Faleel 5,331 Posted January 11, 2019 Share Posted January 11, 2019 1 hour ago, Datameister said: For that passage, I think I prefer the sessions mix...but I'm thrilled that we now have both! It sounds more like Council Meeting from ROTS with the synth overlay included. Link to comment Share on other sites More sharing options...
Datameister 2,037 Posted January 11, 2019 Share Posted January 11, 2019 54 minutes ago, TSMefford said: Where's that? I went looking for it, but it sounded just like the same one we already have on LLL. Nah, they couldn't be more different. The revised version on the LLL set is a low, rumbly, ominous swell. The original version is high-pitched, sparkly, and "magical"-sounding, and it doesn't have any sort of build-up. It just repeats several times before fading out. I can't remember offhand where it is in the bonus features, but I seem to recall it being used multiple times. Once and bollemanneke 2 Link to comment Share on other sites More sharing options...
crumbs 14,300 Posted January 11, 2019 Share Posted January 11, 2019 Someone said the First Frozen Lake alternate was in the bonus features for POA too, but I never found it. I only heard the mockup once but it sounded reminiscent of The Patronus Power on the set (although the liner notes indicate that track is an early version of Summoning the Patronus IIRC). Once and bollemanneke 2 Link to comment Share on other sites More sharing options...
Arpy 4,145 Posted January 11, 2019 Share Posted January 11, 2019 3 hours ago, Datameister said: For that passage, I think I prefer the sessions mix...but I'm thrilled that we now have both! Yes, I did a double take when I first heard the synth mixed in. I think it adds some eerieness to the scene, but it might be mixed a tad too loud for this set! Link to comment Share on other sites More sharing options...
Datameister 2,037 Posted January 11, 2019 Share Posted January 11, 2019 51 minutes ago, crumbs said: Someone said the First Frozen Lake alternate was in the bonus features for POA too, but I never found it. I only heard the mockup once but it sounded reminiscent of The Patronus Power on the set (although the liner notes indicate that track is an early version of Summoning the Patronus IIRC). LLL's "The Patronus Power" does sound similar to part of one of the "First Frozen Lake" alternates. Not sure what the story is with that one...haven't had a chance to really study that one in depth yet. But I've never heard any of it on the bonus features... crumbs and Once 2 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted January 11, 2019 Share Posted January 11, 2019 1 hour ago, Datameister said: Nah, they couldn't be more different. The revised version on the LLL set is a low, rumbly, ominous swell. The original version is high-pitched, sparkly, and "magical"-sounding, and it doesn't have any sort of build-up. It just repeats several times before fading out. I can't remember offhand where it is in the bonus features, but I seem to recall it being used multiple times. I'll to check again i guess. Link to comment Share on other sites More sharing options...
Jay 37,281 Posted January 11, 2019 Author Share Posted January 11, 2019 5 hours ago, Datameister said: At the very least, the original "Aunt Marge Points the Finger" was recorded; it's heard in the DVD special features. What makes you say that the others weren't recorded? (I have no idea if they were or not; just curious what your thought process is.) 5 hours ago, TSMefford said: Where's that? I went looking for it, but it sounded just like the same one we already have on LLL. On 12/12/2018 at 5:28 PM, bollemanneke said: Found it! 1:55 Link to comment Share on other sites More sharing options...
crumbs 14,300 Posted January 11, 2019 Share Posted January 11, 2019 That's such a weird scoring choice for that moment, draws a bit too much attention to itself. Doesn't really fit as a lead-in to either the film or alternate opening of Aunt Marge's Waltz either. @Jay, do you know if this alternate was intended to accompany the alternate Aunt Marge's Waltz opening? The liner notes seem to imply that alternate opening was a revision of the film version, rather than the other way around. bollemanneke and Once 2 Link to comment Share on other sites More sharing options...
Datameister 2,037 Posted January 11, 2019 Share Posted January 11, 2019 15 minutes ago, crumbs said: That's such a weird scoring choice for that moment, draws a bit too much attention to itself. Doesn't really fit as a lead-in to either the film or alternate opening of Aunt Marge's Waltz either. @Jay, do you know if this alternate was intended to accompany the alternate Aunt Marge's Waltz opening? The liner notes seem to imply that alternate opening was a revision of the film version, rather than the other way around. I highly doubt the alternate opening to the waltz on the LLL set was the original version. Everything it replaced in the film/album version fits so organically as part of the cue's Rossini pastiche. The finger-pointing cue heard on the LLL set (and in the film) seems to be a revision as well, based on the slate numbers we have. The weird "magical" version seems to have been the original. I could be wrong, though! Link to comment Share on other sites More sharing options...
crumbs 14,300 Posted January 11, 2019 Share Posted January 11, 2019 So, Williams first intentions: "Magical" tinkling version of 1m4 Aunt Marge Points the Finger (unused in final film, unreleased) Original version of Aunt Marge's Waltz (used, featured in film and used on album) Followed by his revisions: The less magical, final sting 1m4x Aunt Marge Points the Finger (used in final film, included on LLL set) Revised opening for Aunt Marge's Waltz (unused in final film, included on LLL set) Once 1 Link to comment Share on other sites More sharing options...
Holko 9,499 Posted January 11, 2019 Share Posted January 11, 2019 And how about that Diagon Alley opening? Was that an early intention as is on the set for a leaner cut and the film/sessions variant actually underscoring the moving bricks, or is the previously unreleased segment just an early alternate replaced completely by the film and sessions opening, and Mike just felt like including it in the main program instead of the bonus section? Edit: Holy hell it fits perfectly. Hedwig starts higher as the bricks move in, the offset lower counterHedwig comes in as other bricks move out, Hagrid proclaiming Diagon alley gets accented, the tinkles follow Harry's footsteps as we cut to him and so on. I guess this *was* an ealy discarded intention. So how it went: Williams writes A for the bricks and B for the camera turn reveal as one piece For some reason it's cut down and rerecorded to nothing for the bricks and A for the turn in the film Columbus realised he'd have to accent the shitty effects with some magic after all, so he tracks Hermione's Feather for the bricks and A remains for the turn, and of course replaces the could-be-source section completely. Once and Smeltington 2 Link to comment Share on other sites More sharing options...
bollemanneke 3,337 Posted January 11, 2019 Share Posted January 11, 2019 1 hour ago, crumbs said: That's such a weird scoring choice for that moment, draws a bit too much attention to itself. Doesn't really fit as a lead-in to either the film or alternate opening of Aunt Marge's Waltz either. @Jay, do you know if this alternate was intended to accompany the alternate Aunt Marge's Waltz opening? The liner notes seem to imply that alternate opening was a revision of the film version, rather than the other way around. yeah, I'd like to know why/if Matessino decided not to include this as well. I've been trying to come up with a good place for it in this set and have to admit it's damn difficult to include if you're going for a nice album flow. Once 1 Link to comment Share on other sites More sharing options...
Incanus 5,713 Posted January 11, 2019 Share Posted January 11, 2019 2 hours ago, Datameister said: I highly doubt the alternate opening to the waltz on the LLL set was the original version. Everything it replaced in the film/album version fits so organically as part of the cue's Rossini pastiche. The finger-pointing cue heard on the LLL set (and in the film) seems to be a revision as well, based on the slate numbers we have. The weird "magical" version seems to have been the original. I could be wrong, though! 1 hour ago, crumbs said: So, Williams first intentions: "Magical" tinkling version of 1m4 Aunt Marge Points the Finger (unused in final film, unreleased) Original version of Aunt Marge's Waltz (used, featured in film and used on album) Followed by his revisions: The less magical, final sting 1m4x Aunt Marge Points the Finger (used in final film, included on LLL set) Revised opening for Aunt Marge's Waltz (unused in final film, included on LLL set) Well I am pretty glad this is the level of missing material from this set. Oh and of course the bloody shawm bit. Once 1 Link to comment Share on other sites More sharing options...
crumbs 14,300 Posted January 11, 2019 Share Posted January 11, 2019 49 minutes ago, bollemanneke said: yeah, I'd like to know why/if Matessino decided not to include this as well. I've been trying to come up with a good place for it in this set and have to admit it's damn difficult to include if you're going for a nice album flow. From a musical presentation point of view I understand its omission. But if I wanted to include both versions I probably would've placed the film version of Aunt Marge Points the Finger at the start of Aunt Marge's Waltz in the film score presentation, then put the alternate Aunt Marge Points the Finger at the start of the alternate opening Aunt Marge's Waltz. Keeps both film versions and both alternates together that way. TSMefford and Once 2 Link to comment Share on other sites More sharing options...
bollemanneke 3,337 Posted January 11, 2019 Share Posted January 11, 2019 Very good idea! Link to comment Share on other sites More sharing options...
Popular Post Holko 9,499 Posted January 11, 2019 Popular Post Share Posted January 11, 2019 So, Azkaban. Um wow bollemanneke, Once and TSMefford 3 Link to comment Share on other sites More sharing options...
Richard Penna 3,669 Posted January 11, 2019 Share Posted January 11, 2019 4 hours ago, Holko said: And how about that Diagon Alley opening? Was that an early intention as is on the set for a leaner cut and the film/sessions variant actually underscoring the moving bricks, or is the previously unreleased segment just an early alternate replaced completely by the film and sessions opening, and Mike just felt like including it in the main program instead of the bonus section? I thought it was clear right back from the sessions that the old-English styled cue was the original intention and that the film is mostly tracked for that section. It was particularly confusing to me when the OST came out that we hear the great hall entry music twice in the film and nowhere on album. Link to comment Share on other sites More sharing options...
Holko 9,499 Posted January 11, 2019 Share Posted January 11, 2019 1 minute ago, Richard Penna said: I thought it was clear right back from the sessions that the old-English styled cue was the original intention and that the film is mostly tracked for that section. It was particularly confusing to me when the OST came out that we hear the great hall entry music twice in the film and nowhere on album. Read the post further, I'm talking about the opening. TSMefford 1 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted January 11, 2019 Share Posted January 11, 2019 7 hours ago, Jay said: Thanks @Jay And I assume that this has been mocked up from the sheets and confirmed to be an Alternate of that cue. Its so different, that I almost don’t believe it. Lol. Link to comment Share on other sites More sharing options...
Jay 37,281 Posted January 11, 2019 Author Share Posted January 11, 2019 On 12/12/2018 at 5:39 PM, Jay said: Aha! Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted January 11, 2019 Share Posted January 11, 2019 1 hour ago, Jay said: Welp. Weird. Then it's one of the oddest scoring choices. Lol. Link to comment Share on other sites More sharing options...
mstrox 6,643 Posted January 11, 2019 Share Posted January 11, 2019 Finally finished my dissection of HPSS. Listening to CoS for the first time today! TSMefford and Once 2 Link to comment Share on other sites More sharing options...
Popular Post TSMefford 1,509 Posted January 12, 2019 Popular Post Share Posted January 12, 2019 Damn. You guys "Sirius and Harry" is such a gorgeous cue. Listening to the set again and I just had to share that observation. Once, bollemanneke, Smaug The Iron and 3 others 6 Link to comment Share on other sites More sharing options...
Popular Post Datameister 2,037 Posted January 12, 2019 Popular Post Share Posted January 12, 2019 Oh it's fantastic. That's one of the things that blows me away with POA...there's material in there that's just gorgeous, and in a way that's subtly different from most other Williams stuff. Pretty crazy that these moments coexist in the same score with the Knight Bus material and the dementors' music! Once, TSMefford, crumbs and 1 other 4 Link to comment Share on other sites More sharing options...
Holko 9,499 Posted January 12, 2019 Share Posted January 12, 2019 Am I crazy or deaf, or does what I presume to be Nevile's Boggart V2 (0:42 of The Boggarts) start with a very unsure and deflated, kinda Neville-esque version of the first notes of Hogwarts Forever? TSMefford 1 Link to comment Share on other sites More sharing options...
Once 604 Posted January 12, 2019 Share Posted January 12, 2019 5 minutes ago, Holko said: Am I crazy or deaf, or does what I presume to be Nevile's Boggart V2 (0:42 of The Boggarts) start with a very unsure and deflated, kinda Neville-esque version of the first notes of Hogwarts Forever? No, you’re right. It’s on the OST as well, I think. TSMefford 1 Link to comment Share on other sites More sharing options...
Popular Post bollemanneke 3,337 Posted January 12, 2019 Popular Post Share Posted January 12, 2019 5 hours ago, Datameister said: Oh it's fantastic. That's one of the things that blows me away with POA...there's material in there that's just gorgeous, and in a way that's subtly different from most other Williams stuff. Pretty crazy that these moments coexist in the same score with the Knight Bus material and the dementors' music! What especially struck me about that cue was the rather unsure, but at the same time tender and determined Hedwig's theme statement on harp at the end. That was when I realised what a multi-functional theme it could have been, not just for the 'OH MY GOD IT'S HARRY POTTER!' moments. crumbs, Once and TSMefford 3 Link to comment Share on other sites More sharing options...
Holko 9,499 Posted January 12, 2019 Share Posted January 12, 2019 So now after the second listen I can say just the littlest bit more about Azkaban than "wow". Wooow. TSMefford and Once 2 Link to comment Share on other sites More sharing options...
crumbs 14,300 Posted January 12, 2019 Share Posted January 12, 2019 4 hours ago, bollemanneke said: What especially struck me about that cue was the rather unsure, but at the same time tender and determined Hedwig's theme statement on harp at the end. That was when I realised what a multi-functional theme it could have been, not just for the 'OH MY GOD IT'S HARRY POTTER!' moments. Used properly, it could have been the Force Theme of the Potter series. Instead, it was mostly abandoned and just used for obligatory moments of nostalgia, given mere lip service. Very disappointing. Only Desplat really integrated it properly into the meat of his scores. Doyle's interpretation right at the start of Goblet was okay, too. Once 1 Link to comment Share on other sites More sharing options...
crocodile 7,983 Posted January 12, 2019 Share Posted January 12, 2019 I always wondered. Why did Williams give McGonagall such an ominous musical introduction in the film? Any ideas? Karol bollemanneke 1 Link to comment Share on other sites More sharing options...
Holko 9,499 Posted January 12, 2019 Share Posted January 12, 2019 4 minutes ago, crocodile said: I always wondered. Why did Williams give McGonagall such an ominous musical introduction in the film? Any ideas? Karol The transformation from cat to witch or the gnarly strings on the Entrance Staircase? Link to comment Share on other sites More sharing options...
crocodile 7,983 Posted January 12, 2019 Share Posted January 12, 2019 1 minute ago, Holko said: The transformation from cat to witch or the gnarly strings on the Entrance Staircase? Oh yeah, I forgot about the opening scene. Yeah, I mean the staircase scene. Karol Link to comment Share on other sites More sharing options...
Popular Post Holko 9,499 Posted January 12, 2019 Popular Post Share Posted January 12, 2019 I think that shows her personality quite well - can be soft but doesn't show it often, is strict and stern and definitely not someone you'd want to mess around with. TSMefford, bollemanneke and Once 3 Link to comment Share on other sites More sharing options...
mrbellamy 6,272 Posted January 12, 2019 Share Posted January 12, 2019 I think it’s Williams doing his “witch’s fiddle” trope, since she’s a very old-school witch with the hat and everything. Plus even though we’ve met her and everyone seems nice enough, witches are scary. This might be Hansel and Gretel, what kind of sick candy house are these kids walking into? She gonna eat them now or what? I remember a critic describing the “jolly menace” of the score which I liked. It’s the trick or treat of it all, he’s always flipping between “Wow this is cool!” and “Uh oh what’s that?” as often as possible in the music. crocodile and Once 2 Link to comment Share on other sites More sharing options...
bollemanneke 3,337 Posted January 12, 2019 Share Posted January 12, 2019 That 'balance' actually makes the score less enjoyable for me. Too much of it sounds like great music with purposefully placed wrong notes. I do understand he's trying to make the world sound exciting and unfamiliar at the same time, but the book didn't focus on the unfamiliarity that much. Link to comment Share on other sites More sharing options...
Once 604 Posted January 12, 2019 Share Posted January 12, 2019 20 minutes ago, bollemanneke said: That 'balance' actually makes the score less enjoyable for me. Too much of it sounds like great music with purposefully placed wrong notes. Not sure I get what you mean. Any examples? Link to comment Share on other sites More sharing options...
bollemanneke 3,337 Posted January 12, 2019 Share Posted January 12, 2019 Take 2:43 in The Banquet. The Hogwarts theme just sounds deliberately dissonant. Why? Once 1 Link to comment Share on other sites More sharing options...
Docteur Qui 1,544 Posted January 12, 2019 Share Posted January 12, 2019 26 minutes ago, bollemanneke said: That 'balance' actually makes the score less enjoyable for me. Too much of it sounds like great music with purposefully placed wrong notes. I do understand he's trying to make the world sound exciting and unfamiliar at the same time, but the book didn't focus on the unfamiliarity that much. I disagree - the carefully placed “wrong notes” perfectly capture the “not-quite-right” aspects of the wizarding world. The books frequently mention how weird and funny Hogwarts is and I’ve always thought that Williams’ musical approach nails this, even sometimes not going weird enough. DolceMecha and TSMefford 2 Link to comment Share on other sites More sharing options...
TheUlyssesian 2,473 Posted January 12, 2019 Share Posted January 12, 2019 1 hour ago, bollemanneke said: That 'balance' actually makes the score less enjoyable for me. Too much of it sounds like great music with purposefully placed wrong notes. I do understand he's trying to make the world sound exciting and unfamiliar at the same time, but the book didn't focus on the unfamiliarity that much. It's important in context. Take note the 1st 2 films present a very wholesome version of the wizarding world. Any menace or unease is provided by the score. So Williams was doing a lot of the heavy lifting to bring a measure of weirdness to the proceedings. I think it actually works incredibly well. Docteur Qui 1 Link to comment Share on other sites More sharing options...
mrbellamy 6,272 Posted January 12, 2019 Share Posted January 12, 2019 2 hours ago, bollemanneke said: Take 2:43 in The Banquet. The Hogwarts theme just sounds deliberately dissonant. Why? I think "Hogwarts Forever" in particular is sort of an homage to Percy Grainger. It's just a different atmosphere to bring to it. Melodically folksy, harmonically a little unorthodox. Probably would sound nice with a "cleaner" sound but maybe add an extra spoonful of sugar that it doesn't need. Williams's warm but old and creaky-sounding music still sounds about right to me. Link to comment Share on other sites More sharing options...
Datameister 2,037 Posted January 13, 2019 Share Posted January 13, 2019 That's a really interesting perspective, bollemanneke. Definitely not one I share, haha. I mean, you're absolutely right that there's some very deliberate dissonance...that's interesting that it's not "working" for you, though. Unrelated - I totally never realized that the way the beginning of Buckbeak's Flight is edited in the film is actually...correct, I think! The various versions we've heard in that scene and in the credits - across both the OST and the LLL release - all have the revised drum intro plus an edited-down version of the original opening of the cue. If I'm not mistaken, the last note of "Befriending the Hippogriff" would have segued right into those gently propulsive woodwinds, which would have scored the whole takeoff. All these years I thought of that softer passage as flying music, but really it would have been for the rather dramatic and turbulent takeoff. Wild. Once 1 Link to comment Share on other sites More sharing options...
Faleel 5,331 Posted January 13, 2019 Share Posted January 13, 2019 So the original opening was just the bassoons? Link to comment Share on other sites More sharing options...
Popular Post Holko 9,499 Posted January 13, 2019 Popular Post Share Posted January 13, 2019 Third time's the charm: Azkaban I'm replacing Aunt Marge's Waltz with the alternate in my playlist, just like it even better. Tried putting the stingers in front of this one, the transition from loud threatening rumble to bumbling, quiet little waltz just doesn't work - it works much better with that revised opening, Mike made the right call. That's A Lie alone maybe could've fit, but splitting the two stingers between the two versions would've made even less sense. Love the calliope Squeeze Play. Something Wicked Intro is actually a fair placeholder for Train to Hogwarts without "spoiling" Double Trouble early! Think about it - lower, moody section followed by mischievous tinkling. I will restore chrono order in my playlist, though, as much as I do like this album order: Train V1 stuck to Discussing Black, Somehting Wicked Intro leads into Double Trouble as intended, full DT in the bonus section, Double Trouble March leads directly into Rainy Nights, keeping the tempo seamless, Train V2 in the bonus section. Those whispers under the Dementors! The Courtyard's not bad at all, and I'm glad the great Cadogan - Hagrid the Professor transition was kept from the OST. That guitar-esqe instrument in Hippogrif Lesson stands out much more than on the OST. That calliope for the clown-in-the-box boggart came out of nowhere, JW knew that thing was pure nightmare fuel. Shame that we don't have those bounce stingers clean on the set though. The two intros are indeed a bit weird and since they share material, it's very noticeable, not like with the two Big Doors - es. In my playlist I will recreate the film edit for the main program and use the alternate combination in the bonus section. Is Window to the Past the first mature theme in Potter? And then comes Big Doors which one just physically can't listen to without going "FUCK YEAH", then flowing seamlessly into staggering beauty. Quidditch Third Year is, and has always been great. The different intro is nice. Walk in The Woods and Bird's Flight: one of my grails. And it does not disappoint. Three Broomsticks. Heh, who knew the Invisibility Cloak synth is one of the only elements to tie all 3 scores together? Sublime track. Summoning the Patronus: Another Grail. I'm breathless. The sound team may have decided to track Pettigrew all over the place, but it was certainly JW who gave them the idea with Marauder's Map! That fiddle thing in Reveal Your Secrets! Then we get Crystal Ball which sounds like Mike accidentally included a cue from the wrong score from the wrong composer. Primal, gets under your skin, makes your hair stick up. The Executioner is one of my absolute favourite tracks on all 7 discs, no joke, especially paired with Walk to Buckbeak. Both incredible, both sooo different. The Sentence's main motif: Yep, that's the sound of the coming third act all right. Whomping Willow is one of my favourite setpiece cues ever, up there with Asteroid Field and Desert Chase. That energy, sound, snappyness, the ability to switch back and forth between two radically different tempos so effortlessly... Shrieking Shack is some good tension writing, and for a dialogue/exposition scene, it's quite easy to follow along with what's currently happening, even with the film so heavily changing this cue. Invisibility Cloak again for Snape threatening Sirius is weird, he doesn't use the cloak in the film like in the book. Then from that we go into the gorgeous, soft Sirius and Harry, then the all out brawling, stomping Werewolf Scene, then loud over the top choir with Dementors Converge! It's one thing to be so versatile but another thing altogether to make it all work so well. Combining all cues from Time Past up until the bats is absolutely the right call, it keeps the tension up and going, and luckily for Mike it was just 3 seconds under 10 minutes! The Lupin Transformation WttP overlay definitely sounds like it starts in the wrong place at first, but then proceeds and ends in definitely the right way. Just have to get used to it I guess. That Grievous ending! BB Saves the Day is cool, Watching the Past is where I think the ticking is somewhat detrimental to the musical experience, unlike with the Time sequence. Thankfully I can swap it out with the no-ticking version in the bonus section if I want to. Rescue of Sirius, HELL YEAH I was scared Turning Time Back would ruin Sirius Says Goodbye somewhat - love how the OSt goes straight to Firebolt from that. I don't mind the LLL at all, though. Is that extra harp I hear in Goodbye? Grace note I gotta get used to. Great to have the DT credits insert. Now that's a credits suite! recap the two new themes, then segue into a new recording of the old but gold signature one! Love it. Wizard's Consort: Now that's my jam! Fabulous. Hogsmeade Candy Box: cute! Winter's Spell: YEEEESS Lumos, Apparition: what I call spacewasters. But technically this disc does have space to waste, so what the hell. Knight Bus, Quidditch, Saving Buckbeak: A bit more of these cues was included in these than needed, but again, the disc has plenty space so what the hell. WttP, Dementors Converge, Lupin Alternate: still outright OST cues but have plenty useful and interesting alternate or unused material. Aunt Marge is good enough that I'll swap it out with the used version and place that in the bonuses with the other OST cues. More Grim and Boggarts: good choice to join these up in some order. I'll stick the unused edit of Neville's Boggart to the end. Watching the Past: no ticking's good, the original intention is really weird for a finale. So First Frozen Lake has a final version with no WttP but has an alternate with WttP, while Watching the Past has a final version with WttP but has an alternate with no WttP. Simple, really. It would be very interesting to know in what order these 4 were written and recorded, to see what influenced what really. The order they're presented in in the bonus section seems backwards at first, but the alternate dark Watching the Past would have been a really bad lead-in to Firebolt, at least Dementors Converge has WttP. Dementors Circle/Patronus Light/ Patronus Power: whoa. Children's Suite Appendix: Three Choral Miniatures. Gorgeous and intriguing material, all 3. Can't even begin to imagine what it must've been like to find the two unreleased ones and hear them for the first time. The three of them work wonders in this order. Firebolt: Lovely! A bit like we return to the style of the previous two scores. And the sneaky Pettigrew Toolkit at the end, hehe. Teaser: YESSS, a fantastic DT rendition finally heard properly. I think it's better than the film recording. Trailer: Not good, absolute spacewaster. But it's the last track, so all one has to do is take the disc out once Teaser ends, so what the hell. This score does certainly represent a major maturation of the series with woodwinds and subtleties, but it never disappears up into its own ass with it, can always step back to a Knight Bus, Snowall Fight or Portrait Gallery and have fun with itself. It throws together medieval/reneissance, fugual, bebop, waltz, minimalistic, aleatoric and all kinds of other styles, and somehow what comes out of the blender is not an unlistenable, chaotic mess, but a refined, multilayered modern classic. i think now's the time to finally, if a bit late, say my most heartfelt and honest "thank you" ever to Maestro Williams, Bill Ross, MV Gerhardt, Mike Matessino, @Jay, and Jim Titus of course, for no less than making this decade-long dream come true for all of us. Now back to Chamber tomorrow to rediscover my appreciation for it that didn't feel like coming out on Wednesday. Jay, Smeltington, TSMefford and 5 others 8 Link to comment Share on other sites More sharing options...
TSMefford 1,509 Posted January 13, 2019 Share Posted January 13, 2019 Great reactions @Holko! Link to comment Share on other sites More sharing options...
Datameister 2,037 Posted January 13, 2019 Share Posted January 13, 2019 7 hours ago, Faleel J.M. said: So the original opening was just the bassoons? Yeah, it was a longer version of that passage for bassoons and bass clarinets with string pads underneath. It can't quite be fully recreated with the stuff that's out there, although you can get about half of it from the end credits on the OST. (The LLL version, like the main presentation on the OST, is shorter still.) Once 1 Link to comment Share on other sites More sharing options...
Faleel 5,331 Posted January 13, 2019 Share Posted January 13, 2019 6 hours ago, Holko said: On Crystal Ball, it kinda reminds me of a darker Boss Nass (0:36): Holko 1 Link to comment Share on other sites More sharing options...
Holko 9,499 Posted January 13, 2019 Share Posted January 13, 2019 4 minutes ago, Faleel J.M. said: In the share options where you can set the start time, you can also remove the "share with playlist" option. But I did find it and I see what you mean. Link to comment Share on other sites More sharing options...
Jay 37,281 Posted January 13, 2019 Author Share Posted January 13, 2019 Thank you for that nice review up above Holko, I really enjoyed reading it Link to comment Share on other sites More sharing options...
Datameister 2,037 Posted January 14, 2019 Share Posted January 14, 2019 Agreed! Unrelated again - I'm really wondering what the full-length quiet section at the final freeze frame was for. It's edited to be way shorter (and, IMO, more effective) on the OST and in the film, whereas the LLL set has the full version that was recorded. (Which I appreciate, even if it's not my preferred version to listen to!) We'll probably never know, I suppose. bollemanneke 1 Link to comment Share on other sites More sharing options...
Popular Post Not Mr. Big 4,639 Posted January 14, 2019 Popular Post Share Posted January 14, 2019 29 minutes ago, Datameister said: Agreed! Unrelated again - I'm really wondering what the full-length quiet section at the final freeze frame was for. It's edited to be way shorter (and, IMO, more effective) on the OST and in the film, whereas the LLL set has the full version Originally, the film ended with Daniel Radcliffe saying the film's title, thanking the audience for watching, and telling them to watch Harry Potter and the Goblet of Fire the next year. Smeltington, TSMefford, crumbs and 1 other 1 3 Link to comment Share on other sites More sharing options...
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