“Phoenix Rising” – The Music of Harry Potter and the Order of the Phoenix

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