Harry Potter 7CD Collection - SAMPLES and clips discussion

[TSMefford 1,509]

6 minutes ago, Josh500 said:

Unless it's original music written by JW for the trailer, why would anybody care? 

 

Not getting all this trailer hype. Can somebody explain? 

 

It is original music written by JW for the trailer...and the first recordings ever of Hedwigs theme.

[Josh500 1,615]

3 minutes ago, TSMefford said:

 

It is original music written by JW for the trailer...and the first recordings ever of Hedwigs theme.

 

I know that.

 

I'm talking about the Coca-Cola trailer...

[Holko 9,499]

15 minutes ago, Josh500 said:

 

I know that.

 

I'm talking about the Coca-Cola trailer...

That is also original music JW specifically wrote for it... It was on the OST.

[Josh500 1,615]

3 minutes ago, Holko said:

That is also partly unreleased original music SW specifically wrote for it...

 

SW? 

51 minutes ago, Holko said:

It's cut in about half, it's a minute long piece.

 

Sorry, there's nothing new whatsoever in this trailer. Unless you mean the other half minute, not in this video?

[Holko 9,499]

🙄

 

13 minutes ago, Josh500 said:

Sorry, there's nothing new whatsoever in this trailer. Unless you mean the other half minute?

 

cue list:

Hedwig Tries a Cookie – 0:59 Coke twice misspelled turned into "cookie". It's a minute-long compilation of score material arranged specifically for the coke ad and recorded at the scoring sessions.

From Datameister's cue-by-cue breakdown:

 

Hedwig Tries a Cookie – [01:02]
This cue is known as “Coke Ad 60s” meaning “60 second Coke Ad.” The title “Hedwig tries a Cookie” i believe is a misrepresentation of what williams had written which may have simply been “Hedwig tries a Coke-ey” but spelled “Cokie” as Williams has a thing for spelling words with “ie” instead of “y”

 

See Arrival of Baby Harry 1:44-2:43

[Alan 689]

I didn't realise that the Cola trailer music was always part of the opening OST track until the MM interview about the set. Still nice to have it but I suppose it's a bit less interesting in its own right now.

[bollemanneke 3,337]

For me it works way better on its own that in the arrival cue.

[Incanus 5,713]

13 minutes ago, Alan said:

I didn't realise that the Cola trailer music was always part of the opening OST track until the MM interview about the set.

You obviously haven't read my analysis of the score then.  

[Holko 9,499]

12 minutes ago, bollemanneke said:

For me it works way better on its own that in the arrival cue.

Or more, the Arrival cue is much better in full on its own without unrelated ad cues in the middle of it!

[Incanus 5,713]

Just now, Holko said:

Or more, the Arrival cue is much better in full on its own without unrelated ad cues in the middle of it!

Yes!

[Alan 689]

1 minute ago, Incanus said:

You obviously haven't read my analysis of the score then.  

 

Caught red handed! I'll have a ready later

[Holko 9,499]

2 minutes ago, Alan said:

 

Caught red handed! I'll have a ready later

With all due respect for that actual masterpiece, I'd recommend you wait for the set and listen to the score on your own a few times beforehand to get a hang of the new music and its magicalness - let your mind be blown by the music, then blown even more when you read about things you haven't noticed!

[Josh500 1,615]

Listening to "The Arrival of Baby Harry" now!

 

One of the many highlights of this score!

 

 

[Holko 9,499]

It may be blind nostalgia for a large part, but every single cue of this score is a highlight to me, they practically all have something great, unique and memorable.

[Josh500 1,615]

3 minutes ago, Holko said:

It may be blind nostalgia for a large part, but every single cue of this score is a highlight to me, they practically all have something great, unique and memorable.

 

Indeed! 

 

I love this score, but I love this movie too. It has a timeless, awesome quality to it. Arguably, Chris Columbus' masterpiece. 

[redishere 697]

1 hour ago, Holko said:

That is also original music JW specifically wrote for it... It was on the OST.

I may be mistaken, but isn't the Coke Ad Music the first recording of HP music ever?
If it is, it's incredible how JW managed to fill 60 seconds with such great music,

without having even seen the movie.

[TSMefford 1,509]

6 minutes ago, redishere said:

I may be mistaken, but isn't the Coke Ad Music the first recording of HP music ever?
If it is, it's incredible how JW managed to fill 60 seconds with such great music,

without having even seen the movie.

 

I assumed the teaser was. He wrote that based on the book for a sizzle reel (aka trailer) for Warner Brothers before hired on as composer. Coke Ad sounds like a brand deal made once they had something to show companies to partner up.

[Holko 9,499]

Yes, it's the teaser.

[redishere 697]

1 minute ago, Holko said:

Yes, it's the teaser.

 

1 minute ago, TSMefford said:

He wrote that based on the book for a sizzle reel (aka trailer) for Warner Brothers before hired on on composer. Coke Ad sounds like a brand deal made once they had something to show companies to partner up.

Now I get it  anyway, it's an impressive work.
JW really breathed life into Harry Potter!

[bollemanneke 3,337]

2 hours ago, Holko said:

It's cut in about half, it's a minute long piece.

That's nice! I've never actually heard the commercial before. (Why does everything about HP1 make me feel so nostalgic?)

[Holko 9,499]

I've never seen the original teaser but it did make me incredibly nostalgic.

[TSMefford 1,509]

1 minute ago, bollemanneke said:

That's nice! I've never actually heard the commercial before. (Why does everything about HP1 make me feel so nostalgic?)

 

Because it came out...17 years ago. Gah. I remember seeing it for the first time....

 

There it is. The nostalgia

[Jurassic Shark 12,030]

5 minutes ago, bollemanneke said:

Why does everything about HP1 make me feel so nostalgic?

 

Because you're now an old man.

 

[Josh500 1,615]

Home Alone makes me feel nostalgic too! 

 

That's the magical Chris Columbus and John Williams combo! They know how to evoke childhood memories and tug at the heartstrings ... 

[TSMefford 1,509]

Just now, Josh500 said:

Home Alone makes me feel nostalgic too! 

 

That's the magical Chris Columbus and John Williams combo! They know how to evoke childhood memories and tug at the heartstrings ... 

 

Oh goodness yes. John Williams is nostalgic. Lol.

[Jay 37,287]

The initial HP1 teaser cue was recorded in Los Angeles in November of 2000, and was then used on the first teaser for the film that came out, when was it, the summer of 2001?

 

The HP1 trailer cue was recorded in Los Angeles in June of 2001 and was used on the trailer that came out closer to the film's release, in what, November of 2001 or so?

 

The score used in the film, as well as the entire children's suite and the coke ad, were all recorded in London in August and September of 2001.

The coke ad recording has always been in the OST album, right in the middle of track 3, "Arrival of Baby Harry".  The recording sessions leak presented it cleanly, as "Coke Ad 60s".

 

 

I cannot recall off the top of my head how the original teaser and trailer cues might have been edited for the final released teaser/trailer, but for for the LLL set Mike had access to every take of every cue recorded, including the teaser and trailer, so whatever editing was done for them wouldn't be a factor here - Mike used the full unedited recordings from the new high res transfers of the original analog tape, just like the rest of the score.

[mstrox 6,647]

I remember the mania here over hearing that first teaser.  A very high traffic JWFAN Moment(TM)

[Josh500 1,615]

I don't even know how many times I watched this as a kid, even before I became a JW fan.... Outside, it's getting dark and cold, Christmas atmosphere is all around, the fragrance of freshly baked cookies in the air and the anticipation of Christmas presents becoming nearly unbearable...

 

And from the TV in the living room: 😂❄️🎄✨🎁

 

 

[TSMefford 1,509]

3 minutes ago, Jay said:

The initial HP1 teaser cue was recorded in Los Angeles in November of 2000, and was then used on the first teaser for the film that came out, when was it, the summer of 2001?

 

The HP1 trailer cue was recorded in Los Angeles in June of 2001 and was used on the trailer that came out closer to the film's release, in what, November of 2001 or so?

 

The entire score used in the film, as well as the entire children's suite, as well as the coke ad, was all recorded in London in August and November of 2001.

 

I thought in an interview with Mike he said they couldn't get the LSO and had decided only certain cues would get redone in London? With the rest of it being done in LA?

 

EDIT: Let me see if I can find the portion.

[Jay 37,287]

On 12/3/2018 at 10:36 AM, TSMefford said:

I thought in an interview with Mike he said they couldn't get the LSO and had decided only certain cues would get redone in London? With the rest of it being done in LA?

 

The entire score to HP1 was recorded in London.  First at Air Studios, then at Abbey Road.

 

The only thing not recorded in London are the teaser and trailer cues, recorded in LA months earlier.

[TSMefford 1,509]

4 minutes ago, Jay said:

I have no idea what you're talking about.  The score to HP1 was recorded entirely by the London Symphony Orchestra.

 

I'm looking for it. Perhaps it was something else.

[Alan 689]

4 minutes ago, TSMefford said:

 

I thought in an interview with Mike he said they couldn't get the LSO and had decided only certain cues would get redone in London?

 

They couldn't get Abbey Road (I think?) for most of the recording so they recorded elsewhere in London. They then went back to re-do some cues at Abbey Road.

[TSMefford 1,509]

1 minute ago, Alan said:

 

They couldn't get Abbey Road (I think?) for most of the recording so they recorded elsewhere in London. They then went back to re-do some cues at Abbey Road.

 

Ohhhh. Yes. You are correct. That's what it was my apologies. Whoops. Sorry @Jay

[Jay 37,287]

1 minute ago, Alan said:

They couldn't get Abbey Road (I think?) for most of the recording so they recorded elsewhere in London. They then went back to re-do some cues at Abbey Road.

 

Most of the score was recorded at Air Studios.  Only the final 2 days of sessions were at Abbey Road.

[TSMefford 1,509]

Just now, Jay said:

 

Most of the score was recorded at Air Studios.  Only the final 2 days of sessions were at Abbey Road.

 

Yep. Goodness I'm having a rough morning. XD. 

[bollemanneke 3,337]

But did the LSO officially record HP1? Because radio presenters always say it's a studio orchestra, only when they play HP2 do they mention the LSO.

[redishere 697]

24 minutes ago, mstrox said:

I remember the mania here over hearing that first teaser.  A very high traffic JWFAN Moment(TM)

Would've loved to witness the HP frenzy here back then!

But maybe it's better this way.
A 15-year-old redishere lost in JWFan all day probably would have never finished school  

[Jay 37,287]

It's impossible to tell from listening which cues are Air Studios and which are Abbey Road.  The sound engineers did an amazing job at matching the recordings

[Holko 9,499]

Nevermind I was ninja'd, I was just about to ask whether there are differences between the recordings in the two studios.

[Josh500 1,615]

I remember distinctly that the score to HP&PS was not performed by the LSO. Only a few members from the LSO participated in the recording sessions, but not the LSO proper. That's why it doesn't say LSO on the OST album, either!

 

Or was that false information too? 

[Jay 37,287]

2 minutes ago, bollemanneke said:

But did the LSO officially record HP1? Because radio presenters always say it's a studio orchestra, only when they play HP2 do they mention the LSO.

 

Oh you're right, I always forget that HP1 wasn't "officially" the LSO, just many of the the same musicians.  My bad.

[TSMefford 1,509]

Picking up the discussion here about PoA's Hedwig's Theme statement in the end credits. @Holko

 

It sounds to me like the LLL version in the sample is edited. I can almost hear the note quickly fade out as the insert comes in. 

[scallenger 481]

2 hours ago, Holko said:

🙄

 

 

cue list:

Hedwig Tries a Cookie – 0:59 Coke twice misspelled turned into "cookie". It's a minute-long compilation of score material arranged specifically for the coke ad and recorded at the scoring sessions.

From Datameister's cue-by-cue breakdown:

 

Hedwig Tries a Cookie – [01:02]
This cue is known as “Coke Ad 60s” meaning “60 second Coke Ad.” The title “Hedwig tries a Cookie” i believe is a misrepresentation of what williams had written which may have simply been “Hedwig tries a Coke-ey” but spelled “Cokie” as Williams has a thing for spelling words with “ie” instead of “y”

 

See Arrival of Baby Harry 1:44-2:43

 

Once I finally heard this, I could never unhear it being edited into it and can't ever listen to the OST again. LOL

[redishere 697]

9 minutes ago, scallenger said:

Once I finally heard this, I could never unhear it being edited into it and can't ever listen to the OST again. LOL

Oh, God. I just realized this.
Not the best horrible edit, in my opinion

[Jay 37,287]

14 hours ago, Incanus said:

Not to derail the Prequel discussion but I was reminded of Williams' own repurposing of his own musical ideas as he took the Philosopher's Stone motif from HPPS, where its use is very systematically to underscore the Philosopher's Stone and related action and turned it into a general ominous bad guy/bad things happening motif in Chamber of Secrets. 

 

Whether this was due to temp tracking, director's wishes, production schedule troubles or something else is unknown but I have always felt that it was a somewhat odd decision, especially considering that he wrote a superb mystery/villain theme for the Chamber itself which is used very sparingly in the film and it disappears when Harry finally enters the Chamber of Secrets where one would expect to hear the most expansive renditions of it. Even Duelling the Basilisk doesn't feature it in any prominent way. I guess the feeling the Philsopher's Stone motif conjured was such great shorthand for foreboding and evil it was easy to adopt as a new general purpose baddie motif for the second film and Williams could more easily adapt his older material with such a prominent yet relatively simple musical callback that listeners could readily identify as a signal for "bad things".

 

It would be interesting if such things were addressed in the liner notes but I expect they won't go this deeply into the adaptation process. What say you Jay?

 

My biggest disappointment with the Chamber score (which I absolutely LOVE, btw) is easily the fact that the Stone motif is used at all, let along as frequently and prominently as it is.  As you indicated, JW wrote a FANTASTIC theme for the Chamber, which got a tremendous concert arrangement but also is worked into several key cues in a FANTASTIC way; Every single time the Chamber theme is used in an actual film cue, it's orchestrated differently than it ever is in the concert arrangement, and all those moments are among my favorite moments in the whole score.  The melody really lent itself to being adaptable into different spots and perfectly captures the air of mystery around the Chamber.

 

I don't think we'll ever know the full entire story of the writing and adapting process of HP2, but to me, I would personally hypothesize that if Spielberg had delayed Catch Me If You Can to the following Oscar season and JW had been able to dedicate his normal routine to HP2, he wouldn't have used the Stone motif again and all the spots that currently use it would either have the Chamber theme or something else instead.

 

I've long thought about trying a fun editing experiment: Taking the entire score, and then carving away all the parts that are lifts from HP1 and see how long a resulting album could be, and how musically sound it would be.  Originally I thought for sure I'd remove all instances of the Stone motif for this project, but after studying the score more, I think that would be impossible.  The stone motif was reorchestrated and integrated into new cues pretty well at times, and several instances of the Chamber theme kind of spill out of a familial instance of the Stone theme.  Mike describes this well in the liner notes - "It is particularly effective when it emerges unexpectedly from adapted Sorcerer’s Stone material — the listener is lulled by the familiar and then confronted with a chilling theme that makes Hogwarts feel vulnerable and unsafe."

 

So I think the timecrunch is certainly the main reason the stone motif is used so often, and its a bummer, but what can you do!

 

14 hours ago, artguy360 said:

Although this complete release will surely feature much more of the Chamber of Secrets theme, I have always felt that it was sorely under-utilized in the film. 

 

You can check out the cues Williams wrote it into in the session leak right now - The Writing On The Wall, Petrified Justin, Petrified Colin, It's a Basilisk, Ginny Gets Snatched, and The Search For Ginny [Goodbye To Memories in the leak].

 

 

14 hours ago, Holko said:

Yes, the Chamber theme is great and used quite a bit. The reason I don't really mind repurposing the Stone motif is that it really allows it to come into its own in-film with bombastic variations and new orchestration the best we had in PS was Gringotts, the mostly unused and unreleased Three Note Loop and it in counterpoint with one of Voldy's themes at the end. Now we also get Transformation Class, Meeting Tom Riddle and Entering the Chamber among many others.

 

Yes, some of those new orchestrations are really powerful and intimidating.

 

 

14 hours ago, publicist said:

I think it's due to the shape of the Chamber theme, which doesn't really work as motif - that's why they only use the underlying triplet base with only the first phrase of the theme whenever they use it. I guess Williams wrote all the themes (this, Fawkes, Dobby) as general ideas before seeing the movie. They worked these in as good as they could but obviously they weren't that great a fit except for some incidental moments (even worse, they all were forgotten after COS).

 

I dunno, I think the Chamber theme is worked into the cues very well, personally.  But I kind of know what you mean that it doesn't quite create the same feel that the Stone motif does... the interesting thing I figured out while working on this set was that Williams actually wrote another little motif relating to the chamber and the general mystery of the film; You can hear it at the end of the "Petrified Colin (Alternate)" sample (it was removed from the film version), but it was introduced earlier, in "The Writing On The Wall" and reappears later too, in "Ginny Gets Snatched".  I imagine he would have embellished on this as well as the Chamber theme he had time to rewrite every cue that currently uses the Stone theme.  Alas.

[TSMefford 1,509]

43 minutes ago, TSMefford said:

Picking up the discussion here about PoA's Hedwig's Theme statement in the end credits. @Holko

 

It sounds to me like the LLL version in the sample is edited. I can almost hear the note quickly fade out as the insert comes in. 

 

The LLL version of the end credits does indeed mimic the Film Edit exactly.

So the Hedwig's Theme statement is cut a bit short in both the film and on the LLL set (or the OST and other longer ending note appearances are looped)

 

Here's the waveform comparisons for those of us who care.

 

I'm probably going to replicate the edit present in Art of the Score. 

 

DISCLAIMER: I'm not at my workstation, so the only version of the Film Credits I could find quickly was a surround channel version on YouTube, which is why the waveforms don't perfectly match in shape with the LLL version, but you can tell they do in timing.

 

My apologies for those who don't give a damn. My inner music editor is coming out.

 

Personally, I'm hoping that 26. The Firebolt [Alternate] 1:30 has the whole thing.

[Holko 9,499]

4 minutes ago, Jay said:

JW wrote a FANTASTIC theme for the Chamber, which got a tremendous concert arrangement but also is worked into several key cues in a FANTASTIC way; Every single time the Chamber theme is used in an actual film cue, it's orchestrated differently than it ever is in the concert arrangement, and all those moments are among my favorite moments in the whole score.  The melody really lent itself to being adaptable into different spots and perfectly captures the air of mystery around the Chamber.

 

4 minutes ago, Jay said:

The Writing On The Wall, Petrified Justin, Petrified Colin, It's a Basilisk, Ginny Gets Snatched, Searching For Ginny.

 

This 100%! Even if it repeats a lot of earlier material, the Chamber theme's usage (helped to some extent by Dobby, Fawkes and some incidental music of course) raises my love of this score to practically the same level as the first one which has pure magic and nostalgia on its side.

[TSMefford 1,509]

1 minute ago, Holko said:

 

 

This 100%! Even if it repeats a lot of earlier material, the Chamber theme's usage (helped to some extent by Dobby, Fawkes and some incidental music of course) raises my love of this score to practically the same level as the first one which has pure magic and nostalgia on its side.

 

Yes. Absolutely.

[Jay 37,287]

6 minutes ago, Holko said:

Even if it repeats a lot of earlier material, the Chamber theme's usage (helped to some extent by Dobby, Fawkes and some incidental music of course) raises my love of this score to practically the same level as the first one which has pure magic and nostalgia on its side.

 

 

Totally agree.

 

The first score is a bright, often whimsical fantasy score with occasional dips into darkness.

The second score is a dark, brooding mystery score with occasional ascent into whimsy

They are nice cousins.

[Alan 689]

Regarding the end of POA, I'd imagine that where the LLL ends the Hedwig theme statement is where JW intended the insert to begin. Practically it makes no difference, but it sounds better than saying the new set retains a film edit 😜