by Crono on 10/31/2005
favorite track: 12
 
"Everything is going to change..."

When it was announced that director Alfonso Cuarón would direct Azkaban, many in the film score community wondered if Patrick Doyle (who had worked with Cuarón on Great Expectations) would come with him. As we all know, Doyle did not. However, when it was announced that Mike Newell was on board to helm Goblet, many again wondered if a changing of the composer was drawing near. A few months after photography began, it was announced that indeed, John Williams had stepped down and Patrick Doyle (long time collaborator with Newell) had taken over the baton. Again, Williams' purists howled, but many took a sigh of relief.

For me personally, it was something exciting. As much as I love Williams' developments in his first three scores, I feel a change is needed as the story became darker, older and more mature. While I know Williams' could have written such music, I feel Harry's world can belong to anyone with the musical vision to support its needs.

I really didn't know what to think when I first heard Doyle's score. I needed a few days to really sit back and try to dissect what the score is trying to accomplish. His music for this newest imagining is nothing short of totally original. I think his music is a perfect fit for the Goblet of Fire story. It's grown up and interesting (based on the contents of the album) and does not depend on a strong thematic through-line unlike the previous three films. The book is dark, and so is the score. Doyle's music completely reflects the source material, and if the music is any indication, it will work wonderfully with the film.

I'll kick off with some of the small thematic material I found. In "The Dark Mark," we hear a new theme for Voldemort. This theme is also found in the finale cue "Voldemort." We also have a new theme for Harry. Found in small parts throughout the score, the theme is somber, but at the same time grand and uplifting, found in various arrangements in "Harry in Winter," "Death of Cedric," as well as the epic closing cues, "Voldemort" and "Another Year Ends."

What I find really refreshing about this score is its lack of borrowed material from the other scores. Williams' "Hedwig's Theme" is only used a few times on the CD and the rest is all Doyle. The score ranges from epic action cues like "Golden Egg," to grand and majestic pieces like "Neville's Waltz," dark music as heard in "Voldemort" and sad, tender music as heard in "Death of Cedric." Overall, the music on the entire disc is great, and while the previously mentioned lack of thematic through-line is all but heavily apparent, however after a few listens, Patrick Doyle makes it easy to realize that themes aren't necessarily required to have a great score. I think Doyle has created something very grand here, something totally original, yet still true to Harry's world. That's something I find amazing. It doesn't replace Williams' original scores, but manages to stand next to them as an equal.

So, will Doyle return for David Yates and Order of the Phoenix? Your guess is as good as mine, however I would not mind. Pat, if you're listening: I'd like some thematic development with your next go-round, please!

A word about the songs by Jarvis Cocker that appear on this disc. They are supposedly for the Yule Ball sequence that appears in the middle of the film. They completely take you out of the ending mood of the disc, and the hard rock aspect of the tracks makes me hope they are very different in the film. I'd never imagine a Ball sequence with that kind of music, Potter or not.

Just some more words about the disc: The mastering is amazing. The recording by Nick Wollage is nothing short of phenomenal. I never need to mention how good the London Symphony is.

At any rate, as always, I'm off to enlist myself into the Order.

Cheers and Happy Listening!