You know, it’s funny, before I started writing this, I got an email from the webmaster at MovieMusic.com asking if I was going to submit something or if I’d retired from doing them. It dawned on me that I have been writing and talking about the scores of Harry Potter for almost 10 years. That’s kind of crazy if you think about it and by the time the final film is released, it will have been 10 years!

I think one of the things that has made the Potter scores suffer over the last few films is the musical continuity that tied the first three Williams score together. While Doyle brought some great new thematic (and darker) ideas into the cauldron of music, I think what Hooper has brought is decent at best. Granted, an argument can be made that all of the composers have their own styles and thematic ideas about what Harry’s World should be, and while this is very true, I still do believe that a certain thematic style can be changed and morphed with still keeping the original intent that Williams brought forth with the first three films.

When it was originally announced that David Yates’ longtime collaborator, Nicholas Hooper would be assigned the task of composing Order Of The Phoenix, I think it’s safe to assume that the fans of the Potter music (not to mention possibility the film score enthusiast community) held it’s collective breath. At least with Doyle, listeners had a very large body of work to ideas draw from, thus making it easier to discern what Doyle might do musically, but with Hooper, I think we were all sending up big question marks.

After just recently re-watching Order Of The Phoenix, it’s not that I dislike what Hooper did, it just sounded like a very freshmen entry into a big film a like Harry Potter, not that I blame him for taking a very restrained approach, I think anyone would play it safe. But in all honestly, the music in the film really doesn’t pack the punch that I think it needed to. But, I do generally believe that he writes some very nice music, especially when coupled with picture, and in all honestly, I was really excited to hear what Hooper was going to come up with for The Half-Blood Prince.

Now, before I go on, I feel the need to mention that I was personally, very unhappy with the film. While the film technically excels, I felt that Kloves’ script was very much lacking and turning the story inside out and making it something totally different from the book. Yes, that is a normal and a very traveled road when adapting book to films, but the other Potter films did their very best, and I felt that this one just did it all completely incorrect. And this coming from a huge fan of all the other films and the books. That said, before everyone freaks out, the score to The Half-Blood Prince is not horrible by any stretch of the imagination, and it is very serviceable within the film itself, very much giving weight to certain scenes. It’s definitely darker and not as whimsical as Phoenix was. There are some good and great moments in the score, all things that I would have liked to have seen developed throughout the musical fabric that Hooper should have been doing since Phoenix. Some thematic ideas were in fact carried over, some more flushed out then others. The “Fireworks” cue, which now, I think we can simply call “The Weasley Theme,” which appears in “The Weasley Stomp” cue, and the “Fireworks” cue from “Phoenix” also appears in the film as well, but not featured on the CD. A variation on Umbridge’s Theme, makes an appearance in “Living Death.” Finally, the theme for “Possession.” It comes in to play towards the end of the score, culminating in the finale of the hauntingly beautiful “Inferi In The Firestorm.” As for Williams material, we of course hear, “Hegwig’s Theme,” in the “Opening” and “Ginny” cues and some of Williams Quidditch material from Sorcerer’s Stone,makes in to “Ron’s Victory” and “Of Love & War.”

For new material, probably the biggest over arching theme in the score is first heard in the second cue on the disc, “In Noctem.” Hooper creates a very sad and tragic cue to symbolize the lament of Dumbledore’s death that hangs over the whole story. That particular cue is sung with a choir and it really is a good theme and in all honestly, it got me really excited for what I might hear after those few opening cues. The theme is also heard throughout the score through various interpretations when pertaining to Dumbeldore. In “Dumbledore’s Speech” and “Dumbeldore’s Foreboding” the theme comes in again with a light choral backing and some darker brass and string work. Another cue to note is the “Journey To The Cave.” Here the theme takes a turn and becomes this rather large piece towards the middle of the cue. Large choral and brass backing with some strings tossed in. The final cue I’d like to mention with this new theme is “Dumbledore’s Farewell.” The choral backing returns as a solo cello plays out the theme, thus delivering the emotional punch that the few cues before it slightly lacked.

While “In Noctem” is really one of Hooper’s standout themes, in this score, Hooper does indeed deliver some other thematic material that while short, is very well written, but unfortunately, the power of those few cues, at least in my opinion, doesn’t transfer to the rest of Hooper’s score in general.

“Opening” really establishes some driving rhythms in the later part of the cue that I really liked. There’s some really great string work and light choral in this cue, coupled with “Hedwig’s Theme,” it’s a nice opener and really does set the tone for the story that we’re about to see and hear. “Farewell Aragog” is a very somber theme for the giant spider from Chamber of Secrets. Using some very light strings and some celtic themes, Hooper establishes a really nice thematic piece for the death of the spider. “The Friends” establishes a really sad, uplifting and great musical finality at what Harry, Ron and Hermione are about to embark upon that serves as the basis for The Deathly Hallows.

Like with Phoenix, there is some really good stuff in this score, but I think on the whole, once again, not very satisfying as a listening experience outside of the film. Most of the score, while more mature then Phoenix just doesn’t do much for an experience like the other four. It’s not that Hooper writes bad music, it’s just that his music is mainly used for picture, and really, that’s why a film score is written in the first place, not as a listening experience.

All of this said, I do believe that what Hooper is building for could be great, grand and epic. I wanted this score to be something bigger, larger, more thematic…and when compared to Phoenix it’s a few notches above, but still, as a fan of the films and the books, it’s definitely not what I wanted. Maybe he’s saving it all for The Deathly Hallows.

Now, it’s rumored that Williams is in talks to come back for the final two films, but as of this writing, that remains to be seen. Hooper recently claimed in an FSM interview that he was not coming back for The Deathly Hallows, citing spending more time with his family as his reasons. Personally, I’d really like to see him give it all he’s got to deliver something truly magical. I for one, believe he can, but I’m not going to argue one bit if Williams chooses to return.

And now, I am off to search for The Deathly Hallows.

Rating: 3.5 / 5
Favorite Track: 2

When I posted the July 10th release date of this album, on MovieMusic.com joked that I could post my review anytime. That really did make me laugh, because, he’s right. I’ve talked Potter to death, but I’ve got some great memories associated with the films and their music, especially Sorcerer’s Stone. It’s been a musical journey for Harry and company, and here we are with only two film scores left in the Harry Potter saga.

With the exception of Star Wars, Indiana Jones, and The Lord of the RIngs, most franchises have difficulty maintaining the same composer throughout due to a constant flux in creative leadership. Patrick Doyle’s addition was a welcome change, and many figured he’d either be back, or Williams would return for “Year 5.” However we were all surprised when Warner announced that Nicholas Hooper was going to be doing the score, and according to reports, director David Yates has signed for The Half Blood Prince, so I bet we’ll see Hooper again next November 2008 when the movie is due in theaters.

The movie is a knock out. I liked it much better then Goblet of Fire. It has a better flow, but so did the book. The score works really well in the movie, but I think suffers from just a plain listen off the CD unless you have the context of the scene. This usually isn’t the case with Potter music, but Hooper’s scoring really focused on being mostly effective with the picture, and only partially effective as a separate listening experience. Fortunately for us, most of the best music in the movie is on the disc… so no complaining about a 51 minute release. The music we’re missing is mostly atmospheric with no great impact on the rest of the score.

Hooper takes a very humorous, if yet playful approach to his theme for Professor Dolores Umbridge, which was a wonderful approach, considering the very disturbing nature of the character’s interior, juxtaposed to the seemingly harmless nature of her exterior.

With “Dumbledore’s Army” we hear a light (perhaps unintentional?) nod to Williams’ “Window into the Past” theme in the cue’s opening, whereupon which it is taken into some truly exhilarating string writing. In the second half of the cue, the writing becomes really rhythmic and pleasant. The cue is performed wonderfully and works magic with the picture, being utilized over the course of a rather long montage scene to great effect. There are some really great ideas in this one that are further expanded in the later part of “The Sirius Deception” cue. Here we get to hear a powerful performance of the “Dumbledore’s Army” Theme. Some fantastic work here, this theme is big, bold and uplifting.

A theme through the book is what’s called Possession, which is not a surprise to those that have read it. We first hear it in the cue, “Possession.” It starts as some Mark Snow-like string work and light choral backing, but then goes into some really light brass and string writing. The music feels tragic but at the same time, there is something grand and epic about it, but in the end, ends on a dark tone.

“Fireworks,” which opens the album (but happens later, and with great effect in the movie), is a fun cue that has some great orchestral flares in it. Based largely on a big string backing, the cue takes off in the later half when Hooper brings out the electric guitar (that is missing or covered with sound effects in the movie). The string writing here is fantastic though, really fun stuff. In “Flight of the Order of the Phoenix” we get a really high energy cue with some great string and brass work. Finally, with “Loved Ones and Leaving,” Hooper brings in the full weight of the orchestra to create a melancholy cue for the ending of the movie. The cue reflects the emotion, the sacrifices made in this movie and what we’ll see soon in The Half-Blood Prince and The Deathly Hallows, but at its end, the strings build and offer a glimmer of hope in a light touch of the “Dumbledore’s Army” theme. A great end to the album (and movie.)

As much as I think the music fits within the movie, I just don’t believe it’s as good as the others in the series. And actually, it was hard for me to rate this one. On one hand, the movie context is great, the music just works great and it’s very enjoyable, but, more themes and development please. On CD, the listening experience is difficult. Granted the scene context in this case will work wonders, the bottom line is that without the scenes to go with it, the score is largely uninteresting.

But, I am not all that mean, I think that Hooper brings a solid, sound voice to Harry’s World, but I just don’t think it has the impact that the others do. I think Hooper can still deliver and will when The Half Blood Prince arrives. Hopefully, he’ll continue the development of his themes and motifs that we’ve heard here.

While this score is lower key and atmospheric then the other four, it has its place. As the story in the film is not really action driven, the score reflects that. Hooper’s use of Williams original material is nicely woven into the context of the score, without going overboard and I really enjoy his new themes, especially the “Dumbledore’s Army” theme.

While it’s not my favorite Potter score (that would be Azkaban and Goblet), it’s nice to have a new interpretation of what’s been established. And either way, once a Potter fan, always a Potter fan.

I’m off to search for The Half Blood Prince.

Rating: 3.5/5
Favorite Track: 11

Something tells me when Chris Carter pitched the idea of two FBI agents pursuing cases about the paranormal, one a believer, the other a skeptic, I doubt that Fox saw it lasting more than a season, let alone 9 and 2 major motion pictures.

The X-Files exploded onto the small screen in the Fall of 1993 and instantly became a hit. The show was always unique, creepy, scary, and cool. At the time, it was “The Water Cooler” show. The X-Files gave a megaphone to geeks everywhere who watch the skies in hopes that we are not alone in the universe. I personally remember my first “X-File” episode, “Little Green Men.” It freaked the living daylights out of me and I was hooked. I stayed a loyal viewer till the end and I was sad to see it go, and even though I felt the show had long out stayed its welcome, there was something somber about watching Mulder and Scully fade into the sunset in the final episode.

For me, one of the big factors that would freak me out in addition to the visuals, was of course, Mark Snow’s atmospheric and down right creepy score. Snow, who at the time, had been scoring TV shows since the 1970s, was no stranger to the small screen. Every episode, Snow would develop and create little themes, some haunting and beautiful like “Scully’s Theme” in Season 8, or some treacherous, like Eugene Tooms in Season 1. Like anything in the show, the music made the world real. It made Mulder and Scully’s work jump off the screen and into our living rooms with its sonic beauty and horror, and while the show’s score showed a dynamic sandbox of abstract themes, motifs and electronica, the score for the film is very much restrained.

In “Threnody In X”, Snow’s theme becomes an epic piece of orchestral writing. I think the cue gets the listener excited for the experience to come in a big way. The sonic power of the orchestra lifts Snow’s original synth theme and brings it to a new level. I like how Snow doesn’t depend on the theme to move the score along. The great thing about the theme is that the way it’s written you really can’t, so it forces the composer to think of new ways to move the picture along. It only shows up a few times in Snow’s score. It’s played through once in “Plague,” and hints can be heard in “Stung Kissing/Cargo Hold” and “Corn Copters.” Also during the movie, the “Crossroads” cue is different than on the album, and it contains part of the “Threnody” theme.

I think to the casual viewer of the show, this music would be like nails on a chock board, albeit a handful of more palatable, more traditional pieces.  But for fans, Snow not only delivers his trademark eeriness but throws in some splashes of thematic boldness too. Cues like “Goop” and “Soda Pop” establish some early orchestral flares and orchestrations that we’ll hear later on. In addition to those, a bit of thematic material is heard that is slightly expanded on later. The honest truth of this score is that it’s all normal for your typical X-Files episode, but taken a few steps further. Even though Chris Carter and director Rob Bowman wanted a very minimalist approach to the music, Snow was able to introduce some really great moments with the orchestra. Cues like “Already Dead,” “Come and Gone” and “Trust No One” Snow gives us classic sounds from the series but with big orchestral treatments, while cues like “Cave Base” and “Crossroads” show us a more thematically sweeping arc.

A few cues that always stand out with me still 10 years later are “Stung Kissing/Cargo Hold” and “Facts.” I think both of these cues, in addition to the few mentioned above represent what Snow could have done if Carter and Bowman would have really let him go on thematic development… as much as an X-Files movie could handle that is.  Snow gives what I think is some of the best music of his carrier, aside from his work on Smallville. Of course, his music for The X-Files show and movies will always be a stand out for fans.

As a fan of the show and the music, I guess I’m biased. I think 10 years after this score was recorded and 6 years after the airing of “The Truth,” it still holds up. It still manages to give me goosebumps at all the right times, and I think that’s what really takes a mediocre score to good, or a good score to great.  Personally, I’m really excited to hear what Snow’s cooked up for “I Want To Believe.”

Rating: 4/5
Favorite Track: 1

You know, I think in some respects, the Pirates franchise was a fluke. At the time of its conception, the last big pirate movie was Cutthroat Island. While sporting an amazing score from John Debney, the movie was ultimately a box office failure and is generally considered as big of a flop as Heaven’s Gate. So when Disney said they were going to make a movie based on the Pirates of the Caribbean, which, until that point had strictly been an old, nostalgic, but popular theme park ride, everyone kind of scratched their heads. Enter Jerry Bruckheimer, director Gore Verbinski, and writers Ted Elliott and Terry Rossio, the ending result was The Curse of the Black Pearl. And then it went on to make insane amounts of money, shocking everyone (including Disney) and spawned two sequels: Dead Man’s Chest and At World’s End.

With At World’s End, Zimmer returns to finish the swashbuckling musical journey that began in The Curse of the Black Pearl. In my opinion, he and his team deliver what may be the most satisfying of the three scores. While some of the themes like “Jack’s Theme”, “Davy Jones’ Theme” and “He’s A Pirate” make some appearances in either full force or subtle variation, Hans Zimmer has brought a whole new gambit of musical material to this final chapter.

The album opens with “Hoist The Colours.” This rousing pirate jig is one of the new main themes of the movie. It makes various appearances throughout the score and is a soaring piece of music that’s used to represent unity between the Pirate Clans as they make their last stand for survival at the edge of the world.

Zimmer’s next big, new, notable thematic addition is what he’s referred to in interviews as “The Love Theme”. Crazy, I know. It’s big, it’s majestic, and it is everything you’d expect from something regarded so boldly as “The Love Theme”. Brace yourself for it, because it rears its big, bold, beautiful head in the track “At Wit’s End”. Like sighting a brachiosaurus in the middle of a theme park, “The Love Theme” really captures the sense of what’s going on with this movie. The theme not only symbolizes the distressed love-struggle between Will and Elizabeth but, also somehow ties into the relationships between all of the important “good guys”. The theme also miraculously manages to double as an action set piece as heard in the cue “Up Is Down” (whoodathunkit?!). Maestro Zimmer also tips his cowboy hat to much-loved-by-MV-but-farthest-thing-from-MV composer Ennio Morricone in the track “Parlay.” Bottom line, “The Love Theme” proves itself to be versatile and functional, as I’m sure it is also immensely effective in the context of the film.

For those craving themes from the previous two adventures, next up Zimmer does some really fun things with “Jack’s Theme” in “Multiple Jacks”. Using the expanded motif we heard in Dead Man’s Chest but with some fun, clunky, bouncy, almost comedic instrumentation mixed with some pretty creepy, atmospheric orchestration, this is probably one of the most interesting Zimmer cues I’ve ever heard. Jack’s back…though I can only imagine what the music is actually implying. We also hear a bit of “Davy Jones’s Theme” in “At Wit’s End”.

I know, I know, action music! There’s great stuff is toward the end of the album. “What Shall We Die For?” and “I Don’t Think Now Is The Best Time” are two connecting tracks that total up to approximately 12 minutes of really fun action writing. This is Zimmer doing what he does best, bringing an array of themes online and ready for battle. Most if not all the themes from all three films make it in here… along with some substantial choral work (a particularly rousing rendition of “Hoist the Colours”).

The last two tracks, “One Day” and “Drink Up Me Hearties” are two of my personal favorites. Again encompassing, themes from all three films and intermixing them into this grand send off for the series, it’s just fantastic. In “One Day,” Zimmer makes good if not predictable re-use of orchestrational detailing found in both Dead Man’s Chest and The Da Vinci Code. Refer to the respective cues “Hello Beastie” and CheValiers De Sangreal”. He just levels the music and themes on top of each other and it builds and swells, just fantastic. He might as well be doing his victory dance down on the football field, after making a touchdown. Just beautiful. That hand-off was terrific, Randy. Err… Now a word from our sponsors!

At World’s End really is the end of a musical journey for Capt. Jack and Co. (until they do spin-offs). The ground work that was laid in Curse of the Black Pearl and Dead Man’s Chest come to an epic finish with this score. Zimmer not only gives us three scores of pirate swashbuckling action music, he also manages to update a style of writing that genre composers Steiner and Korngold gave birth to. Either you’ll feel it bastardizes a legacy or bumps it up a few notches. I’ll leave that up to you!

Bottom line, this is a Zimmer fan’s score album of the year, its good fun and of course a must listen for any Pirate scallywag.

Yo Ho and Drink Up Me Hearties!

Rating: 4.5/5
Favorite Track: 13

When it was announced that director Alfonso Cuarón would direct Azkaban many in film score community wondered if Patrick Doyle (who had worked with Cuarón on Great Expectations) would come with him. As we all know, Doyle did not. However, when it was announced that Mike Newell was on board to helm Goblet many again wondered if a changing of the composer was drawing near. A few months after photography began, it was announced that indeed, John Williams had stepped down for Goblet and Patrick Doyle (long time collaborator with Newell) had taken over the baton. Again, Williams’ purists howled, but many took a sigh of relief.

For me personally, it was something exciting. As much as I loved what Williams’ developed with his first three scores, I felt a change was needed as the story became darker, older and more mature. While I know Williams’ could have written such music, I feel that Harry’s world can belong to anyone with the musical vision to support its needs.

When I first heard Doyle’s score, I really didn’t know what to think. I needed a few days to really sit back and try to dissect what he was trying to accomplish. His music for this newest imagining is nothing short of totally original. I think his music is a perfect fit for the story of Goblet of Fire. It’s grown up and interestingly (based on the contents of the album), does not depend on a strong thematic through-line unlike the previous three films. The book is dark, and so is the score.  I think Doyle’s music completely reflects the source material, and if the music is any indication, it will work wonderfully with the film.

Kicking off with some of the small thematic material I found. In “The Dark Mark.” We hear a new theme for Voldemort. This theme is also found in the finale cue “Voldemort.” We also have a new theme for Harry. Found in small parts through out the score, the theme is somber, but at the same time grand and uplifting. Found in various arrangements in “Harry in Winter,” “Death of Cedric,” as well as the epic closing cues, “Voldemort” and “Another Year Ends.”

What I find really refreshing about this score is its lack of borrowed material from the other scores. Williams’ “Hegwig’s Theme” is only used I think twice in the music on the disc, the rest is all Doyle. The score ranges from epic action cues like “Golden Egg,” to grand and majestic pieces like “Neville’s Waltz,” dark music as heard in “Voldemort” and sad, tender music as heard in “Death of Cedric.” Overall, the music on the entire disc is great, and while the previously mentioned lack of thematic through-line is all but heavily apparent, however after a few listens, Patrick Doyle makes it easy to realize that themes aren’t necessarily required to have a great score.  I think Doyle has created something very grand here, something totally original, yet true to Harry’s world. That’s something I find amazing. It doesn’t replace Williams’ original scores, but manages to stand next to it as an equal.

So, will Doyle return for David Yates and Order of the Phoenix?  Your guess is as good as mine, however I would not mind.  Pat, if you’re listening:  I’d like some thematic development with your next go-round, please!

A word about the songs by Jarvis Cocker that appear on this disc. They are supposedly for the Yule Ball sequence that appears in the middle of the film. They completely take you out of the ending mood of the disc. And the hard rock aspect of the tracks makes me hope they are very different in the film. I’d never imagine a Ball sequence with that kind of music, Potter or not.

Just some more words about the disc. The mastering is amazing. The recording by Nick Wollage is nothing short of phenomenal and I never need to mention how good the London Symphony is.

At any rate, as always, I’m off to enlist myself into the Order.

Cheers and Happy Listening!

Rating: 4 / 5
Favorite Track: 12

A few months after Chamber of Secrets premiered here State-side, the actors and crew were hard at work for the third (and darker) Harry Potter film, The Prisoner of Azkaban. Under the new direction of visual director Alfonso Cuarón, many in the film score community wondered if he would be given the green light to bring on a different composer and some speculated Patrick Doyle who had worked with Cuarón on Warner’s A Little Princess and Great Expectations would be his choice. However that did not come to pass and it was learned last year that John Williams would once again be taking the podium for scoring duties however this time without the assistance of composer William Ross.

Truthfully, I really didn’t know what to expect out of this disc. In all honesty, I mean it’s the third time out for Williams on the Potter series and while he didn’t do most of Chamber he is totally back in force with Azkaban and much to my surprise and delight, the music has grown just like the kids in the film. This score is dark and while it has elements of the older scores, this is defiantly a more powerful score.

The disc kicks off with “Hedwig’s Theme” in the cue, “Lumos.” While not as sweeping as what Ross did in Chamber, the cue does suggest a certain expectation and while it might be subconscious in most audience members, the cue is setting you up for an even darker film than the last one.

I was pleased to see that they have kept the Aunt Marge scene from the book, it really is wonderful, but I didn’t expect it to be a full on waltz! The cue is great, totally giving the impression that the scene is one big dance (and on some level it is.) The cue is light with lots of string work with some brass coming toward the middle and end.

The Knight Bus is the wizarding world’s ultra taxi service and the cue is a jazzy, upbeat, all over the place, non-stop, rip rearing good time. Layered with many brass instruments, the cue builds and builds and comes to a complete and utter stop (much like in the film). The cue is fun and was totally unexpected; I think Williams had fun writing it.

Finally, all those “Something Wicked This Way Comes” fans can rejoice. Here it is the full song and new theme in its entirety. The cue, “Double Trouble” is something that sounds out of the renaissance. It sounds old and is very sweeping and shows up again in other parts of the score. The cue is fun and helps to set the tone for the darker music ahead…something this way comes indeed…

Next up is “Buckbeak’s Flight,” Continuing with the Animal Catalyst theory, it opens with a ton of drums at thundering speed that sounds really cool. Here emerges one of the new themes found in Buckbeak the Hippogriff. The theme is sweeping and almost tragic sounding, it does never the less blows anything that Fawkes’ the Phoenix had going for him. While Fawkes’ theme is good Williams, Buckbeak is just better, more adult, helping the listener into the world of this more adult subject matter.

In “Window of the Part” we finally get a theme for Harry’s mom and dad, James and Lilly. The theme is very nice and sounds almost like something out the renaissance era. Dominated using wind instrumentation, the theme is really one of the great themes on this disc. Can’t wait to hear how Williams develops it through out the other films as I’m sure it will emerge in some form or another.

Hagrid finally gets a theme. Heard for the first time in “Hagrid the Professor,” the cue blends certain elements of wooden and western orchestration. The cue uses wooden instruments to give a throw back to Hagrid’s flute that he has in the first film. This track also contains themes used in “Double Trouble.”

I was glad to hear that the Quidditch music had been given an upgrade to the darker aspect of the film. The cue is dominated with strings and creates a great sense of urgency within the music. The cue hints at the theme established in “Double Trouble” a few times too, kind of fun. This cue has some really nice powerful choral work that brings in the London Voices. As the cue ends we hear a touch of ambience that is the signature of the Dementors.

“The Patronus Light” is a very nice cue, and one of my favorites. It uses a choral backing with very light instrument work. The cue gives theme to the power that Harry can produce and is a really gentle theme that appears again later in the disc.

“Forward to Time Past” is great. A ticking clock serves as the backdrop for the cue and is constantly there. The test of the orchestration and instrumentation are seduced around the clock thus letting the click be the center piece of the cue. The great string and little brass work infuse the cue with a sense of urgency.

The final three tracks, “The Dementors Converge,” “Finale” and “Mischief Managed” is basically just one big ending cue split into three sections. The “Dementors Converge” is a grandly epic cue with tons of great string and choral work. This cue gives us a grand building cue that totally delivers in the end. With its great choral work, “The Dementors Converge” is one of the highlights of the disc. “Finale” is interesting. Gone are the days of “The House Cup,” gone are the days of “Harry’s Wondrous World,” here we have a cue that continues from the cue before it and ramps up the work of Williams. The choral work here gives way to the “Patronus” theme in greater orchestral detail. These last cues are simply great and gives us even more reasons why we love the music of John Williams. The cue rounds out with “Harry’s Parents Theme.” This is how this movie should end.

Finally we come to the big finale for the film and the end credits roll (just think of a Star Wars ending, duh right?) All themes come into play here and make their finale grand exit stage left as the disc spins to a close. It’s nice to hear an edition of “Double Trouble” with out the lyrics, but don’t worry…we still get that during the end credits roll. The disc ends at with a tiny performance of “Hedwig’s Theme” as the disc comes to a stop at 68 minutes.

Like the rest of my Potter reviews, I haven’t talked about all the cues on the disc. All are fantastic and there are indeed some great ones that I haven’t talked about…I mean why ruin the surprise right? I’m sure that Williams fans already either have this disc on pre-order or own it as this review is being posted…and Potter fans…well, film music fan or not, defiantly pick this one up, it’s better than Sorcerer’s Stone and Chamber.

Just a little personal note (or rant) before I close, while William’s scores to all three films have been fantastic, this one being absolutely brilliant and totally refreshing, yet there is something to be said for allowing other composers to play in Harry’s sandbox. If the producers are changing up directors, cinematographers, editors, seriously, why not composers? Maybe that will change with Mike Newell, who is currently in pre-production on The Goblet of Fire set for a worldwide Winter 2005 release. But as of this review, it remains to be seen.

Anywho, enjoy the CD y’all, I’m off to save myself a seat for the Tri-Wizard Tournament…and bring on Goblet!

Rating: 5 / 5