Joshua Gizelt (swashbuckler332) wrote,
Joshua Gizelt
swashbuckler332

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The Golden Egg

I came home tonight and found that brvolition had posted in filmscore that AOL Music has the entire CD of Patrick Doyle's score for Harry Potter and the Goblet of Fire. I have finally heard the score in its album form.

Wow. This is a very different approach to the material than Williams... and I like it. This score is much darker than the other three because it has to be, but there is an operatic element to this one that not even the first film attempted. The palette is thicker and heavier, but it also encompasses some very grand pieces for the Quidditch World Cup and the Triwizard Tournament and more florid and bubbly cues such as "Myrtle's Move." It is a bold, old fashioned score, very much in the vein of Indochine or Secondhand Lions.

This is the type of thing that Doyle excells at, and there is no attempt to mimic Williams' style. The score will definitely fit the film, judging from my knowledge of the book and what footage I've seen thus far. In fact, it's everything I hoped it would be, a large-scale epic fantasy score. Judging from the score, this film will be much, much darker than even the last one.

"The Golden Egg" and "The Black Lake" are powerhouse action cues that maintain a sense of wonder. "Voldemort" closes with a truly spectacular orchestral passage that I can only assume is for the Priori Incantatum. The mournful "Cedric" is one of Doyle's wrenching elegies, similar to the one heard in Carlito's Way.

Doyle has indeed carried over Williams' Hedwig's theme, and it is perhaps the area of the score that most marks his own identity. It is completely different from the playful quotations in the previous two films. I don't mind in the least, because it sounds fantastic in its new, much darker arrangements. Doyle uses Hedwig's theme sparingly on the album, and has retained none of Williams' other material. Williams himself, however, took the first step towards why this works by jettisoning all of his own thematic material from the first two films save Hedgwig's theme (and a brief quotation of other Harry Potter theme at the very end) in his score for Harry Potter and the Prisoner of Azkaban. That score was substantially different in many ways from its predecessors, and so the change from one composer to the next, especially considering that Hedwig's theme remains a common thread, is a decently smooth one.

Three songs close out the album. These are apparently meant to play at the Yule Ball, but they don't really sound like they belong... these might be album versions of music that will appear in the film... or something. I don't know.
Tags: film music, harry potter, john williams, patrick doyle
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