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!
