying monkeys theme doesn't receive an adaptation into a positive idea in the cue (its chords do threaten at 1:45), but you do receive several other melodies instead. An elongated statement of "The Wizard and I" marks the uneasy alliance at 0:21, appended by a bit more hope coming from "Defying Gravity" at 0:36. After "The Wizard and I" returns at 0:55, Madame Morrible theme's brings choral mystery back into the fold at 1:14. In the latter half of "Monkey Freedom," Powell conveys a lovely woodwind moment for "No Place Like Home" at 2:05, overtaken by a positive version of the dark magic theme at 2:37 that essentially reverses the destiny for the monkeys that were cursed by Elphaba in the first place. Finally, the chords of new animal freedom theme are joined by the deep choir to complete the cue. As you might imagine, "Popular Wedding Music" is built from "Popular" and is included as source-like material from cello, harp, and others on screen. A flourish for the choir and full ensemble in the middle of the cue is absolutely gorgeous. One of the more striking cues of agony in the score is "Cages, Chaos and Cake," the new animal freedom theme opening the sequence and developing into a new choral chant at 0:39 and 2:32. In between, the Glinda lies and doubt theme intervenes at 2:07. The low brass bassline in this cue is excellent as a tool of dread as the wedding is about to be obliterated by escaping animals.

The long "Lust and Betrayal" is rich with thematic material, toiling with agonized renditions of the dark magic theme at 0:09 and 1:05 but informing almost two minutes of despair. At 1:51, "No Good Deed" emerges in a surprisingly hopeful variation, but by 2:12 the Glinda lies and doubt theme takes the scene, returning at 2:52. A somber moment for "As Long as You're Mine" at 3:02 pushes the emotions to darker places, the Madame Morrible theme forcefully confirming its role at 3:51. A slight violin passage for "No One Mourns the Wicked" at 4:23 once again defers to the Madame Morrible theme melody's careful presence at 4:50. A return to "As Long as You're Mine" at 5:23 is a charming respite until "I'm Not That Girl" at 5:52 introduces the song reprise to follow. Morrible's big moment in the film, in which she summons the tornado that kills Nessa and brings Dorothy to Oz, opens with her theme in "Cyclones and Premonitions," Powell utilizing swirling figures that apply the choir in heavy force for her spell upon the weather. The composer's application of the "Drago motif" ("Miss Gulch") at 1:12 is perhaps a humorous connection to terrible things coming from the sky. The Madame Morrible theme is monumental for a quick line of victory at 1:31, but the score takes her swirling phrases to subtle woodwind figures until the dark magic theme helps define the driving panic at 2:51. Finally, Elphaba's destiny motif is elevated to a major, slow rendition at 3:10 in a hanging end. Another potential reference to The Wizard of Oz comes in the celesta at 0:16 into "Requiem for a Witch," which seems to revisit "Come Out, Come Out, Wherever You Are." It flows right into Nessa's theme at 0:33 on choir and harp, with the romantic passages of "The Wicked Witch of the East" following at 0:49. Nessa's material persists at 1:40, interrupted by the Wicked Witch theme. In the last portions of "Requiem for a Witch," the chords of "Every Day More Wicked" at 2:25 are succeeded by a somewhat nervous version of "What is This Feeling?" at 2:46. After the cutely comedic use of "What is This Feeling?" at the outset of "Witches Get Snitches" with fabulous instrumental lines, "No One Mourns the Wicked" turns the atmosphere serious at 1:14, and "Dancing Through Life" is twisted to tortured lengths at 1:39 and 2:41 with an interlude for "I'm Not That Girl" at 2:03. The dark magic theme opens "Getting What You Wanted" on low strings, with "For Good" noodling at 0:16. A violently abrupt version of the Glinda lies and doubt theme at 0:29 is attached to "Thank Goodness/I Couldn't Be Happier" immediately and "For Good" shortly thereafter.

The propulsive "Ride to See Elphie" is another chance for Powell's own style to really influence a standout cue, the Glinda lies and doubt theme driving its inspiration before the Wicked Witch theme and then the dark magic theme at 0:54 are a massively powerful duo. Another appearance by the "Drago motif" ensues at 1:13 in similar chanted form, and a yearning rendition of the Madame Morrible theme at 1:21 is an interesting touch. The strained strings of "No One Mourns the Wicked" at 1:44 slows the pace, with Elphaba's destiny motif occupying piano and choir at 2:11 with light beauty. The rest of the cue isn't as melodic as hoped, "No One Mourns the Wicked" at 3:02 but otherwise not advancing much in the narrative. The solemn "Into the Closet" is eventually provided the Glinda maturation theme at 0:29 in a starkly deeper choral presentation of goodness, but the rest of the cue also fails to really move the story forward. Thumping piano and a choral requiem from "No One Mourns the Wicked" to open "The Melting" until the "Unlimited" theme blasts forth at 0:23 for the actual melting, the descending lines in the ensemble a creative touch. A flute reprises "For Good" at 0:52 for Glinda's sadness after witnessing the event. Elphaba's destiny motif plays a major role in "The Story of the Green Bottle," of course, opening the cue alongside the dark magic theme in minor mystery. After the realization of Elphaba's parentage, "For Good" at 0:59 is stoically joined on strings by the destiny motif one more time, and Powell offers an ironic sendoff to "Wonderful" at 1:43 for the Wizard's shame. A change for the far brighter is "The Rise of Glinda," which expands upon the personality of Glinda's journey in "Ride to See Elphie" with puffing female choir to explore her maturation theme at the start and again at 0:59 and 1:57, the final performance bloated to victorious levels for the character's control of Oz. She dispatches Madame Morrible's theme at 0:43 (the tone of this moment is perhaps a bit too upbeat given that character's crimes) and is buoyed by "Defying Gravity" at 1:39 in a militaristic rhythm of confidence. That combination of glamour, power, and surety begins "Glinda's Speech" as well with a rousing ensemble performance of "Thank Goodness/I Couldn't Be Happier." The chords of "For Good" guide the cue at 0:31 for a while before the Glinda maturation theme receives more wholesome treatment at 1:30. The flourishing conclusion for the whole ensemble at 2:17 throws the chorus at the "For Good" melody with an extended rendition worthy of Glinda's ascension, reducing nicely to the theme's secondary phrasing for a thoughtful close.

Because it combines the official reprise of "For Good" into its score material, "A Wicked Good Finale" is considered a song by some, but it didn't appear on the song album, instead placing on the score-only product instead. Continued soft affirmation for the "Glinda maturation theme" keeps the tone hopeful at 0:19, and the final scene between Elphaba and Fiyero is supplied the mandatory, extended string sensitivity of "As Long as You're Mine" at 0:46. As Elphaba passes on her powers with the Grimmerie to Glinda at 1:48, the bassline of "Defying Gravity" transitions directly into that of "For Good" at 2:12. The official reprise of that song at 2:59 is a bit sparse in its solo vocals for the leads, but the ensemble cast closure provides the necessary fanfare at the end, punctuated by the "Unlimited" theme at 4:19. For the initial end credits sequence represented by "Wicked: For Good Suite," Powell provides a muscular and outstanding combination of the most major ideas from the musical, starting with a entertainingly blasting minute for "Defying Gravity." The buildup of "Glinda's Entrance/Arrival at Shiz University" and inherent "Unlimited" theme at 1:18 sends us into a rousing performance of "For Good" that includes the chorus performing one passage from the song. Finally, "No One Mourns the Wicked" follows at 1:56 and diminishes to segue into the fuller end credits assembly from the score. That succession absent from any album includes the opening of "Bubbles and Rainbows," the instrumental of "The Wicked Witch of the East," "Glinda's Speech," the end of "Bubbles and Rainbows," and a snippet from "A Wicked Good Finale." The overall narrative of these themes is highly satisfying even as the story itself may not be, and Powell and Schwartz again succeed about as well as possible even if the film didn't allow this soundtrack to shine as brightly as its predecessor. On album, the commercial song and score albums together provide all necessary music, with no "For Your Consideration" awards album needed to fill out the score. The song constructs on its album push sections together artificially, which may bother some listeners. The mix of both albums has been criticized, with the voices too dry and far forward compared to the orchestra on the song album (the exception being "No Good Deed," which is much wetter, for some reason) and the score cue "Into the Closet" a half a pitch lower so that it doesn't flow well after the conclusion of the "For Good" song. These are minor quibbles, however, as one must consider the totality of the two-part adaptation of Wicked to be a glorious triumph. For score collectors, it represents Powell at his finest, even if he's largely working with preexisting themes. It's difficult to imagine a much better outcome for good.  *****   @Amazon.com: CD or Download