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Editorial Reviews
"Harry Potter and the Deathly Hallows," the seventh and final adventure in the Harry Potter film series, is a much-anticipated motion picture event to be told in two full-length parts.
Part 1 begins as Harry, Ron and Hermione set out on their perilous mission to track down and destroy the secret to Voldemort s immortality and destruction the Horcruxes. On their own, without the guidance of their professors or the protection of Professor Dumbledore, the three friends must now rely on one another more than ever. But there are Dark Forces in their midst that threaten to tear them apart.
THIS CD INCLUDES A FREE DIGITAL DOWNLOAD OF THE
SOUNDTRACK IN 5.1 SURROUND SOUND
Part 1 begins as Harry, Ron and Hermione set out on their perilous mission to track down and destroy the secret to Voldemort s immortality and destruction the Horcruxes. On their own, without the guidance of their professors or the protection of Professor Dumbledore, the three friends must now rely on one another more than ever. But there are Dark Forces in their midst that threaten to tear them apart.
THIS CD INCLUDES A FREE DIGITAL DOWNLOAD OF THE
SOUNDTRACK IN 5.1 SURROUND SOUND
Customer Reviews
Most Helpful Customer Reviews
14 of 15 people found the following review helpful
By AlSwa22
Format:Audio CD|Amazon Verified Purchase
I love the music for the Harry Potter movies. I own all of the soundtracks and enjoy them all (for the most part). I still consider Prisoner of Azkaban to have the best score. I was hoping that John Williams would be able to return to finish the music that he originated, but that was not to be the case. Anybody would be better than Nicolas Hooper, who composed the bland music for the 5th and 6th movies. When I heard that Alexandre Desplat would be taking the reigns for this film (and Part 2), I was elated. He's one of the best non-John Williams composers working today. I previously enjoyed his score for The Golden Compass, which has a very similar tone to a Harry Potter film, so I was eagerly anticipating listening to his music for this one.
The music for this film is miles better than the music for the 4th, 5th, and 6th films. My favorite tracks include Obliviate, Snape to Malfoy Manor, Sky Battle, The Locket, Bathilda Bagshot, and The Deathly Hallows. Desplat does a good job balancing the music between the fast tracks for the action sequences (i.e. Sky Battle) and the slower, more subdued tracks (i.e. Ron's Speech).
There isn't a whole lot of continuity between this soundtrack and the previous films' soundtracks. Rarely is the "quintessential" Hedwig's Theme heard. This is fine with me. This film is much different than any of the previous Potter movies, so the music should be different as well, in my opinion. Desplat does a good job establishing new themes that are heard throughout the score. There are new themes for the death eaters, for Harry, Ron, and Hermione as a group, and for the Deathly Hallows.
Overall, I am very pleased with Desplat's score and I'm looking forward to hearing what he does with Part 2.
The music for this film is miles better than the music for the 4th, 5th, and 6th films. My favorite tracks include Obliviate, Snape to Malfoy Manor, Sky Battle, The Locket, Bathilda Bagshot, and The Deathly Hallows. Desplat does a good job balancing the music between the fast tracks for the action sequences (i.e. Sky Battle) and the slower, more subdued tracks (i.e. Ron's Speech).
There isn't a whole lot of continuity between this soundtrack and the previous films' soundtracks. Rarely is the "quintessential" Hedwig's Theme heard. This is fine with me. This film is much different than any of the previous Potter movies, so the music should be different as well, in my opinion. Desplat does a good job establishing new themes that are heard throughout the score. There are new themes for the death eaters, for Harry, Ron, and Hermione as a group, and for the Deathly Hallows.
Overall, I am very pleased with Desplat's score and I'm looking forward to hearing what he does with Part 2.
9 of 9 people found the following review helpful
4.0 out of 5 stars
Very good quality; film cell didn't make much sense, and vinyl smaller than expected.
December 24, 2010
Format:Audio CD|Amazon Verified Purchase
The only issue I had with this set, is when I opened it, one of the CDs had fallen out along with the booklet, and bent the pages a bit. Other than that, I'm very much impressed!
The sheet music is different for everyone; I got "Detonators". It has a 100% REAL autograph on it by Desplat! I honestly didn't catch that part when I ordered it, which makes this totally worth the money. (Not a big fan of the fact it's on glossy paper, but if it was on REAL sheet music, the signature would bleed and smear easily.)
I thought the actual printed vinyl would have been normal size, not the mini kind -- but it's wonderful nevertheless. Harry on one side, and the burning Hogwarts on the other <3
The film cells are FANTASTIC -- I've been stuck with cells that have sucked, but these are perfectly centered and cut. I had a cell of Voldemort holding onto Harry's face, and the second is Hermione putting up the wards in the forest with Harry kneeling next to Ron behind her.
I was a bit confused at first, seeing as the Harry and Voldy scene was NO WHERE in the first part of the movie...
But it's still awesome! :)
The sheet music is different for everyone; I got "Detonators". It has a 100% REAL autograph on it by Desplat! I honestly didn't catch that part when I ordered it, which makes this totally worth the money. (Not a big fan of the fact it's on glossy paper, but if it was on REAL sheet music, the signature would bleed and smear easily.)
I thought the actual printed vinyl would have been normal size, not the mini kind -- but it's wonderful nevertheless. Harry on one side, and the burning Hogwarts on the other <3
The film cells are FANTASTIC -- I've been stuck with cells that have sucked, but these are perfectly centered and cut. I had a cell of Voldemort holding onto Harry's face, and the second is Hermione putting up the wards in the forest with Harry kneeling next to Ron behind her.
I was a bit confused at first, seeing as the Harry and Voldy scene was NO WHERE in the first part of the movie...
But it's still awesome! :)
39 of 50 people found the following review helpful
By Jon Broxton
Format:Audio CD
The conclusion of the Harry Potter saga is as much of a cinematic event as it was a literary one when J.K. Rowling's eagerly-awaited seventh book, Harry Potter and the Deathly Hallows, was released in July 2007 and broke a myriad of records for book sales. The success of the Harry Potter franchise is quite astonishing: it is reportedly responsible for almost single-handedly revitalizing the children's literature market, brought fantasy fiction out of geekdom and into the mainstream, and of course made Rowling herself a gazillionaire, thanks not only to the book sales but also to the spin off merchandise, theme park rides, and of course the movies and soundtracks based on her work.
Harry Potter and the Deathly Hallows, the seventh film in the series, is again directed by David Yates, and features Daniel Radcliffe, Emma Watson and Rupert Grint as Harry, Hermione and Ron, the three protagonists of the saga. Picking up from the immediate aftermath of Dumbledore's death and Voldemort's rise to power at the end of the sixth film, Harry Potter and the Half-Blood Prince, Deathly Hallows sees Harry, Hermione and Ron leaving Hogwarts School of Witchcraft and Wizardry to search for and destroy the remaining horcruxes: pieces of Voldemort's soul which were hidden inside everyday objects in an attempt to make himself immortal. With Voldemort having taken over Hogwarts and rekindled his reign of terror in the wizarding world, Harry and his friends essentially become fugitives, desperately trying to evade capture by Voldemort's agents. Eventually Harry learns of the existence of the `deathly hallows' of the title, a trio of exceptionally powerful magical objects which he believes will help swing the balance of power in his favor, and eventually defeat Voldemort once and for all. The film has been split into two parts, with Part II coming to theaters in the summer of 2011.
Harry Potter and the Deathly Hallows boasts possibly the most impressive cast of British actors in any film in recent memory: alongside regulars Michael Gambon, Alan Rickman, Maggie Smith, Robbie Coltrane, Ralph Fiennes, Jason Isaacs, Helena Bonham-Carter, John Hurt, Brendan Gleeson, Jim Broadbent, Emma Thompson, Gary Oldman and David Thewlis, the new cast also manages to add such luminaries as Rhys Ifans, Jamie Campbell-Bower, Ciaran Hinds and Bill Nighy. Impressive indeed. One person not returning, however, is composer Nicholas Hooper, who decided to not to take the opportunity to score the finale. His place at the podium is taken by French composer Alexandre Desplat, whose status as one of the most in-demand composers working in the film industry today has now been well and truly cemented.
First things's first: like Nick Hooper before him, and like Patrick Doyle before him, Desplat's score does not make any obvious references to thematic material from the previous scores, with the exception of some brief lip service to John Williams' famous theme, "Hedwig's Theme", paid in a couple of the album's cues. This will drive Williams fans insane, especially those who clamored for Williams to return to score the finale, but the point I made in my review of Hooper's score for Harry Potter and the Half-Blood Prince last summer is still relevant here: the Harry Potter of Book 7 is not the Harry Potter of Book 1. He isn't the wide eyed-innocent child at large in a new and fantastical world. He is a deeply troubled young adult, plagued by his past, surrounded by the death of his family and friends, weighed down by the pressures of an ancient prophecy, who must fight to the death to save the world which has embraced him as its savior. As such, it makes perfect sense that the flighty, whimsical nature of the first few scores has necessarily been supplanted by darker, more mature music. Owls, Quidditch games, and schoolyard rivalries are no longer Harry's mains concerns, and so the music Williams wrote to accompany these things is naturally less important to the story. This is a story - and a score - about danger, anguish, regret, and sacrifice, and Desplat's music inevitably reflects these things.
Desplat's music is fully orchestral and choral, performed with gusto by the London Symphony Orchestra and various choirs, alongside various specialist solo instruments ranging from the common (guitars, recorders) to the slightly unusual (a mandolin, a shakuhachi bamboo flute) to the downright peculiar, most notably a theorbo, which is a kind of a baroque long-necked lute. One thing I love about the score is that it is, in every way, a Desplat score: it features many of his personal stylistic trademarks, from the use of woodwinds as percussion, to the interpolation of a synth pulse to add more bass to certain sequences, the use of precise timpani rhythms, and specific phrasings in the string and brass writing which will be immediately recognizable to anyone who has followed Desplat's career. I am very pleased that he has not been forced to supplant his musical identity in order to fit the needs of the film, and has instead tweaked it in the right direction of his own accord, adding only the necessary amounts of magic to the mix.
The opening cue, "Obliviate", gradually builds out of a see-sawing string motif to present a noble new theme for strings and solo cello, before entering the first of several high-drama sequences in which the orchestra stretches its legs: "Snape to Malfoy Manor", despite clocking in at just under 2 minutes, presents a wonderful sense of darkness, foreboding and breathless energy. Different sections of the orchestra play off each other in bubbling counterpoint, underpinned by hooting bass clarinets, fluttering flutes, harp glissandi, almost subliminal gasps on the breathy shakuhachi, choral vocalizations, and a thrusting brass ostinato. It's all quite wonderful.
The film has a cool half-dozen knockout action sequences, beginning with the amazing "Sky Battle", and running through later cues such as the tumultuous "Death Eaters", the raucous "Fireplaces Escape", and the cacophonous "Destroying the Locket". Anyone familiar with Desplat's action music from scores such as Firewall, The Golden Compass and The Ghost Writer from earlier this year will be thrilled by the dynamite string runs which leap up and down scales with boundless energy, which this time around are accompanied by all manner of orchestral mayhem and choral accents. "Sky Battle" features a wonderful string phrase underneath the action which sounds like a deconstructed, slightly off-kilter version of Hedwig's theme, but which is quickly usurped by the vivacious, attention-grabbing orchestral performances that surround it. This cue, more than any other, should finally dispel the ludicrous myth that Desplat can only do pretty waltzes and can't write more forceful material.
"Ministry of Magic", "Detonators" and "The Locket" are a clever trio of pieces which underscore Harry's infiltration of the ministry to recover Regulus Black's missing locket from Dolores Umbridge. "Ministry of Magic" is all brusque business, a busy and self-important sounding piece which razzle-dazzles with blustery marches and percussion runs, but which masks a darker inner core. The hooting woodwinds in "Detonators" seem to have the same sense of twinkling tomfoolery that any self-respecting Weasley product would have, although the thunderous timpani hits and subsequent string-led lament hint at the inherent danger of the situation. "The Locket" itself revisits the slightly saccharine sound Hooper gave the Umbridge character in The Order of the Phoenix, although this time her true nature is subtly revealed by making her motif snaky, slithery, and more than a little deceitful.
The music for the sequence in which Harry and Hermione visit his childhood home in Godric's Hollow, which includes "The Exodus", "Godric's Hollow Graveyard" and "Bathilda Bagshot", is the closet the Potter music has come to all-out horror. "The Exodus" is a tormented piece for a detuned violin, ominous clarinet accents, and portentous string chords, emphasizing the danger about to overwhelm the friends. "Godric's Hollow Graveyard" is filled with a palpable sense of sadness as Harry finally visits his parents' grave: the solo cello motif and the mandolin accents combined with the warm, bittersweet string theme gives the whole sequence an attractive-yet-melancholy tone, while the piano echoes give the scene a cold, wintry overtone. Things come to a head in "Bathilda Bagshot", which layers tension upon tension upon tension, exacerbated by anxious blasts on the shakuhachi wood flute (one of James Horner's favorite colors), before exploding into a powerful sequence of tremendous orchestral savagery at the cue's end.
"Captured and Tortured" features some stark, unnerving synth elements and thunderous percussion writing, which pounds and pummels away before turning into another dark lament for brooding strings and wailing woodwinds. It eventually explodes into the score's final action sequence, "Rescuing Hermione", which is replete with more rapid-fire string runs and effortless energy.
At the other end of the scale, a warm and noble new brass theme for the Order of the Phoenix opens "Polyjuice Potion", before heading off into a series of light and whimsical sequences featuring prominent woodwinds and glittering chimes which retain a brief semblance of the magic and mischief of previous scores. It's the last time there will be any magic or mischief for a while. The only cue which comes close to returning to that style is "Lovegood", the cue for Harry's encounter with the duplicitous Xenophilius Lovegood, whose revelations about the nature of the Hallows set Harry on his quest. Read more ›
Harry Potter and the Deathly Hallows, the seventh film in the series, is again directed by David Yates, and features Daniel Radcliffe, Emma Watson and Rupert Grint as Harry, Hermione and Ron, the three protagonists of the saga. Picking up from the immediate aftermath of Dumbledore's death and Voldemort's rise to power at the end of the sixth film, Harry Potter and the Half-Blood Prince, Deathly Hallows sees Harry, Hermione and Ron leaving Hogwarts School of Witchcraft and Wizardry to search for and destroy the remaining horcruxes: pieces of Voldemort's soul which were hidden inside everyday objects in an attempt to make himself immortal. With Voldemort having taken over Hogwarts and rekindled his reign of terror in the wizarding world, Harry and his friends essentially become fugitives, desperately trying to evade capture by Voldemort's agents. Eventually Harry learns of the existence of the `deathly hallows' of the title, a trio of exceptionally powerful magical objects which he believes will help swing the balance of power in his favor, and eventually defeat Voldemort once and for all. The film has been split into two parts, with Part II coming to theaters in the summer of 2011.
Harry Potter and the Deathly Hallows boasts possibly the most impressive cast of British actors in any film in recent memory: alongside regulars Michael Gambon, Alan Rickman, Maggie Smith, Robbie Coltrane, Ralph Fiennes, Jason Isaacs, Helena Bonham-Carter, John Hurt, Brendan Gleeson, Jim Broadbent, Emma Thompson, Gary Oldman and David Thewlis, the new cast also manages to add such luminaries as Rhys Ifans, Jamie Campbell-Bower, Ciaran Hinds and Bill Nighy. Impressive indeed. One person not returning, however, is composer Nicholas Hooper, who decided to not to take the opportunity to score the finale. His place at the podium is taken by French composer Alexandre Desplat, whose status as one of the most in-demand composers working in the film industry today has now been well and truly cemented.
First things's first: like Nick Hooper before him, and like Patrick Doyle before him, Desplat's score does not make any obvious references to thematic material from the previous scores, with the exception of some brief lip service to John Williams' famous theme, "Hedwig's Theme", paid in a couple of the album's cues. This will drive Williams fans insane, especially those who clamored for Williams to return to score the finale, but the point I made in my review of Hooper's score for Harry Potter and the Half-Blood Prince last summer is still relevant here: the Harry Potter of Book 7 is not the Harry Potter of Book 1. He isn't the wide eyed-innocent child at large in a new and fantastical world. He is a deeply troubled young adult, plagued by his past, surrounded by the death of his family and friends, weighed down by the pressures of an ancient prophecy, who must fight to the death to save the world which has embraced him as its savior. As such, it makes perfect sense that the flighty, whimsical nature of the first few scores has necessarily been supplanted by darker, more mature music. Owls, Quidditch games, and schoolyard rivalries are no longer Harry's mains concerns, and so the music Williams wrote to accompany these things is naturally less important to the story. This is a story - and a score - about danger, anguish, regret, and sacrifice, and Desplat's music inevitably reflects these things.
Desplat's music is fully orchestral and choral, performed with gusto by the London Symphony Orchestra and various choirs, alongside various specialist solo instruments ranging from the common (guitars, recorders) to the slightly unusual (a mandolin, a shakuhachi bamboo flute) to the downright peculiar, most notably a theorbo, which is a kind of a baroque long-necked lute. One thing I love about the score is that it is, in every way, a Desplat score: it features many of his personal stylistic trademarks, from the use of woodwinds as percussion, to the interpolation of a synth pulse to add more bass to certain sequences, the use of precise timpani rhythms, and specific phrasings in the string and brass writing which will be immediately recognizable to anyone who has followed Desplat's career. I am very pleased that he has not been forced to supplant his musical identity in order to fit the needs of the film, and has instead tweaked it in the right direction of his own accord, adding only the necessary amounts of magic to the mix.
The opening cue, "Obliviate", gradually builds out of a see-sawing string motif to present a noble new theme for strings and solo cello, before entering the first of several high-drama sequences in which the orchestra stretches its legs: "Snape to Malfoy Manor", despite clocking in at just under 2 minutes, presents a wonderful sense of darkness, foreboding and breathless energy. Different sections of the orchestra play off each other in bubbling counterpoint, underpinned by hooting bass clarinets, fluttering flutes, harp glissandi, almost subliminal gasps on the breathy shakuhachi, choral vocalizations, and a thrusting brass ostinato. It's all quite wonderful.
The film has a cool half-dozen knockout action sequences, beginning with the amazing "Sky Battle", and running through later cues such as the tumultuous "Death Eaters", the raucous "Fireplaces Escape", and the cacophonous "Destroying the Locket". Anyone familiar with Desplat's action music from scores such as Firewall, The Golden Compass and The Ghost Writer from earlier this year will be thrilled by the dynamite string runs which leap up and down scales with boundless energy, which this time around are accompanied by all manner of orchestral mayhem and choral accents. "Sky Battle" features a wonderful string phrase underneath the action which sounds like a deconstructed, slightly off-kilter version of Hedwig's theme, but which is quickly usurped by the vivacious, attention-grabbing orchestral performances that surround it. This cue, more than any other, should finally dispel the ludicrous myth that Desplat can only do pretty waltzes and can't write more forceful material.
"Ministry of Magic", "Detonators" and "The Locket" are a clever trio of pieces which underscore Harry's infiltration of the ministry to recover Regulus Black's missing locket from Dolores Umbridge. "Ministry of Magic" is all brusque business, a busy and self-important sounding piece which razzle-dazzles with blustery marches and percussion runs, but which masks a darker inner core. The hooting woodwinds in "Detonators" seem to have the same sense of twinkling tomfoolery that any self-respecting Weasley product would have, although the thunderous timpani hits and subsequent string-led lament hint at the inherent danger of the situation. "The Locket" itself revisits the slightly saccharine sound Hooper gave the Umbridge character in The Order of the Phoenix, although this time her true nature is subtly revealed by making her motif snaky, slithery, and more than a little deceitful.
The music for the sequence in which Harry and Hermione visit his childhood home in Godric's Hollow, which includes "The Exodus", "Godric's Hollow Graveyard" and "Bathilda Bagshot", is the closet the Potter music has come to all-out horror. "The Exodus" is a tormented piece for a detuned violin, ominous clarinet accents, and portentous string chords, emphasizing the danger about to overwhelm the friends. "Godric's Hollow Graveyard" is filled with a palpable sense of sadness as Harry finally visits his parents' grave: the solo cello motif and the mandolin accents combined with the warm, bittersweet string theme gives the whole sequence an attractive-yet-melancholy tone, while the piano echoes give the scene a cold, wintry overtone. Things come to a head in "Bathilda Bagshot", which layers tension upon tension upon tension, exacerbated by anxious blasts on the shakuhachi wood flute (one of James Horner's favorite colors), before exploding into a powerful sequence of tremendous orchestral savagery at the cue's end.
"Captured and Tortured" features some stark, unnerving synth elements and thunderous percussion writing, which pounds and pummels away before turning into another dark lament for brooding strings and wailing woodwinds. It eventually explodes into the score's final action sequence, "Rescuing Hermione", which is replete with more rapid-fire string runs and effortless energy.
At the other end of the scale, a warm and noble new brass theme for the Order of the Phoenix opens "Polyjuice Potion", before heading off into a series of light and whimsical sequences featuring prominent woodwinds and glittering chimes which retain a brief semblance of the magic and mischief of previous scores. It's the last time there will be any magic or mischief for a while. The only cue which comes close to returning to that style is "Lovegood", the cue for Harry's encounter with the duplicitous Xenophilius Lovegood, whose revelations about the nature of the Hallows set Harry on his quest. Read more ›
Most Recent Customer Reviews
3.0 out of 5 stars
Deathly Hollows 1
I have been a soundtrak fan since I was a kid and since I loved the Harry Potter movies and have them on DVD, I needed the soundtrack. Read more
Published 7 days ago by Marshall L. Royse
4.0 out of 5 stars
bought as a gift
bought this cd as a gift for an individual who is totaly wacky for the harry potter book series, she loves it.
Published 4 months ago by ray
5.0 out of 5 stars
Big Harry Potter Fan!
This series is fantastic. I grew up on the books and the movie does it pretty good justice, even if the last book is split up.
Published 4 months ago by IT Girl
3.0 out of 5 stars
Great Music, Crashes on my computer
I love the music on this CD but it crashes itunes on my computer after every song and I can't load it directly onto my Mac due to this issue.
Published 5 months ago by Valoren
5.0 out of 5 stars
Love!
Such hauntingly beautiful music from an even more beautiful movie. I have always loved Harry Potter and this CD is so relaxing and gorgeous.
Published 10 months ago by spacecadet236
4.0 out of 5 stars
Awesome
This soundtrack is awesome, just like the movie. My favorite tracks are Obliviate and Snape to Malfoy Manor. Alexandre did a wonderful job.
Published 12 months ago by Ezo
4.0 out of 5 stars
satisfied customer
This was a gift for a "Potter" lover and met very well with her expectations. Thanks for making a nice gift happen
Published 12 months ago by Joan Nixon
5.0 out of 5 stars
Thrilling Music
This product was purchases as a gift. The music is thrilling and makes it easy to relive the movie and the book.
Published 15 months ago by Joy
1.0 out of 5 stars
Harry Potter & the Deathly Hallows part one
I had to end up ordering another one, because when I opened the wrapper and the case there was no CD in it. I have never had this happen before. Read more
Published 17 months ago by Bonita R. Mitchell
5.0 out of 5 stars
Harry Potter is the Best
I love Harry Potter. I love the books. I love the movies. I love the music. I love all the nerdy stuff. This soundtrack does not disappoint.
Published 17 months ago by lile
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