Customer Reviews

Harry Potter and the Prisoner of Azkaban [Original Motion Picture Soundtrack]

5 star:		(127)
4 star:		(20)
3 star:		(5)
2 star:		(1)
1 star:		(2)

 

 

This is the most interesting of the Harry Potter scores so far as far as I am concerned. It would not be as significant if I was not also a fan of the first two scores as well as the books and movies, but considering that what we have here is a seven part series that is still in the making, those of us curious where this narrative is going must be interested in all the signs. The scores progressively continue elements (Hedwig's theme) and add new ones. How Wagnerian! Again we can tell precisely where in the movie the music fits. I especially like the sudden change as the magic bus waits for the old lady crossing the street. The musical themes tell the story and Williams has a wonderful way of using the music to stimulate precisely the emotion necessary to accentuate the course of the narrative. This is all very interesting since cinema strikes me as the art form of our age. It uses all of the elements feasible to accomplish the catharsis so important to community. With Prisoner the score reflects the older score elements with new directions and the intrigue builds. Since the book offers so much more depth than the movie, the music is what keeps the movie from being just a pitiful reminder of the book. The music makes up for much that is missing in the movie by communicating the right emotion at the right time. I look forward to four more scores on these themes.

I love Williams, and this is a fantastic score, hinting wondrously at the original Potter score, and his own classics:

1. Lumos! (Hedwig's Theme)
Unfortunately, this is a rather disappointing rehash of the very first Harry Potter track ever heard, and I don't think it has a true place in this score. At least in The Chamber of Secrets, the conclusion to the theme was varied.

2. Aunt Marge's Waltz
This neo-Viennese waltz glides and soars and changes character as fast as someone struggling to dance properly. Humorous, dramatic, lively, a real delight...

3. The Knight Bus
This is an oustanding piece, even though I don't like it as much as most people. It cleverly introduces various upcoming new themes, including the "Something Wicked This Way Comes" (From the "Double Trouble" cue) repeated motive in the brass, and the haunting dementors' underscore. A welcome addition, Williams returns to his Cantina Band roots as he did less skitzophrenically in Catch Me If You Can.

4. Apparition on the Train
Again, a meld of Williams' earlier style a la Indiana Jones, and upcoming leitmotivic material, particularly "Double Trouble" and some of the climactic "marches" later on. Interesting underscore for John Williams fans, but perhaps meaningless to non-JW Harry Potter fans.

5. Double Trouble
The dark counterpart to the Christmas carol from Home Alone, "Carol of the Bells" with the requisite medieval instruments (recorder and tambourine etc) to suit the setting. The first major highlight of the album.

6. Buckbeak's Flight
This is "Flying" from E.T.: The Extra-Terrestrial all over again. It's almost as if Williams has gone back to one score for inspiration for each individual track, but luckily for us this is one that works above all others. THE BEST TRACK ON THE ALBUM.

7. A Window to the Past
This ode-to-Renaissance-chamber-music cue grows on you the more you listen to it, due to the lopsided phrasing of the beautiful minor-key recorder melody (based on the original Hedwig's Theme), but it soon falls into place, with a 3-against-2 harpsichord accompaniment. As you appreciate the well-done "Across the Stars"-esque Star Wars: Episode II - Attack of the Clones mood and instrumentation, you'll have a hard time deciding whether track 6 or 7 is your favourite. The clarinet reprise, and mellow horn call are lovely, subtle musical treats.

8. The Whomping Willow and the Snowball Fight
The bombastic timpani return from track 6 and combine with a dramatic tutti, again hinting at previous Harry Potter themes (mainly Hedwig's) with style. The "Snowball Fight" portion softens the Quidditch-esque violence with pleasant but forgettable Christmassy orchestration. Quite reminiscent of The Sorceror's Stone's "Entering the Great Hall."

9. Secrets of the Castle
By now quite familiar with the new "Double Trouble" theme, Williams gives it the celeste flavour of the original Hedwig's Theme. A virtuosic flute jumps in, after a brief climax, to show off how far Williams can stretch his obviously-beloved Hedwig's Theme.

10. The Portrait Gallery
"Double Trouble" is the subject of orchestral ridicule, the Medieval instrumentation this time adopting a very comedic character, despite its dark "The Face of Voldemort" undertones that surface more frighteningly towards this cue's conclusion.

11. Hagrid the Professor
I have no idea what instrument this is (some sort of traditional English horn?), but it's definitely meant to poke fun at Hagrid in his out-of-character role. Williams continues to display his virtuosity at adapting a new theme over and over in many new contexts.

12. Monster Books and Boggarts!
This is perhaps a sequel to the "Apparition on the Train" cue, but is all the more urgent this time. It should bring back intensely horrific memories of the Temple of Doom's "Well of the Souls" for any fan of that score. And yes, you guessed it, the "Double Trouble" theme is once again adapted to suit.

13. Quidditch, Third Year!
What did you expect? No Quidditch track? Get lost! Williams transfers the energetic style from those of the first two films (if not maintaining the same rhythmic motives) to match his new set of themes and chords. The "Something Wicked This Way Comes" motive as well as the "Secrets of the Castle" flute melody and of course, Hedwig's Theme, can be picked out, although not easily. The final two chords hint at the upcoming "Saving Buckbeak" cue.

14. Lupin's Transformation and Chasing Scabbers
Yes, it's about time we slowed the pace down a bit. Only a bit. Williams soon injects even more timpani-based "Quidditch" drama, and an amusing pizzicato take on, yes, you guessed it, the "Double Trouble" theme.

15. The Patronus Light
A beautiful adult choir hums us the Patronus story, much like something from Jurassic Park or Saving Private Ryan. Unfortunately, as the scene probably dictates, it is way too short.

16. The Werewolf Scene
This is the perfect culmination of all the bombast and horror found in cues from the past three scores, particularly "The Chess Game" and obviously all things "Quidditch." No guesses as to which themes are subtly reutilised, although Voldemort's theme from "The Face of Voldemort" appears for the first time, and more evidently, here.

17. Saving Buckbeak, and 18. Forward to Time Past
Hedwig's Theme (and arguably Voldemort's too) is so subtly hinted here, it's amazing. We're treated to the most interesting funeral-esque march I've heard in a long time, cleverly using the "Something Wicked This Way Comes" motive in its final metamorphosis, and what a crescendo! Meandering underscore over vibraphones leads us into "Forward to Time Past," a cue that, really, speaks for itself, in a curious "Face of Voldemort" style.

19. The Dementors Converge, and 20. Finale
More haunting dementors/"Apparition on the Train" underscore, with the addition of adult choir. The beauty and majesty of "A Window to the Past" on horns are assaulted by the dementors' music, then calmed by the choral "Patronus Light" theme, then given its original accompaniment, a fitting conclusion.

21. Mischief Managed!
A credits suite that has 0% new music. Clever title, though!

This is probably the best of the 3 soundtracks to the Harry Potter films. Being a fan of the books, the movie throughly disappointed me... but the music never ceases to amaze. I love every track especially #5 (Double Trouble) and #6 (Buckbeak's Flight). Track #5 uses a great verse from Shakespeare's "Macbeth" and gives the film an air of mystery and dark magic... and this installment is one of the darkest in the series (well book 5 is darker, but we're not talking about book 5). Track #6 just lifts my heart and gives me chills and goose bumps.... the same feeling hit me both times I saw the movie. The piece just captures the raw emotion, joy, and freedom of Harry at that moment.

I enjoy the use of what seems to be tin flutes and the almost medieval quality of some of the pieces. It's just a wonderful score, probably one of William's best works.

I definately recommend anyone to purchase this... even if you don't like Harry Potter, you will love the enchanting themes found in this score.

I was completely blown away by this soundtrack. For the movie "Harry Potter and the Prisoner of Azkaban", John Williams wrote some new music that will be remembered for years to come. He truly deserves another Oscar for this one.

Here are my reviews for each track.

1. Lumos (*****/*****) Nothing new but still unforgettable.
2. Aunt Marge's Waltz (*****) Playful; doesn't sound like it was made to accompany a movie scene at all.
3. The Knight Bus (*****) Jazzy piece; perfect for the KB scene
4. Apparition on the Train (****) Dark and atmospheric
5. Double Trouble (*****)Perfect welcoming song for Hogwarts students.
6. Buckbeak's Fight (**********/*****)As beautiful as the Flying theme from E.T. This song is worth the price of the whole CD. A classic
7. A Window to the Past (*****) The second most moving piece in the CD. Another classic
8. a.The Whomping Willow (*****) Timpani,timpani,timpani
b.The Snowball fight (****) Listenable but not as great as the old Christmas theme.
9.Secrets of the Castle (*****) Soft but powerful.
10.The Portrait Gallery (***) Worst song in the soundtrack.
11.Hagrid the Professor (*****)Medieval music; instrumental version of Double Trouble.
12. Monster Books and Boggarts (****) Similar to The Knight Bus theme but faster.
13. Quidditch, Third year (*****) The best action cue in the soundtrack
14. a.Lupin's Transformation (****) Listenable.
b. Chasing Scabbers (***) Forgettable
15. The Patronous Light(*****) Beautiful music; very peaceful.
16. Werewolf Scene (*****) Almost the same as Track 14.a only better
17. Saving Buckbeak (*****) The second longest track; one of the best.
18. Forward to time Past (*****) Ingenious
19. The Dementors Converge (****) Dark but sometimes heroic
20. Finale (*****) Emotional, perfect
21. Mischief Managed! (*****) Basically a medley of the most beautiful tracks.

...
As a budding "musical kid" I worshipped Williams's scores to the original Star Wars movies, in particular The Empire Strikes Back. It is perhaps no surprise, given that context, that I had become concerned about Williams's recent work. I felt, bluntly, that he had begun to lose the sparkle that makes a "Williams Soundtrack" worth buying. Given Howard Shore's stunning Lord Of The Rings soundtracks -- the only "orchestral" soundtracks which exceed classic Star Wars, in my opinion -- plus Williams's uncreatively recycled and downright BORING music for Star Wars Episode II in 2002, I was frankly worried about Williams being able to handle the task of scoring such a complex story as Azkaban.

Thankfully my concerns were unfounded. The Azkaban soundtrack is a near-flawless execution of the Williams Style: state the main theme of a multifilm franchise boldly but tinker with it unpredictably, brood and be moody where necessary, be cute where appropriate, and always stay in step with the director's overall cinematographic vision. Furthermore, a good Williams soundtrack [as *any* good soundtrack] must stand on its own but it should simultaneously exist as a part of the film from whence it comes.

The Azkaban soundtrack fits this mold perfectly.

Williams has succeeded on a grand scale with Azkaban. This soundtrack does lack powerhouse moments such as found in Empire Strikes Back, and it offers essentially none of the haunting and emotionally wrenching moments found within Howard Shore's Lord Of The Rings music, but this is nevertheless a fantastic movie soundtrack and it will be rightly remembered as part of why Azkaban is the best of the first three Harry Potter films. As Dumbledore once said... "between you and me, that's saying something."

Finally, I must pay specific kudos to Mr Williams for prominent use of harpsichord-style instrumentation in Azkaban. The venerable harpsichord is sorely lacking in today's mainstream movie music, and it takes a rare talent to use it effectively. Keep up the good work!

In all honesty, I actually didn't buy the first two soundtracks in fear of going nuts from the over-repetition of "Hedwig's Theme." This catchy little motive that hearkens back to Sorcerer's Stone is not completely missing in Prisoner of Azkaban; "Lumos" excluded, the great part about this soundtrack is the way in which Williams cleverly slips the theme into a few of the songs - as if to remind you that this film is actually part of a series. (If you don't believe the last part of what I said, listen to the last ten seconds of "Mischief Managed.") He didn't completely avoid the repetition of a theme in this movie (in this case, "Double Trouble"), but it's done tastefully.

A few of the tracks that stuck out in my mind when listening:

Aunt Marge's Waltz - Anyone who knows anything about Viennese waltzes will be giggling through all 2 minutes and 15 seconds of this cute, mocking little tribute to everyone's favorite aunt. I actually laughed out loud during the final chords of this song.

The Knight Bus - The reason I really enjoy this piece is because just listening to it brings back vivid mental images from the movie. That, and a jazzy number was definitely a welcome break from some of the more mainstream soundtracks out there. That kind of applies to the whole album, really - it is outstanding because of its avoidance of the "normal soundtrack" music you hear a lot nowadays.

Buckbeak's Flight - "Jaaack, I'm flying!" Ahem. Anyway, the bliss in this piece is so well-portrayed that you can't help but smile listening to this.

The Patronus Light - Oh, it's so creepy and ethereal. And I absolutely love it. Thank you, John Williams, for not making the music in this part of the movie unbearably cheesy. Because that part in the book choked me up, and if you had made it cheesy in the movie I wouldn't have bought the soundtrack.

Bottom Line: If you're a fan of Harry Potter or John Williams, or you want to listen to a soundtrack that is actually unique in its own way, I definitely recommend buying this CD. And playing it. Over and over. Like I'm about to go do.

As much as I love what Mr. Williams has done for the world of orchestral music in the past few decades, I've felt of late that he, like too many in the world of film scoring, have fallen into an unbreakable pattern of turning out a lot of music that is in and of itself good, but not anything more than that extra something that films need to spice things up a bit for the audience. While no one doubts that Williams is a masterful composer, I really feel that in many of his recent scores, so much of his talent was being wasted on a formula (i.e. thick orchestration, sweeping melodies, chirping woodwinds) that becomes sonic wallpaper even when taken out of the film and put into our CD players. Audiences now have become so used to this sound that we almost wouldn't notice if it wasn't there.

So, while I usually don't endeavor into movie scores until after actually viewing the film (I think it's kind of unfair to pass judgement when I don't know the context in which it was written), I was so intrigued by claims in early reviews of a completely revamped HP soundtrack that I couldn't stand the wait.

Let me just say that with this score, Williams has completely restored my faith in his ability to catch our attention and really do something daring with his talent. While some fans might be a bit deterred by the nearly complete lack of any thematic material found in either of the other two films, I find that the change is extremely refreshing. Williams has also stumbled upon new ground that I hope he continues to tread for some time: small, intimate chamber sounds as opposed to the full orchestral glory that has become his trademark. The two tracks that sold me on this score are:

1) "A Window to the Past," which aside from being a hauntingly mournful piece, introduces a rich, colorful instrumentation of recorder, harpsichord, and other medieval/Renaissance sounds that continue on into other tracks. Not only is the sound appropriate to the HP setting, but extremely evocative in a way that will no doubt tug at the heartstrings of the audience.

2) "Finale," which includes the theme from "The Patronus Light," a quiet, ethereal vocal setting of some of the most strikingly simple, beautiful music to come from Williams in years. Simply the fact that he places this, instead of the power of the full orchestra, behind the climactic moment in the film (which would no doubt fit without anyone flinching) is truly a stroke of brilliance. My only disappointment is that these tracks aren't longer!

While the eclectic nature of the music in this score (ranging from quasi-classical minuet to wild jazz to something sounding like Renaissance chamber music) makes it often seem disjointed and sudden in its transitions, I have no doubt that it will add the color to the film that Williams's scores have been lacking in recent years, and will be an engaging listen to anyone with a broad range of musical taste.

Are you a John Williams fan? If you can name more than twenty of his scores, then the answer to that question is yes, and you should just go ahead and buy this CD, if you haven't already.

For the rest of you, I highly recommend the CD. It doesn't rank as one of Williams's very best scores -- that's hard to do -- but it IS a consistently inventive and engaging work that finds Williams taking his Harry Potter music in new directions of intensity and emotional gravity. I imagine it's going to sound great in the movie, for which I cannot wait.

These are the best tracks: "The Knight Bus," which sounds like a crazy mix of the Cantina Band music from "Star Wars" and the jazzy theme for Christopher Walken's character from "Catch Me If You Can," and is a wonderfully spry piece from a Hollywood veteran; "Buckbeak's Flight," which proves again that Williams seems to be particularly inspired when writing music to represent flight; "A Window to the Past," a gorgeously gentle piece that represents Harry's despair over never having known his parents; "Double Trouble," an excellent song that is also the major new theme of this movie, instrumental versions of which pop up here and there throughout the score; and "Mischief Managed," a suite of the various new themes that, I imagine, will play over the end credits. Those are merely the high points; pretty much every track is good to one extent or another.

You remember when you saw ET for the first time and the music rose to that unforgettable magical moment, just as that bicycle silhouette flew across the moon, and shivers ripped down your spine? And remember how the main titles for the Star Wars films always made you jump in your seat and got your pulse going? Those magical musical moments were John Williams at his best because he got your emotions involved. Well, with *this* score, John Williams does what John Williams does best: he gets to the emotions.

There's "Lumos" to start things off with its signature mystical strains, and then it falls right into a upbeat waltz that puts a smile on the face- I haven't seen a frame of this movie yet, but William's score is telling the story. Something terrifically quirky and funny is happening, it's in the pep of the woodwinds and the belching horns.

Williams takes on fast and funky jazz to epitomize Harry's zany journey on the "Knight Bus", a terrific choice. There's the quirky, but strangely hum-able "Double Trouble" with a superb renaissance flavor. "Buckbeaks' Flight" is surprisingly powerful and (here's that word again) magical piece that is just ever so quintessentially John Williams. And then, he returns to the renaissance motif and expands upon it with the sublimely beautiful composition "A Window to the Past". It's perhaps the most beautiful piece Williams has done for the Potter films and when the listener realizes what looking into this window of the past means for Harry, the heartaches and injustices he's suffered, this haunting melody is wrenchingly appropriate. This piece in particular, I feel, makes the score shine and also makes it easier to forgive some of the less inspired pieces on the album.

It's not William's best film score, but I feel confident that it is certainly his best Harry Potter score. It's a return to form for Williams, because in its one hour and eight minutes of play time, he lets us feel the magic, sadness, joy and wonder of Harry's world. Which is something *only* Williams could do.

I believe this might be John Williams' best score since Schindler's List. It is most certainly the best of the 3 Harry Potter scores so far. For this movie Williams has created a great balance between familiarity to tie into a storyscape with which we are already familiar, and fresh, exciting additions to the Harry Potter musical world. It was a difficult task and he helped bring the magic out of a story most of us knew before we even entered the theater. For us it came to life in ways we never even thought possible. (Those who listen carefully will notice that even "Hedwig's Theme" which is generally the same, sounds different in each of the three soundtracks.)

Williams demonstrates his versitility again in his ability to create amazing themes that he then can bring into any part of the score. One theme in particular is the one featured in "A Window to the Past" which can be heard sometimes at a quiet, nostalgic moment of self reflection and others as a majestic triumph over not only evil, but self-doubt as in "Finale" when Harry conjures his first corporeal patronus (those who have read the book will understand this triumph over self-doubt better).

The only criticisms I have are for the sound editing team (on the movie, not the cd). First of all, they pushed the score so far into the background that, at times, the music had no impact at all. Even during scenes with no dialogue whatsoever (such as "Buckbeak's Flight") you get the feeling that someone has his hand on the volume nob, making sure we don't wake the neighbors. Second of all, some of the cuts were entirely unnecessary. Cutting down the 11 seconds of enthralling percussion at the into of "Buckbeak's Flight" caused the track to sort of stumble into the air which didn't represent what we saw on the screen at all. Listening to this cd is the only way to fully appreciate what Williams has done for this movie. These poor decisions may have been the one thing that cost Azkaban the Oscar for Best Score. (This is not to say that I believe Finding Neverland didn't deserve the award. I enjoyed it very much as well.)

Williams' music has been taken to the next level by an orchestra and recording team that have done as near a flawless job as I can find anywhere. Like the movie, the recording places the listener very much in the role of an outside observer, with a slight feeling of distance from the sound (not to be confused with volume as mentioned above). So often I hear film scores that are so intimately recorded, I feel as if the orchestra is sitting right in my lap and I have no room to breathe. The nuance and atmosphere of this music is simply superb and the recording leaves plenty of room for me, as well as the music, to breathe freely. My favorite track by far is "A Window to the Past" which takes the raw emotion of the recorder's theme at the begining and develops it into a grand orchestral climax; finally it is fully resolved and refined in one of the most superb clarinet solo's I've ever heard.