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  1. Now here is a long post! I hope you enjoy it as much as I enjoyed writing it. And if there are any correction suggestions fire away, especially on the nuts and bolts of music theory of which I profess very little knowledge. And many thanks to all the people from this messageboard without whose excellent discussion and insights this analysis would not have been possible. You know who you are. UPDATE December 2016: The analysis now includes information and revisions based on the Lala-Land Records The John Williams Jurassic Park Collection which features the complete The Lost World: Jurassic Park score. The Lost World: Jurassic Park John Williams on a symphonic rampage A Complete Score Analysis by Mikko Ojala In 1997 four years after the original box office monster Jurassic Park had stomped onto the big screen and brought the dinosaurs so vividly to life through the magic of special effects wizardry, Steven Spielberg released the much clamored sequel to his hit film. The Lost World: Jurassic Park was loosely based on the novel by Michael Chrichton, whose own initial reluctance for writing a sequel (he had never done so before) was finally assuaged by Spielberg himself, who requested it after the success of the first film. The second Jurassic Park novel was released in 1995 and after the period of adaptation of the book into a script (by David Koepp), the production of the new movie began in 1996. Koepp’s script retains only some major outlines of the novel, mainly the locale of Isla Nublar’s sister island Isla Sorna, forsakes nearly all the characters and uses some broad ideas of the action that took place in the book but replaces the ending with a dinosaur rampage through San Diego. This was actually a suggestion from Spielberg during the late stages of the production and the original ending prepared and storyboarded before the last minute change was much more in line with the novel with an exciting chase involving Velociraptors and Pteranodons. Interestingly some elements of the script migrated right out from the original Jurassic Park novel, in particular the scenes with the small Compsognathi dinosaurs from various points in that story. The only retuning character from the previous film and novel is the nervous and edgy chaos theorist and a mathematician Ian Malcolm (Jeff Goldblum) with a whole new supporting cast of Malcolm’s love interest paleontologist Sarah Harding (Julianne Moore), Malcolm’s teenage daughter Kelly (Vanessa Lee Chester), a big game hunter Roland Tembo (Pete Postlethwaite), John Hammond’s greedy corporate businessman nephew Peter Ludlow (Arliss Howard), a documentarian and environmental activist Nick Van Owen (Vince Vaughn) and Roland’s second-in-command Dieter Stark (Peter Stormare). In addition the film features a cameo apprearance of three main characters from the original film, Richard Attenborough reprising his role as John Hammond the capitalist entrepreneur now turned naturalist and Joseph Mazzello and Ariana Richards as his grandchildren Tim and Lex Murphy. The film takes place several years after the horrifying events of Jurassic Park. Dr. Ian Malcolm, a survivor of the Isla Nublar incident is drawn much against his will back to the world of dinosaurs by John Hammond who invites him to lead a scientific expedition to another island full of dinosaurs. Hammond has kept the knowledge of Isla Nublar’s sister island Isla Sorna secret from the world and reveals that it was originally the site of the creation of the dinosaurs and that they were bred and raised there and then moved to the larger Isla Nublar and the park itself. These beasts are by some miracle still alive and well even though they were supposed to die without human provided nutrients. Malcolm refuses flatly to go but is forced to accept Hammond’s offer as he hears that the millionaire has hired his girl friend paleontologist Sarah Harding to document the dinosaurs in their natural habitat. She jumped at the chance and is already on the island. With no alternative Malcolm wants to mount a rescue operation immeadiately. Thus begins the journey to the island that conincides with the plans of the ruthless head of the InGen Bioengineering Peter Ludlow of salvaging dinosaurs from the island to reap profit from them, the operation going awry, dinosaurs on a rampage, a desperate escape from the island and finally a T-Rex on the loose in the streets of San Diego. The stuff of wildest dinosaur dreams for monster hungry movie crowds. The Lost World proved to be another box office smash even though its world wide gross was considerably less than its predecessor's. It still held the record for the best opening weekend for 4 and half years until another Williams scored film, Harry Potter and the Philosopher Stone (2001) dethroned it and the highest single day box office take for a couple of years until Star Wars Episode I The Phantom Menace claimed the honor, again scored by Mr. Williams. Despite the huge box office success the film got mixed reviews that commented both positively and negatively on the plot, the characters and the action and the movie garnered a plethora of mainly special effects plaudits, award nominations and wins. It was even nominated for Razzies in three categories but lost in all of them (Williams was nominated for an Academy Award for Amistad that year but lost to James Horner's enormously successful and popular Titanic). Whatever the merits or failings of the film itself, its score stands proudly as one of the most unique, daring and energetic of John Williams’ career. Here in his 14th collaboration with Steven Spielberg the composer has once again renewed himself and indeed created in chameleon style a new voice. The music is as much a departure as it is a return to the sound of Jurassic Park, the composer treading different ground in the sequel that contains only hints of the familiar themes and atmosphere that was so effective and made dinosaurs so magical only four years prior. New sound for the sequel Steven Spielberg’s initial impulse was to create something very different for this film, as he well knew that it would certainly not so much about the wonder of the dinosaurs anymore since the audience knew what to expect and more about darker sense of adventure, and so he asked from Williams a different stylistic approach for the score than for its predecessor. He wanted it to be exotic and tropical, percussive and driving, addressing as much the action as it did the location. Williams when interviewed for the The Lost World :Jurassic Park DVD documentary commented on the starting point for the new score: Steven’s idea was that this was all taking place on an island in some Carribean area and that the music might have, might be driven by some drums if you like. Or some sort of ethnic or jungle kind of texture or flavour that might drive the music and might give it a kind of unique flavour. And so much of what in the action sequences I did, to begin with at least, was driven by this drum thing, which I enjoyed and we had some wonderful percussionists come onto the stage and it contributed in a nice flavour, I think, to the film.[1] Themes for a Lost World With the new locale, characters and situations it seems like Williams started his writing almost from scratch and in this respect the score resembles his gripping and thrilling sequel score for Jaws 2, where he created a whole new extension for the franchise’s world to complement the famous Jaws theme with all new musical motifs and ideas. Similarly in this film the familiar and famous main themes from Jurassic Park return but are complemented by prominent all-new thematic material. Returning Themes The Island Fanfare that previously addressed the heroic and adventurous side of the action in Jurassic Park, most notably underscoring the magnificent helicopter approach to Isla Nublar, is used mostly in subtle references, rising only a few times to heroic proportions in the new score. This theme is also heavily referenced for a sense of nostalgia, the subdued variations giving it an air of worn and by-gone glory and often commenting on the broken dream of the Jurassic Park. The actual hymn-like Theme from Jurassic Park (titled Dinosaurs in the original score) appears only in the last scene of the film to signal a happy ending to Ian Malcolm’s adventure. The haunting and ominous 4-note Carnivore motif, that in the first film heralded the appearance of the most dangerous dinosaurs, T-Rex and the Velociraptors in particular, makes fleeting appearances in the sequel e.g. when the dreaded raptors are mentioned for the first time. The Lost World The new primary musical idea of the Lost World is the theme of the same name. This heroic, energetic and questing melody is usually carried by the horns, trombones and strings, augmented by a varied battery of rolling percussion, creating at once the sense of travel, the exotic jungle location of the story and adventure with a hint of danger to it. It begins with a minor key scale ascension that almost builds up through the scale and gives a feeling of progress and movement towards a goal. Williams further elaborated on this theme in his traditional concert version which he wrote for the end credits (this piece can be heard as the opening of the original soundtrack album). Pounding drums announce the theme, playing a forceful rhythm that carries through the whole piece and becomes a sort of musical motif in itself. The swaying melody, almost a Spanish or South American flavoured waltz or sarabande surges forward with dazzling brass and percussion interjections, woodwind runs and subtle synth accompaniment, becoming more and more agitated, hinting danger and sudden dire turn of events in its bridge melody but finally overcoming the obstacles it returns to the main theme, bursting victoriously to a rapturous and rhythmic finale augmented by the whole percussion section with tambourine adding an almost festive colour to the proceedings. Here Williams has created a perfect theme for a jungle adventure that in its contours captures both the excitement of exploration and awe and the danger of an island full of dinosaurs and contains the right amount of exoticism to illustrate locale of the story. Noteworthy is that despite being the main new theme of the score, this musical idea is used sparingly in the context of the film, where its grander readings are reserved for exploration sequences on Isla Sorna and most adventurous moments early in the movie. The theme actually seems to neatly bookend the whole Isla Sorna experience as it is first heard on the voyage there and then again when the protagonists are leaving the island after their adventure. The Island’s Voice The other central musical theme in the score is subtler but ever pervasive, in essence a replacement for the original 4-note Carnivore motif from the first film. This new rising 4-note motif, which from now on is called The Island’s Voice in this analysis, is at least initially more mysterious and ominous than the cruelly rising and direct Carnivore motif from the previous film yet remains a close cousin to it. Williams uses these ascending 4 notes to maximum effect in his music, injecting the score with this signal throughout the film, often cleverly interpolating it to nearly any situation, a grim reminder of the dangers inherent in the encounters between dinosaurs and men. This music often appears to warn the listener of the carnivorous dinosaurs, Velociraptors and the T-Rexes and to create a sense of foreboding that is so clearly and well captured in these 4 simple ascending notes that seem to be telling us that in Jurassic Park the dinosaurs were dangerous but confined to the park but this time on Isla Sorna they are the ones in complete dominance and roaming free. This material is often woven into the frenetic and percussive action sequences with such skill that it is hard to notice this musical backbone of the entire score from its environment. And as the story progresses so does the insistence and weight of this musical signal, assuming highly dramatic, ponderous and exclamatory form in the final scenes of the Tyrannosaurus loose in San Diego. It could be said that over the course of the film this motif becomes the musical glue that binds much of the score together. The Percussion and Jungle Sounds As mentioned above in Williams’ quote, the percussion plays a large part in the orchestrations of this score and lends a very specific texture and feel to the music. This collection of instruments includes e.g. congas, bongos, "jungle drums", taiko drums, gourds, guiro, log drums and tabla alongside the more traditional orchestral percussion of timpani and bass drum providing a pulse and rhythm that drives the events constantly forward. The brooding, tropical jungle atmosphere is further enhanced by other instruments, such as shakuhachi and "animal sounds" effects played by a synthesizer.[2] Williams has several different percussion instruments or sections playing layered rhythms over and under the orchestral textures and motifs and offering them even some solo moments where the pure percussion rhythm independently churns underneath the action before the next burst of thematic ideas from the orchestra. Aleatoric Procompsognathi and Other Musical Terrors Another common stylistic element in this score is aleatoric writing. To create a sense of chaos and terror, Williams provides a series of pitches to a group of instruments and instructs them to play them quickly ad lib for a given number of measures. Although this technique has been used in many scores by Williams and other composers, The Lost World employs this effect with unusual frequency.[3] In fact this chirping, whirling, wild and agitated aleatoric writing becomes in itself a musical signature for the small carnivorous Compsognathi dinosaurs and is heard whenever they appear. This style of writing is also attached to the most frenzied of the action music and underscores the dinosaur attacks throughout the movie but it is especially noticeable in the Raptor sequence towards the end of the film. This bed of sizzling effects adds another layer of raw terror to the proceedings, lending animalistic furore to the music. *** As a whole the sequel score is much darker than its predecessor as the film does not offer us so much moments of awe and marvel as mounting anticipation of the coming terrifying encounters with the dinosaurs. There is less a sense of mystery than there is of foreboding and Williams’ music enhances this feel considerably from the start. At appropriate moments the music will also sound heroic, positive and luminous often quoting the old themes with almost a sense of nostalgia but as a whole Williams roots the score in darker textures and motifs with lots of low woodwind, string and brass writing, earthy tones, complex rhythms and driving beats. The rhythm seems to define this music so much that many pieces seem to revolve solely around them, forgoing themes for pure percussive effect and each track seems to have a nearly unique percussion rhythm and feel to it, with each instrument echoing the percussion at varying points. Williams offers a small personal analysis on the differences of the two Jurassic Park scores in the DVD interview: I have not made an experiment of comparing the two scores but I think we’d find that Lost World is probably more frightening, maybe more dissonant, maybe a little bit more... with little harder edge to it and maybe scarier than Jurassic Park would be, of necessity because of the different styles and look and texture of each film. [4] The new score is as Williams puts it more aggressive and harsher, the action music more propulsive than thematic or balletic like in many previous Spielberg/Williams collaborations perhaps taking its cue from its predecessor Jurassic Park where Williams already constructed his action set pieces around small musical cells like the aforementioned Carnivore motif and built independent yet stylistically connected action sequences for that film. This new sound fits the movie to perfection complementing and enhancing its atmosphere and world considerably. It could be said that The Lost World is to an extent a watershed between the old Williams sound of the early 90’s and the modern Williams of the 2000’s. It contains elements from both worlds and perhaps is reflection of change in the film making as well, the movies demanding more and more rhythmic propulsion and pulse over operatic and balletic thematic development that the composer is so known for, especially in Spielberg films. And surely Williams as an artist is ever self-improving and these shifts in his style could be seen as development of his compositional voice and thinking throughout this period. The Lost World Pillaged in Post Production It is a well-known fact that film music is nearly always presented in some way edited form in the film as the medium often requires adjustments to the one hundreth of a second, fast changes for new edits of scenes or the whole film, the music facilitating special effects work etc. and The Lost World is no different. Steven Spielberg usually affords Williams’ music with enormous respect and has even in some instances done the opposite of the norm and edited his film to music (the finale of E.T. The Extra-Terrestrial is the classic example), but in The Lost World music went through a bit more rigorous editing process. It might have been the last minute special effects work as the movie did have longer scenes with CGI dinosaurs and ILM did a lot of late post production work on the material or Spielberg's absence from the recording sessions since he was in the final stages of shooting his next film Amistad but whatever the reason was, the score was tinkered with quite heavily in places in the post production. Tracking, editing and placing music written for a specific scene into a different one, took place most likely because so late in the post production there was no time for Williams to write replacement material nor prepare additional pick-up scoring sessions before the release of the film and his other film commitments that year (Jean-Jacques Annaud's Seven Years in Tibet and Spielberg’s second film Amistad) would not allow it. Most notable case of tracking, made evident by its frequent use, is the inserting of the concert/end credits version of the Lost World theme into many scenes where Williams had either written different music or that were not scored at all. The reason for this is that Steven Spielberg after hearing the main theme fell in love with it and wanted to make wider use of it in the film although the original concept had been that the theme only underscores the arrival and departure from Isla Sorna and the end credits. The comparison of these replacements with the original musical ideas would indicate that Williams’ original vision of the music is a good deal darker than what Spielberg wanted in the end as the most prominent placements of the tracked main theme suggests a need to add positive, heroic or triumphant feel to the sequences and keep the main theme in the music throughout the score, whereas Williams most often uses it sparingly as was the original plan. As there was no time to revise the music after the director's input late in the post production, tracking was the method chosen to accommodate the director's wishes. Editing and tracking of the music in the film itself present a slightly fragmentary picture of the score as a whole, especially when the finished product is compared to the music as it was originally conceived. It is not the worse case of a film score being edited to pieces (like e.g. Horner's Aliens) in the post production but this is the first so prominent a case in a Spielberg/Williams collaboration even though done here with certain amount of respect to his original ideas. *** The score was recorded at Sony Pictures Scoring Stage in Los Angeles in two chunks in the spring of 1997 (March 18-21 and April 18th, 20-22 1997) with Spielberg away finishing the principal photography of his next film Amistad, much as he had been away in Poland filming Schindler's List when Williams was recording the score for Jurassic Park. The music was orchestrated by Williams' frequent collaborators Conrad Pope and John Neufeld and it was performed by the Hollywood studio musicians. The original soundtrack album released at the time the film came out offered 68 minutes of music from the film, presenting many of the major hightlights from the score and Williams as is his habit, edited together and truncated some musical sequences for listening experience purposes. The complete score runs for almost 2 hours, so well over 40 minutes of music have remained unreleased and also in part unused until LaLa-Land Records' The John Williams Jurassic Park Collection which came out on 29th of November 2016 and included the complete score presentations of both Jurassic Park and the Lost World. TRACK-BY-TRACK ANALYSIS All tracks are named by their original Williams given cue titles. This is followed in parentheses by the disc and track number on the John Williams Jurassic Park Collection and the original soundtrack album if the music can be found on it and the time stamps of where in the track the music can be found. After this comes the the orchestrator information for each cue and the length of the sheet music (in bars). 1. The Island’s Voice (1m1) 3:38 (LLL set D 3 Track 2, OST track 2 The Island Prologue, 0:00-3:32) Orchestrator: John Neufeld Length (sheet music): 68 bars Rumbling contra clarinets, tam tams and ominously murmuring low strings open the score as we see a tropical coastline, hear the crashing of the waves and a title card announces the location: Isla Sorna 87 Miles Southwest of Isla Nublar. As the main titles appear Williams introduces the 4-note Island’s Voice motif on eerie synthesizers (the sound named in the written score as Animal Call) which is repeated twice over a bed of low woodwinds and subtle percussion (0:15-0:32). A solitary flute and brass voices slowly rise, supported by growing orchestral swells and percussion, piano adding sudden icy notes to the building atmosphere. With this musical portent the film introduces us to a luxurious yacht anchored off the coast of the island with the ship’s bustling crew and a rich British Bowman family coming into view. The music is eerie, uncomfortable, full of muted colours from brass, sizzling cold synthesizer sounds, yawning strings, cascades from the harp, a complete opposite of what we are seeing, a well-to-do family on a cruise having a picnic on the shore on a sunny day, but Williams’ music is most expressively hinting that something is not right. It is suppertime on the beach and the family’s little girl Cathy (Camilla Belle) goes off to explore the beach with a sandwich in hand. At 2:04 a curious small melodic snippet on clarinet with synthesizer doubling is introduced as the girl arrives at the tropical forest edge and sees a little green lizard in the underbrush. She approaches it and wonders aloud what it is, even feeding some of her sandwich to the more than eager animal. At this point the music becomes increasingly uncomfortable, with all the different orchestral sections (especially the woodwinds and stopped horns) producing nervous and uneasy sounds until at 2:37 a climbing flute figures announce the arrival of a whole pack of these small green creatures from the jungle, the orchestra mimicing their movement and sounds and creating a slightly dangerous but curious feel as the Compsognathi surround the now frightened girl, jumping for the sandwich. Williams presents here furious aleatoric writing for the Compsognathi that chirps and whirls, pace quickening, percussion pounding more and more agitated, sharp brass, rhythmic jabs from strings, shrill woodwind runs all careening into a rage. As the ship’s crew and the parents hear the little girl’s screams and rush to see what is wrong the Island’s Voice motif sounds again in trombones towards the frenzied finale (at 3:09-3:15) buried underneath the chaos, the final percussion supported woodwind howl underscoring the horrified scream of the mother rushing to the scene. The sudden end of the cue leads to the next scene where we see tired Ian Malcolm yawning in a New York subway, the image mirroring the screaming mother right down to the screeching of the stopping subway train. Spielberg quite cleverly allowed Williams to score the action and letting the music tell us what has happened, the raging orchestra perfectly depicting a furious carnage happening off-screen and the sudden building panic at the end of the scene. *** Ian Malcolm, a chaos theorist and a mathematician, one of the survivors of the original Jurassic Park incident, is on his way to meet John Hammond, the owner of the disastrous dinosaur theme park, who has invited him to his palatial residence for some mysterious reason. He is ushered into the house to the refined sound of Ludvig van Beethoven’s Piano Sonata No. 8 in C Minor, op. 13 "Pathetique" (Performed here by Jeno Jando) playing softly in the background and he meets in the hall Hammond’s grand children Lex and Tim with whom he shares a warm moment. But before Malcolm has a chance to see their grandfather he runs into Hammond's nephew and the current CEO of InGen corporation, Peter Ludlow, with whom he obviously is at odds. The two exchange icy insults, Malcolm finding out that Ludlow has wrested the control of InGen from his uncle due to the recent incident with the little girl and that he has plans of his own for it. We cut to Hammond’s bedroom to hear the old venture capitalist tycoon... 2. Revealing the Plans (2m2) 2:18 (LLL set D 3 Track 3, OST track 8 Hammond’s Plan 0:00-2:13) Orchestrator: John Neufeld Length (sheet music): 37 bars With Mozart’s Piano Sonata in A Minor, K.310 playing softly somewhere in the background John Hammond reveals to Malcolm the tale of the second island, Isla Sorna, and proposes that Ian should lead a four member scientific team to document the dinosaurs living there. Malcolm flatly refuses, remembering all too well the incidents on Isla Nublar four years ago and vows that he will stop the rest of the team from going. The cue starts as Hammond reveals that Sarah Harding is on the team, a smoky alto flute solo opening the piece with an air of mystery and apprehension, the melody seeming to subtly suggest perhaps the Island fanfare or the main theme from Jurassic Park in its contours drifting ominously over low strings. Harp ghosted by a subtle but sharp synthesizer effect (marked “zither” in the manuscript), flute and the string section lend a tentative and enigmatic air to Hammond’s revelation that Sarah is already on the island as Malcolm tries to call her. Here Williams adds a hint of additional foreboding to the moment by cleverly reintroducing very subtly at 1:11-1:15 the Carnivore motif from the first film on the high strings almost as a reawakened horror from Malcom's memories. He is now both furious and worried. Music is waiting, almost holding its breath as Hammond tries to convince Malcolm of the safety of the expedition and Sarah’s situation on the island when a small melodic snippet on oboe with harp and horn support finally seems to finish a quick deliberation and as Ian Malcolm announces that he is going and this will be a rescue mission, the score opens into a heroic full orchestra statement of the Island Fanfare, the orchestration here distinctly recalling the cue Jurassic Park Gate from the original film. And just as Malcolm is leaving Hammond smiles satisfied having just gathered up his team. *** Ian meets up with the other members of his team, a video documentarian Nick Van Owen (Vince Vaughn) and a field equipment expert Eddie Carr (Richard Schiff) at Carr’s busy workshop full of all kinds of travel and survival gear the latest technology only can provide. Not only does he meet the technician and the photographer but also his teenage daughter Kelly, who he had invited to meet at the workshop and who he should be looking after since her mother went off to Paris on short notice. Malcolm is trying to send her off to stay with a friend called Karen for the weekend as he is obviously busy but Kelly refuses. They argue (another Spielberg trope, poor parent/child relationships), the father being outmatched by the daughter and as Malcolm turns his attention elsewhere for a moment in preparation of the coming trip, Kelly goes wandering about in the workshop. 3. To the Island (3m1) 3:40 (LLL set D 3 Track 4, OST track 3 Malcolm’s Journey 0:00-3:37) Orchestrator: Conrad Pope Length (sheet music): 123 bars The music starts as Kelly walks through the busy workshop and steps into a large trailer van full of blinking lights and high tech equipment. Strings, celeste, harp and woodwinds, most notably airy flutes and a distant call of a solo horn create a curious, luminous and almost spellbinding feel as she explores the vehicle. Expectant build-up begins, bubbling woodwinds, synthesizer and upward stirring strings joining rest of the orchestral forces and a percussive “jungle drum” rhythm in triple meter, a first hint of the Lost World theme, emerges as the camera shows a close-up of the map of the sea and coast of Costa Rica and the islands marked Las Cinco Muertes, The Five Deaths. We cut to a barge at sea, the vessel ploughing through the blue waves, the deck full of vehicles. Lower strings and woodwinds repeat a rhythmic pattern, borrowing the triple meter from the percussion that continue to pound their motif underneath the orchestra, the high strings presenting here for the first time in a nearly formal fashion the Lost World theme, the brass joining them in a robust declaration, harp decorating the upper ranges with dazzling slightly rhythmic glissandos. Music implies the sense of movement and travelling with its constant rhythm, the swaying theme itself here suggesting perhaps a sea voyage, brass intoning the main theme with assured spirit of adventure. This rendition forms a thematic bookend for the whole Isla Sorna adventure which Williams and Spielberg chose only to open and close with the theme (the closing statement following in 12m2 Heading North). When the audience sees a wider shot of the mountainous island that is their destination Williams provides a deeper and a hint more ominous rendition of the Lost World theme and continues to develop the material further, adding new instruments, woodwinds passing phrases of the theme around the orchestra accentuated by synthesizers. Ian Malcolm has been discussing with Eddie Carr, their field equipment expert, but now turns to listen to Nick Van Owen who translates the reluctant barge captain’s horror stories about the islands. The Lost World theme continues underneath the dialogue and finally builds into a triumphant crescendo ushered by timpani and colored by tambourine and cymbal crash when the film cuts to the trailer and two cars bursting into view on their way through the jungles of Isla Sorna. Malcolm follows the coordinates provided by Sarah’s satellite phone and tracks her signal in the jungle. He nears a riverbed and to his horror sees her broken and ripped backpack on the ground. Music changes pace accordingly to underscore this tension, the brass and strings sawing furiously, presenting an urgent variation on the Lost World theme, the ever present percussion propelling the men forward. And then the music suddenly comes to a dead stop as Malcolm searches Sarah’s backpack and discovers that her satellite phone is still inside. The trio shouts Sarah’s name trying to locate her but they soon find something else. 4. The Stegosaurus (3m2) 2:13 (LLL set D 3 Track 5 0:00-2:14, OST track 11 The Stegosaurus 0:00-2:12) Orchestrator: Conrad Pope Length (sheet music): 44 bars The men watch in silent awe as gargantuan beasts emerge from the jungle to the rustling of leaves and branches and rumble of the earth under their feet. These creatures are Stegosauri whose massive size and gentle presence and awe they evoke are all reflected in Williams’ luminous score, orchestrationally and stylistically reminiscent of his music for the Brachiosauri and Triceratops in the first film. Slow low string harmonies swell accompanied by bubbling contraclarinets and flutes and a warm horn line, soon joined by the violins and violas and harp, creating an atmosphere of awe and wonder, the melody blooming into a gentle crescendo. Horns present an inquisitive searching melody with the celli and basses plucking a gentle pizzicato underneath to enhance the feel of these gentle giants as more Stegosauri appear from the forest. A clear solo flute and high strings offer a excited and curious melody as Nick Van Owen climbs closer to photograph the animals, the music rising to a sweet string swell as the frame reveals Sarah Harding in the same activity just few feet away. Same awed atmosphere continues as woodwinds, high strings, horns and synthesizers present snatches of the previously heard melodic idea when Sarah notices both Malcolm and Eddie in the background and offers excited report of her findings only to be cut short by Ian holding her torn backpack, the warm music turning slightly ominous as alto flutes and double basses flutter to express Malcolm’s concern. 5. Finding the Baby (3m3) 3:13 (LLL set D 3 Track 5 2:15-end, OST track 11 The Stegosaurus 2:13-end) Orchestrator: John Neufeld Length (sheet music): 91 bars Without a pause Sarah is off to follow the family of Stegosauri, Malcolm and the two other men trailing after her. She continues to explain her findings, Ian protesting and complaining continually. The paleontologist leaves the men behind and creeps closer to get a better shot with her camera, crawling slowly through the underbrush. Tense strings open the piece, sawing away a little urgent motif as Sarah is approaching the Stegosauri, music remaining rhythmic and suspenseful for a brief moment until the dreamy awe-filled musical atmosphere of the previous cue returns when Sarah discovers a baby Stegosaurus behind the bushes. This short opening passage (0:00-0:26) was cut from the film, most likely because it enhanced the tension and suspense of the moment too much and undermined the surprise coming shortly after. The score turns curious and probing as excited Sarah and the animal observe each other with mutual wonder. Same playful and gentle mood that filled My Friend the Brachiosaurus in Jurassic Park is very much apparent here even though this piece is less openly melodic. It is here that Williams presents a subtle and probing atmospheric motivic idea for the Baby Dinosaurs (2:40-4:00) on strings with flute, woodwinds, orchestral chimes and harp all creating a luminous innocent quality around it, the motif repeating in dreamy wandering variations throughout but an unsettling undercurrent takes hold as brass plays threatening bursts underneath and a cold high string line offers gradually growing unease as if to tell us that something is about to happen. And quickly it does. When Sarah starts taking pictures of the baby her camera runs out of film and begins to rewind loudly. The dinosaur baby is alarmed by this new sound and lets out a fearful cry. The orchestra begins an almost march-like repeating rhythmic phrase that is joined by the percussion, the strings, brass and flutes becoming more and more insistent in their reading of the motif as the Stegosauri attack, protecting their baby, tense brass and shrill woodwind runs underscoring the tension and panic as Sarah, who is caught in the middle of the angry lumbering beasts, dives into a hollow log for safety to get away from the deadly spiked tails of the dinosaurs. As one of them rams its tail through the log, nearly impaling her, Williams underscores the impact with a cry from the horn section (at 2:22), low pounding piano notes and percussion (log drums, tablas and timbales) commenting the aftermath, orchestra and percussion slowly winding down as the beasts wander off, strings still playing the rhythmic action motif and fading into silence as the danger recedes into the jungle. 6. Fire at the Camp (4m1) 0:54 (LLL set D 3 Track 6 0:00-0:54) Orchestrator: Conrad Pope Length (sheet music): 25 bars The group is returning to the camp and Nick boasts of the footage he caught of the dinosaurs, dreaming of a Pulitzer prize. Sarah and Malcolm on the other hand are heatedly arguing about the dangers of coming to Isla Sorna. Williams provides a bit of travel music with percussion and jaunty lower strings and horns offering somewhat exotic and eerie jungle atmosphere for their discussion. All of a sudden rhythmic celli and deep horns announce that something is wrong as Eddie spots smoke in their camp. Music continues urgent with the orchestra rumbling to signal danger when all rush to the trailer only to see Kelly, Malcolm’s daughter, coming out with a smoking frying pan, the girl proclaiming her innocent intention of making dinner, the high strings releasing the tension and winding to a stunned finish in the low register, underscoring Malcolm’s reaction. What follows is an argument between Ian, Sarah and Kelly but their familial discussion is soon interrupted by the appearance of 7. Corporate Choppers (4m2) 2:24 (LLL set D 3 Track 6, 0:55-end. Unused in the film 0:40-0:58) Orchestrator: Conrad Pope Length (sheet music): 76 bars InGen transport choppers rumble into view carrying heavy machinery while log drums, jungle drums, marracas and tremoloing strings and horns announce their arrival. Music is marked primitif in the score, the nervous high strings, alto flutes and low horns and trombones creating an ominous feel amidst the constant jungle percussion pulse. A queasy clarinet solo further enhances the sense of something being wrong and the brass finally building to a statement of the Island’s Voice motif at 1 minute mark, repeating several times as we cut to Peter Ludlow and his associate, big game hunter and leader of the expedition, Roland Tembo in their jeep. Music is here with very little subtlety announcing who the bad guys of this story are, tying the Island’s Voice theme as much to the dinosaur hunters as to the most ferocious of the beasts living on the island. As Roland countermands Ludlow’s ill-advised orders to his crew and gives a severe lecture on who is running the show, percussion continues its beat, woodwinds and brass veering into uncomfortable clusters and nervous rhythmic strings and synthetic voices announcing eerily the Island’s Voice again as the InGen team prepares to start 8. The Round Up (5m1) 3:30 (LLL set D 3 Track 7, OST track 4 The Hunt, unused in the film) Orchestrator: Conrad Pope Length (sheet music): 144 bars This is the first actual action set piece of the score. Pounding low piano and percussion, sizzling tambourine notably adding its unique colour into the mix, repeat a rhythm that reveals itself to be the one associated with the Lost World theme, brass galloping to the fore, enhancing momentum and sense of panic and ferocity of the chaotic scene where the dinosaur flee from the pursuing humans. Williams uses variations of the triplet ideas inherent in the Lost World theme to underscore this wild chase, changing the heroic and questing nature of the composition to that of a terror and oppression, the insistent motivic fragments repeating continually in the brass, becoming almost tortured, percussion making heavy bursts, the music building steadily in orchestral power, like some monster rolling forward with unstoppable momentum. Cymbal crashes, flurries of panicked woodwinds, hooting horns, merciless timpani and the ever present snippets of the Lost World theme rhythm propel the cue along and finally to a slowly fading finish on percussion and low piano as the hunters have captured their prey, the music stopping as Dieter’s jeep closes in on the InGen team trying to capture the Parasaurolophus. In the Making Sadly this brilliant aggressive and propulsive music (performance direction to the players marked bestial in the score) was not used in the film due to the fact that the scene was extended and restructured and thus would have created problems in trying to conform the composition to the new picture. Still the original cue captures so vividly the ferocity and sheer terror of the wild chase on-screen that is it hard to believe that it was just discarded. It also cleverly hints that the only monsters in the scene are human, not the dinosaurs, who pursue them relentlessly with high tech equipment and round them up like cattle to be carted away off to an amusement park. Perhaps Spielberg felt that the composition was too powerful for the scene or that it might have dominated it or that it was too difficult to treat properly by editing and decided to use some tracked music in its stead, most notably ending with the heroic Lost World theme, which seems tonally an odd choice for a sequence which is in essence a chase and a panicked stampede. Williams' original idea also strongly emphasizes the brutality of the sequence whereas the tracking would seem to indicate a need for a slightly more adventurous tone. The changes made to the film were in the final stages of the post production and thus denied the composer a chance to re-score the scene properly. Williams was reportedly dismayed to hear that the music was discarded and the pride he took for this particular cue is easy to understand. 9. Big Feet (5m2) 1:40 (LLL set D 3 Track 8; Unused in the film 0:42-1:02) Orchestrator: Conrad Pope Length (sheet music): 21 bars This cue begins as Malcolm’s team is surveying the end of the disheartening round-up, powerful timpani roll, rising strings and horns performing a 2 chord motif (performance marked tortured in the score), chimes in particular adding a fateful feel to the scene. We then shift to Roland Tembo and his companion Ajay at the jungle’s edge, bent over a huge T-Rex footprint. The Island’s Voice motif appears first subtly in basses under a sheen of eerie synthesizer effects when Roland’s and Ajay’s faces are reflected from the puddle formed into the gigantic footprint. When the accompanying dinosaur expert Dr. Burke confirms to him that it is indeed a T-Rex print we hear the Island’s Voice repeated with stronger orchestral backing, horn soloing darkly in the background and woodwinds presenting a high register bird-call style answering motif to enhance the forest atmosphere. English horn over low piano rumble and cold queasy strings and subtle comments from marimba are introduced as Tembo readies his gun, Ludlow arriving to congratulate him and then wondering where he is going. As Tembo walks off “to collect his fee” Ludlow follows a few steps behind but lands his foot into the puddle earning a sudden downward surge from the strings as the camera tilts to show the footprint again ending the piece in a low bass drum thump full of meaning. 10. Spilling Petrol (5m3/6m1) 3:45 (LLL set D 3 Track 9) Orchestrator: John Neufeld & Conrad Pope Length (sheet music): 85 bars This piece begins a two part musical sequence. The cue title refers to an unused part of this particular scene where Sarah and Nick sneak into the InGen camp to release the dinosaurs from their cages while the “hunters” are occupied by Ludlow’s presentation to the InGen board of directors via satellite uplink. In the original cut there was a short segment where the duo sabotaged the vehicles by emptying the petrol from the gas tanks, hence the cue name. The percussion section first presents a rhythmic base (marked driving jungle groove) for suspense and night time jungle atmosphere while synthetic animal sound adds a primal feel to the proceedings as Ludlow is giving his speech and the two “gatherers” creep around in the camp, sinister synth sounds accompanying them, celli, basses and high strings all maintaining tension. Around 1 minute mark ghostly shakuhachi with synth doubling lets out a haunting sigh, violins and brass following a foreboding melodic line, music building around the percussion section, the synthetic animal sound wailing in the background. The orchestral writing comes suddenly to fore when Sarah and Nick open the heavy bolted doors of the dinosaur cages (2:20->), high end orchestral sounds, harp, strings and synths commenting this turn in the events, the music resembling the textures of the Baby Dinosaurs motif as we see a caged baby Stegosaurus among the captured animals. The drums return to focus again when the camera shows us Ludlow’s tent where he continues his sales pitch to the InGen board of directors, recounting the original Jurassic Park’s folly and the existence of park facilities in San Diego and his plan of recouping the company's losses with the captured dinosaurs transported to the main land. At the mention of the Jurassic Park amphitheater in San Diego the percussion give way to a nostalgic, nearly wistful, ghostly reading of the Island Fanfare which passes through the woodwind and horn sections in remembrance of Hammond's dream. Then the music without warning bursts into a Triceratops... 11. Horning In (5m3/6m1 Part II) 1:26 (LLL set D 3 Track 9 3:46-end) Orchestrator: John Neufeld & Conrad Pope Length (sheet music): 45 bars Alarmed ascending hooting horn cries and energetic rhytmically charged strings underscore the Triceratops suddenly crashing into Ludlow’s tent and other dinosaurs escaping from their cages, wreaking bloody havoc around the camp, tearing through the panicking InGen crew and scattering their equipment all around. With merciless percussion and crushing staccato exclamations from the brass section an exploding jeep flies through the air and almost hits Roland and Ajay in their hideout tree where they are stalking the T-Rex, the pair just barely surviving the flaming projectile. Rhythmic strings continue to drive the action from 0:38 onwards backed by sharp snapping percussion beat as Nick finds and rescues the Tyrannosaurus baby (to another briefest hint of the ghostly Baby Dinosaurs music) that is tied to the ground and used as bait by Roland Tembo to capture an adult T-Rex. This is followed by an almost militaristic reading of the previous string idea when Roland returns to the camp, surveying the damage, reprimanding his second-in-command Dieter Stark, deep brass and cold strings underscoring Dieter’s sullen look which promises retribution to whoever did this. The percussion suddenly subsides and the music shifts to an apprehensive orchestral passage as Sarah sees Nick bringing the injured T-Rex baby to their jeep. In the Making The beginning of this cue seems to consist of music re-purposed from a later scene (see cue Truck Stop) with Williams re-orchestrating it for the dinosaur rampage in the InGen camp. This music becomes semi-thematic in the score as roughly the same energetic rhythmically insistent staccato brass and percussion section of the piece is later reprised in another cue (Rialto Ripples) as well. *** In the van Malcolm and Kelly try in vain to contact their ferry when Sarah and Nick burst in with the baby T-Rex, Malcolm horrified and nervous, Sarah going straight for an operating table to find the damage done to the dinosaur by Tembo. Kelly panics and wants to go somewhere safe. Malcolm leads her to Eddie and... 12. Up in a Basket (6m2/7m1 Part I) 3:27 (LLL set D 3 Track 10) Orchestrator: Conrad Pope Length (sheet music): 66 bars Deep drums and alla marcia rhythmic horns begin a taut militaristic and almost funereal procession as we see Eddie Carr asking Malcolm what is happening and the mathematician taking Kelly to the high-hide, a metallic cage that can be hoisted up to the trees with a winch to give an observation platform and safe vantage point for the team. There is a sense of anticipation and preparation in the music, Sarah and Nick trying help the T-Rex baby. Ghostly fluttering flutes, apprehensive strings and brass underscore the high-hide reaching above the tree tops, Kelly fretting about the dinosaurs and Malcolm is trying in vain to comfort her. As he says they are now in a completely different situation than when he was in the Jurassic Park a loud roar of a Tyrannosaurus echoes through the jungle. The following passage of music, that should have started around 1 minute mark, was cut from the finished film. Under the T-Rex roar we hear a constant uncomfortable synthesized sizzling sound and the orchestra begins an urgent churning motif full of foreboding, the music raising the tension when Malcolm attempts in vain to call the trailer, trying to reach Sarah and Nick to warn them. Nick is about to answer the ringing phone but the paleontologist calls him for immeadiate assistance, the ensemble repeating the motif ever insistent. Malcolm decides to descend and get to the trailer to warn the two, Kelly begging him not to go, music changing pace to another rhythmic motif with a low piano groove, percussion and strings forming the basis as Malcolm says he is coming back and dropping out of sight down a rope. Interjections to the nervous orchestral rhythm from lowest brass become more noticeable, underscoring Eddie and Kelly witnessing the T-Rex approaching through the jungle, made visible only by the trees swaying back and forth, Williams’ repeated deep brass motif for trombones underpinned by bass drum here suggesting an almost subliminal connection to Jaws, a beast lumbering almost unseen towards our heroes, personified just by the music. These heavy brass blasts drive Ian Malcolm onward through the rainy jungle and just as he reaches the trailer door and bursts inside to warn Sarah and Nick of the coming threat the orchestra reaches an ominous shuddering crescendo. In the Making This cue plays from 0:00-0:59 in the film as composed but the rest is dialed out, letting the sound effects and silence carry the tension of the scene. The music as written would have immediately continued with 13. Up in a Basket II (6m2/7m1 Part II) 2:21 (LLL set D 3 Track 11) Orchestrator: John Neufeld Length (sheet music): 75 bars Nick, Sarah and Malcolm do not have much time to prepare before the sharp snapping percussion reminiscent of the cue Horning In and brass section making constant nervous blasts inform them and the audience that something is coming, namely the parents of the infant T-Rex they have in their care. As the beasts peer through the windows on both sides, composer introduces first the animal howl-like synthesizer voice echoing menacingly which then flows into cold shimmering orchestral and synthetic writing, the percussion sounds slowly giving away to a high register ghostly melody in the strings that resembles the benevolent musical idea Baby dinosaurs originally used for the Stegosaurus baby from the earlier scene as the T-Rexes view their whimpering offspring inside the trailer, the little motif underscoring an eerie moment of parental concern from these gigantic carnivores (0:42-1:51). The initial rhythm creeps slowly back into the music when the trio lifts the baby and carefully presents it to the parents through the trailer door, the percussion groove and subliminal shimmer synthesizer effects coming to an abrupt silence as Eddie Carr informs via the phone from the high hide that the apparent threat is over and the beasts have decided to return to the jungle with their infant. In the Making The whole cue was cut from the film, perhaps thought too energetic, aggressive and prominent for the scene, adding too much tension and drive where the silence and the eerie noises of rain and dinosaurs was all that was needed to convey the menace of these massive beasts. *** But the safety is only momentary as suddenly the dinosaurs are back and the team has only a few seconds to prepare themselves. With determined rage T-Rexes push the trailer off the cliff face, half of it dangling over the edge, our heroes in the falling half holding on for dear life as everything topples down, the van turned into a corridor to death. *** 14. Pain of Glass (7m2/8m1) 4:05 (LLL set D 3 Track 12) Orchestrator: John Neufeld Length (sheet music): 67 bars With a sharp blast from timpani and trombones Sarah falls to the bottom of the trailer’s up-ended section landing on a rear window pane (hence the pun in the cue title). The celli and basses weave an urgent chaotic motif as she is momentarily knocked out but as she comes to the pane begins to crack, small cobweb of fractures spreading under her weight. The music here has a hint of familiarity, the string idea slightly reminiscent of the Dies Irae-like danger motif from Jurassic Park (found in the cues like The Falling Car (OST CD the latter half of Incident on Isla Nublar) and Highwire Stunts) as Malcolm tries to lower himself to rescue her, the music enhancing the urgency and danger of the scene considerably. He reaches for Sarah’s hand, but the satellite phone left hanging from a tablelamp by the fall slides off and topples down, the suspense peaking fast, high strings racing and brass keening in panic, Sarah reaching for Malcolm’s hand with all her desperation. The glass shatters to the sounds of tortured aleatoric brass and furiously sawing string section but the paleontologist makes a grab for life, Ian catching her with the lucky backpack. Here an extended queasy string glissando facilitates a scene transition to Eddie Carr. Outside Eddie Carr arrives to the site of the half destroyed trailer and frantically searches for survivors as tropical storm starts to spew torrents of rain on the island. The trapped trio hollers to him for help, Williams providing suspenseful jungle beat from the percussion and the brass, piano pouding its own jazzy suspense grooves with rhythmically tugging string accompaniment that add their weight to the field equipment expert's toil and determination as he hurries to safe the team, trying to tow the trailer back up with his jeep cable as a steady rhythm from the percussion section and strings continues to underscore his efforts. 15. Truck Stop (8m2) 5:10 (LLL set D 3 Track 13, OST track 7 Rescuing Sarah [0:00-2:12] (2:12) / Unreleased (1:04) / 7 [2:12-end] (1:48) Orchestrator: John Neufeld Length (sheet music): 156 bars Eddie’s actions come in the nick of time for the trailer is starting to slide on the muddy cliff in the pouring rain, pulled towards the cliff edge by the weight of the fallen section. The music bursts to life as Eddie notices how the vehicle is slowly beginning to move towards the edge and he runs to his jeep and tries to use it to pull the van back, percussion of all kinds among them bongos, congas, logs, bass drum and gourd beating wild rhythms (performance marked brutally) to emphasize the tension and fight against time. The timpani and the rest of the orchestra then join in this seemingly chaotic and driving barrage, which propels as much Eddie’s efforts as they comment the team’s dire predicament. Woodwind trills and runs, panicked and tortured brass exclamations hinting at the Island’s Voice motif, sharp and furious string figures and above all the percussion assault the poor protagonists, filling the air with dire expectation, underscoring the efforts of the trio in the van to escape the death trap, holding on to a rope, making desperately their way up and out of the slowly falling car. Williams keys everything into the rhythmic drive in this orchestral tour-de-force of percussive invention, relentless and primal. Eddie’s valiant rescue efforts and momentary success receive near victorious brass fanfares as he fights to keep the trailer on safe ground, his determination seeming to win them the much needed time to escape. But the score announces more trouble for the team with shrill woodwind runs, queasy muted horns and kinetic string writing. Only to make matters worse, calamity piling atop of another, the two T-Rexes like harbingers of doom return, stomping out of the dark rainy jungle, orchestral chimes, fateful exclamations from the whole brass section and swirling pained and panicked string figures underscoring their footfalls at 2:52, ringing a death knell for poor Eddie as the dinosaurs attack his jeep with fury, the percussion instruments beating an ever present barrage under the orchestra. The furious brass piles on top of the strings in staccato jabs accompanied by wild riffs from the drums and sharp cymbal accents as the monsters tear the car to pieces and Eddie in half, the orchestra and percussion reaching violently racuous heights, sounding like the full ensemble is nearly toppling on itself. The trailer finally falls to its destruction but the team makes a miraculous escape, underscored by fateful deep descending chords from the trombones, orchestra winding slowly down with percussion, brass and woodwinds flailing as in the death throes of the vehicle while the Tyrannosauri return to the jungle and the trio hangs on the rope against the cliff face. When the heroes finally climb up, receiving unexpected helping hand from Roland Tembo waiting at the top of the cliff, the percussion quiets down and a horn led strained but heroic fanfare sounds out, nearly quoting the Island Fanfare but taking a different turn, the music blossoming to a tragic and noble melody of operatic proportions joined by the entire orchesta, wearily celebrating their survival but also mourning the loss of Eddie Carr. 16. Reading the Map (8m3) 3:11 (LLL set D 3 Track 14) Orchestrator: John Neufeld Length (sheet music): 90 bars Percussion returns with the rhythmic low strings to signify preparations as the two teams, hunters and gatherers, decide to join forces despite their differences of opinion in order to trek across Isla Sorna. Williams adds another rhythmic element into the mix, a subtle interpolation of a deep bass synthesizer (marked "Fender Bass" in the score) playing its own jazzy figures underneath the basses and celli to beef up the atmosphere. Roland, Ludlow and Malcolm's group inspect a map of the island and discuss their route to the old InGen facilities and communications center where they want to radio for help, mentioning to Malcolm that the buildings are at the center of island, where unfortunately the carnivores and more specifically Velociraptors live. As these cunning and deadly dinosaurs are mentioned Williams reprises the 4-note Carnivore motif on ghostly shakuhachi flute (doubled on synthesizers) much in the same style as he did in the Opening Titles of Jurassic Park, the theme calling out several times over the dominating rhythms of the percussion section. High strings, horn and woodwind colours creep into the texture of the rhythm, adding deep sonorities to the pace of the music and lending it grim determination. In the Making The first 0:00-1:42 were not used in the film and the music begins when we first hear Ludlow mentioning the Raptors and hear the first rendition of the Carnivore motif. 17. The Trek (8m4-9m1) 5:25 (LLL set D 3 Track 15, OST track 5 The Trek) Orchestrator: John Neufeld Length (sheet music): 138 bars And so the group is on its way in the rain through the jungle towards their destination. Deep resonant exotic drums play a steady softly pounding figure for the jungle trek, the horns rising ominously in series of dark melodic phrases, a Trek motif, strings making nervous jittery interjections, lower woodwinds bubbling subtly underneath and growing into a percussion accompanied horn statement of the Island Fanfare while Ian Malcolm talks to Ludlow and mentions John Hammond and his doomed dream of Jurassic Park. The rising Trek melody from the beginning of the track is repeated more grandly in the brass with woodwinds squirming underneath as we see the long line of people walking through the jungle scenery, cloud capped mountains looming ominously in the background and Roland giving a dark nervous glance as they hear the distant roar of a Tyrannosaurus. When the group arrives to a red wood forest the travelling music gives away to a collection of dark orchestral and percussive sounds that underscore Roland Tembo spotting blood on Sarah’s coat and asking is she hurt, the eerie music enhancing the dangerous situation and environs these people are in. Dieter Stark hears the nature’s call and wanders off to satisfy its demands, hollering to one of the men, Carter, to keep at a shouting distance in case he gets lost. Carter, with a walkman blaring Mexican music ("Tres Dias" by Tomas Mendez), is completely oblivious to this which is announced with foreboding by queasy strings. After stopping for a suitable spot, followed by the unnerving snapping of the orchestra and percussion, Dieter is interrupted by rustling in the underbrush and he grabs his gun, ready for anything, backing away, searching for the assailant. As he sweeps the bushes with his gun he is startled by a single Compsognathus sticking its head out of the undergrowth accented by a shakuhachi wail at 3:48. Dieter is annoyed and tries to tazer the little lizard as he has done once before but it escapes in a sizzle of a rubbed tam-tam and bubbling of woodwinds and strings. But now the mercenary is truly and hopelessly lost and Carter (who still enjoys the fine performance of the Mariachi Los Camperos De Nati Cano) can’t hear his screams from the jungle. Strings pull nervous twittering sounds, shakuhachi howls again and pizzicato violins and the sizzling of suspended cymbals all cry out his panic as he wanders through the woods frantic, woodwinds, choice brass and low strings joining an insistent rhythm as he trips on a tree root and falls down a steep slop. Suspended cymbal swell and synthesized metallic zither notes underscore him hitting the bottom with a thump. In the Making This cue was dialled almost in its entirety out of the film, the Lost World theme tracked from To the Island in its stead, replacing the rising Trek motif for the travelling sequences, the film makers favouring silence and the adventurous feel in the music over Williams’ darker and more tense and grimly determined take on their journey across the island. The eerie underscore of the red wood forest was also removed and Dieter’s predicament left mostly unscored (although the music from 3:20-3:59 for compy's appearance from the underbrush is heard in the film), very likely because Williams’ music added too much tension and foreboding to the preceding dialogue between Roland, Nick and Sarah and could have dampened the horror of the Compsognathi in the following scene. 18. The Compys! (9m2) 1:34 (LLL set D 3 Track 16 0:00-1:34, OST track 1 Island Prologue 3:27-end) Orchestrator: Conrad Pope Length (sheet music): 67 bars This music should have continued without a pause from the previous cue. Dieter has no time to gather his wits after the fall when he is attacked by a swirling pack of Compsognathi, biting and clawing and climbing all over him. Piccolos chirp furiously, sul ponticello strings bow queasily, horns hoot and growl full of menace (performance for the whole ensemble is marked sinistro in the score) and is soon joined by the rest of the orchestra, the percussion pounding mercilessly, many sections of the ensemble playing aleatorically, achieving an organized chaos that describes the little dinosaurs perfectly as they swarm upon the mercenary with blood thirsty glee. The music is very similar to that heard in the first cue of the score, the little dinosaurs characterized by the same orchestral effects but even more frenzied this time around. Dieter repels the attack of the swarm and drives them away, swaying wearily along the river bed, the sinister strings, synthesized breath effects and woodwinds promising him no respite while at the temporary camp Roland calls everybody to continue their march. 19. The Compys Dine (9m3/10mA) 2:54 (LLL set D 3 Track 16 1:35-end, OST track 10 The Compys Dine 0:00-2:47) Orchestrator: Conrad Pope Length (sheet music): 76 bars Carter rises from his place to leave and the camera lowers and catches Dieter’s backpack on the ground forgotten, celli and double basses and a subtle timpani rumble commenting this with quiet and tense notes. Tabla drum and maraca take us back to the river bed where the mercenary is fleeing, still shouting for help. Horns and muted trombones rise menacingly, the woodwinds slowly return to the aleatoric style of the previous cue, all orchestral sections joining in a cacophonic carnage as Compys attack in force, appearing all around, Williams scoring both their action and the sheer terror they evoke with equal precision, the musical texture and performance style becoming a theme of its own for these little carnivores. Dieter stumbles over a large fallen tree and out of sight but the dinosaurs follow in a merciless swarm, music rising to a fever pitch with raging clarinets and piccolos, timpani accenting their menace and the brass announcing the end of the man at 1:10 as we see the water turning blood red, fluttering flutes and unsympathetic strings sighing as if for his last breath. Later Roland Tembo questions Carter about Dieter Stark and atmospheric percussion and rhythmic tugging of double basses underscore his decision to go find his second-in-command. Flutter-tongued shakuhachi carries the danger inherent in the decision and the troop gets moving again, leaderless, to the sound of low ominous brass and woodwinds repeating a subtle quote of the Trek motif from cue The Trek. A light cascade of notes from the harp and percussion transition to the night camp where the dark mood is further enhanced by the cold string lines and drum rumbles as the camera moves past the sleeping men. 20. Rialto Ripples (10m1) 5:53 (LLL set D 4 Track 1, OST track 12 Ludlow's Demise 0:00-1:35) Orchestrator: John Neufeld Length (sheet music): 183 bars As Roland returns from his search double basses start a subtle menacing figure, bass drum beating a ghostly rumble in the background, the big game hunter noting flatly that Dieter is dead. Flutes, rubbed aluminum rod, triangle and vibraphone strike a cold clear sound when Tembo lights his flashlight and Malcolm and Ajay read the map with him and make plans for their next move. Strings continue dark and mysterioso, the woodwinds and brass joining them, a few slow deep bass drum cadences giving the listener a small hint of what is to come as we see Kelly and Sarah sleeping in a tent, Malcolm walking towards them. Then Sarah is suddenly awake and feels a low rumble, alarmed by it. At 1:02 the percussion section starts pounding a steady, simple and menacing march rhythm as trombones and horns flutter and growl full of dark danger, woodwinds joining soon in a repeated figure, the suspense climbing continually, timpani spiking the tension along with the continuous sizzling sounds of a suspended cymbal. Outside Malcolm sees the ripples in a muddy pool, realizing the coming threat (Williams’ cue title refers to this and nods humorously at an old rag time standard by George Gershwin called Rialto Ripples). Inside the tent the paleontologist notices the bloody coat left hanging out to dry inside, realizing that the smell of blood of the baby dinosaur must be attracting the T-Rexes but before she can do anything about it, a huge shadow is cast over the tent. The violins and violas add their cold colours to the mass of sound, suspended cymbal hissing over the bed of repeating churning orchestral effects and timpani attacking violently as the beast approaches. Here the brass becomes more pronounced, the blasts oppressive and demanding underpinned by the rolling overpowering percussion as the T-Rex pushes its head inside the tent, searching, sniffing. Kelly wakes up, and Sarah who is in a state of terror herself tries to keep the girl silent and still. The presence of the dinosaur hammers at them in Williams' music, the coiled, violent bursts of the orchestra threatening to crush them. The strings, first the high and then low register, spin uncomfortable cyclical figures backed up by synthesizers, further ratcheting up the suspense to unbearable levels. But suddenly the bottled up tension is released at 3:24 as Carter wakes up and sees the beast, screams and fires at it with his gun. Strings whip into frenzied action as they flail in rhythmic anger and the whole camp wakes up in panic, the T-Rex turning to face the sudden attackers, the lowest brass ascending ominously in the fashion of monster music of old as we get a wide shot of the dinosaur. To add to the constant sense of energy Williams keeps the pounding march from the opening half of the cue constantly going underneath the action, creating a relentless steady drive to the scene. From 3:35 until 4:06 the music again reprises a furious staccato brass and percussion passage from the cue Truck Stop underscoring here the panicked flight of the people and Tembo’s failed attempt to shoot the T-Rex as Nick Van Owen had emptied the shells from his rifle while Roland wasn’t looking. Panicked, forward hurtling rapid fire brass phrases (with virtuoso playing from the session musicians) and sharply chirping woodwind runs underscore the wild flight of the team through the jungle with the T-Rex on their tail, characterized by the low brass sounds. As the scene shifts rapidly the percussion strike up an agitated jungle rhythm underpinned by aggressive brass blast again when Roland Tembo tries to capture the other T-Rex with a tranquilizer gun, rattling clanging metallic percussive sounds further instilling momentum and tension and the low brass again rising to a monster music style deep exclamation as Tembo hits his quarry. The rhythms from the furious sawing strings, pealing synthetic chime effects and percussion become increasingly frantic as we cut to the T-Rex chase, the score surging to keep up until the ingeniously driving and wildly chaotic orchestral and percussive melange comes to a dead halt when the fleeing protagonists jump through a waterfall for safety. In the Making In the film this piece underwent editorial tinkering and as a result it was re-edited, layered with material taken probably from the unused portion of the Up in a Basket I and mixed very differently resulting in the opening part prior to 3:24 to sound wildly different in the film compared to Williams' original intentions. 21. Steiner in the Grass (10m2) 2:28 (LLL set D 4 Track 2, OST track 8 Hammond's Plan 2:05-end) Orchestrator: Conrad Pope Length (sheet music): 60 bars The survivors of the T-Rex attack (Carter and Dr. Burke didn't make it) continue towards the InGen facilities and cross a meadow of high grass, the line of people filing through high stalks, forming dark furrow as they go while Ajay is in vain trying to stop them. The title of the cue is a wink to the grandfather of film music Max Steiner, whose score for 1933 film King Kong was almost certainly a partial inspiration for this score and contained exotic music for the jungle travel and locale of the Skull Island, Williams is tipping the hat to the old master in styling his piece in somewhat the same vein. Another new jungle rhythm on the percussion and jazzy low piano open the cue and slowly rising ominous brass and string lines continue in the style of the previous Trek motif but spinning unique melodic variations for the scene. Soon colder tones from the tense brass, strings and woodwind stings creep into the texture of the music as we see new dark furrows forming in the grass all around the group. Velociraptors approach and stealthily start picking off people one by one, soon creating another panicked flight. The brass continue to develop the trek material, ever ominous as Raptors go about their bloody business and the protagonists behind the main group appear just at the edge of the meadow. Nick finds Ajay’s bag in the dark, the rhythmic basses and marimba beating almost a countdown and as Malcolm hears the horribly familiar snarling in the darkness and the cries of the dying men, he breaks into a hurried flight, the orchestra following suit and with a swirl at 1:55 mark, releasing the tension, picking up speed, all orchestral sections urging them on with furious flurries as the heroes race towards the forest edge and safety, only to tumble down a slippery slope, a downward string and woodwind surge and a percussion hit signifying the end of their fall. The music continues without a pause with 22. After the Fall (10m3-11m1) 3:05 (LLL set D 4 Track 3, OST track 6 Finding Camp Jurassic) Orchestrator: Conrad Pope Length (sheet music): 58 bars Under a brooding contrabassoon drone, deep trombone sonorities and celli’s and basses’ menacing murmurs the heroes find themselves in what seems like a dinosaur graveyard with huge rib cages surrounding their path. Nick says he is going to find the communications center and radio for help, not staying to wait for Malcolm who has hurt his leg in the fall, piano and harp playing probing notes as the photographer runs through the broken gates of the facility towards the main building with strings rising full of mystery. As he enters through the main entrance of the Camp Jurassic center a percussion rhythm starts over nervous strings and bubbling woodwinds. At 1:11 when Nick first jumps at seeing a T-Rex’s snout in a poster and then looks at a faded advertisement banner of Jurassic Park on the wall, we hear an equally faded and ghostly setting of the Island Fanfare, a reminder of lost dreams and faded glory, Williams again tying the old theme firmly to the earlier park rather than Isla Sorna's situation. As Nick continues to explore the vines and jungle infested main building, part shadowy part enigmatic orchestral and percussive elements take over, heightening the suspense of the exploration until another subtle variation of the Island Fanfare on brass supported by woodwinds at 2:30 announces his success of turning on the power and finding the radio, the percussion slowly fading into silence as he makes contact with the main land. 23. The Raptors Appear (11m2) 3:44 (LLL set D 4 Track 4, OST track 9 The Raptors Appear) Orchestrator: John Neufeld Length (sheet music): 104 bars Malcolm, Sarah and Kelly have finally caught up with Nick, walking past dinosaur bones and huge geothermal pipes. A ghostly wail of the Island’s Voice motif sounds repeatedly on synthesizer accompanied by almost breath like shakuhachi synth effects, tabla drum echoing alone in the distance. The group reaches the gate and the courtyard of the InGen center with strings and subtle percussion keeping up the suspense, when out of nowhere a Velociraptor appears and attacks Sarah, eliciting a rising scream from the horn section and a new action rhythm from the percussion. Luckily the raptor decides to maul Sarah’s backpack instead and so she escapes with her life. Malcolm heroically attracts the attention of the beast as Kelly and Sarah run for safety into an old shed but two more Raptors appear and immediately go after them and try to dig their way in, all the while the women try to dig their way out from the the other side of the building and Malcolm fights for his life in the courtyard. Much as in the cue Truck Stop, the percussion rhythm established at the beginning dominates while brass makes snarling and hooting interjections and drives the music forward by presenting snatches of their own action motif and the Island’s Voice, the synthesized animal noise rising to haunt the protagonists along with aleatoric woodwind screams as three raptors try to kill our heroes. The Island’s Voice calls out in deadly synthesized voices around 1:25 and 2:25, receiving a more ponderous reading with brass accompaniment at 2:42 as the situation grows more dire and until all the orchestral forces, notably including wild aleatoric woodwind section, grow more chaotic by the second and finally the music comes to a staccato halt with brass and percussion hits when the women get the boards loose in the back wall and try to escape that way. 24. High Bar and Ceiling Tiles (11m3-12m1) 4:12 (LLL set D 4 Track 5) Orchestrator: John Neufeld Length (sheet music): 136 bars But another Raptor is waiting outside and a sharp timpani stinger and the percussion rhythm return as the action writing in the style of the previous cue continues fresh and furious. Sarah and Kelly have no choice but to go up climbing toward the roof for safety. Malcolm who has been trapped in a car, succeeds in evading the Raptor and runs inside driven by nervous blasts of brass, only to find himself face to face with another of the vicious carnivores that has nearly gotten in. He decides to climb as well and the orchestra and percussion follow his movements while cruel rhythmic brass exclamations trail the Raptor jumping after him. In the nick of time Kelly saves her father with a well targeted gymnastic move, sending the dinosaur through a window and to its demise below, impaled on a palisade, underscored by cymbal crashes and deep fateful staccato bursts from the brass section starting at 1:19. But the victory is only temporary and after a short pause the Raptor brass sounds return with vengeance as Sarah heads for the roof while Malcolm and Kelly escape through the shed door. Nervous aleatoric woodwinds again creep into the score alongside Sarah’s panic as the vicious beast is after her and she has to make a leap to the roof of another building with the creature in hot pursuit. Her jump falls short, leaving her hanging from the slate roof edge with the score ratcheting up the tension and drive with the ever present percussion drive and sharp trumpet figures. The dinosaur jumps ahead of her so now one Raptor waits Sarah on the roof and another on the ground below. She hangs by the roof tiles and gets a quick idea and begins to pull the slates down. Slowly but surely the shingles give away and take the precariously balanced Raptor with them. Here the raging woodwinds, quick sharp brass bursts and string figures now accentuated by cymbal hits create a feel of deadly unpredictability, the musical chaos climbing to a small crescendo at 2:31 resembling the finale of the previous cue. But as Sarah loses her hold of the tiles and falls, the score shifts to new action rhythm and the two Raptors, now is midst of a scrambling fight with one another battling for the quarry, are scored by keening brass tones and a subtle quote of the Island’s Voice at 2:36. The paleontologist tries to stay out the way of the hissing, biting creatures and suddenly falls through a trap door and out of a window to land safely near Malcolm and Kelly. Brass and percussion continues in staggered bursts, repeating the action motif of the previous two cues, the Island’s Voice howling several times in the brass becoming each time more dramatic and ponderous as the heroes try to make their escape. And almost as if exhausted along with the characters the score comes to a sudden slow fading coda in the strings and weary horns as they get to the helicopter pad of the visitor center with Nick waiting for them and InGen helicopter approaching. In the Making In the film the Lost World theme concert version was tracked in as Sarah falls through the floor and continues when the trio heads for the main building’s helicopter pad, the triumphant feel more suitable for their rescue. Williams original music was much darker and harsher, letting the savage mood and tension continue almost up until the last minute. 25. Heading North (12m2) 2:14 (LLL set D 4 Track 6, OST track 3 Malcolm’s Journey 3:33-end) Orchestrator: Conrad Pope Length (sheet music): 46 bars Weary string lines rise as the helicopter is taking our heroes off the island, offering a melancholy respite from the ordeal they have just experienced, harp and brass offering their own somber tones to the quiet moment of aftershock for the protagonists. Deeper brass creeps into the music assisted by a timpani roll when we are shown Ludlow and Tembo with another InGen team capturing the sedated T-Rex male, the CEO congratulating the hunter for his prize. Tembo, who has lost his friend Ajay, is grim, remarking that he is glad to get away, having spent enough time in the company of death, timpani rumble, husky flutes and low strings underscoring his lines. For a transition shot of the helicopter appearing in the night skyline of San Diego Williams offers a grand yet dark reading of the Lost World theme complete with tambourine flourishes, but even in triumph it is tempered by the horrors experienced on Isla Sorna. And thus the new main theme of the score musically bookends the whole experience on the island. But the story isn't over yet. 26. Ludlow’s Speech (12m3) 3:15 (LLL set D 4 Track 7) Orchestrator: John Neufeld Length (sheet music): 91 bars This cue begins the last act of the film. Ludlow is desperate to re-coup his losses and is transporting the T-Rex to San Diego on a boat, having already spirited the infant Tyrannosaur to the InGen facilities in the city via helicopter. He has gathered media at the docks to greet the arrival of the cargo ship due to land in the early hours of the morning and is holding a press conference. Ian Malcolm and Sarah are there to witness this folly. The music continues very much in the jungle mood as the percussionists set up another rhythmic groove underneath the orchestra that now has both a conspiratorial and expectant feel to it, especially thanks to the dotted nervous woodwind lines that crisscross the composition. As the harbor master interrups Ludlow’s speech and calls him to inspect something in the offices, the inexorably rising orchestral and synthesizer lines of the Island’s Voice motif supported by the percussion section give us a forewarning that something is certainly amiss as the motif is taken over and repeated in turn by several sections of the ensemble. The ship arrives but they can’t make contact with it, the vessel approaching the docks with an alarming speed with no signs of slowing down and when the blinking dot on the radar grows closer and closer the brass and woodwinds present their own nervous dotted figures over ominous high string lines and percussion for the nearing ship. A tense countdown motif begins in the orchestra, rhythmically taut and persistent, gathering up speed with the vessel, a ghostly synthesized wail of the Island’s Voice and full ensemble reaching terrifying intesity and a lengthy thunderous crescendo the score comes to a halt just after the ship appears from the darkness and plows into the pier wreaking chaos and destruction. In the Making In the film the music stops short at 1:59 as people are watching the night sea and hearing the ship approaching, the rest of the mounting tension of the scene is carried just by sound effects. 27. WOMPI’s Wrench/Wreck? (12m4) 2:22 (LLL set D 4 Track 8, OST track 10 The Compys Dine 2:47-end) Orchestrator: John Neufeld Length (sheet music): 36 bars Muted horns and slow ominously tremoloing strings set the mood of building horror for the scene, the Island’s Voice motif performed cruelly by the woodwinds and then passed between different instruments, obviously announcing death. Ludlow, Sarah and Malcolm with the harbour and InGen officials climb to inspect the ship only to find carnage onboard, with bodies littering the decks, victims of unseen assailants. The Island’s Voice is heard again in ghostly synthesizer voices, Ludlow nauceously backing out from the bridge of the ship after seeing the captain’s severed hand holding the wheel. Sarah and Malcolm both notice the big cargo hatch of the ship clanking as if the mechanism had stuck and notice a dead man holding the remote. With tabla playing softly in the background, the brass section starts a slow menacing series of growling bursts that grow in intesity, the Island’s Voice making another exclamation in the midst of mounting dread. Strings shudder, the brass continue their deep ponderous blasts now paced out slower for increasingly foreboding effect as Ludlow wants the cargo hold opened and while Malcolm tries to stop him, one of the police is quicker and obliges. Malcolm calls everybody off the boat. In the Making This cue went completely unused in the film which favours again silence over music. The music would have started immediately in the aftermath of the ship’s crash, as the survivors survey the devastation. 28. Monster On the Loose (12m5) 2:38 (LLL set D 4 Track 9) Orchestrator: John Neufeld Length (sheet music): 50 bars And thus the button is pushed setting the Rex on the loose! The ponderous monstrously deep brass blasts from the previous cue return with even more commanding weight as the T-Rex emerges from the cargo hold, crying havoc, the rhythmic gait of the music underscoring its heavy steps as it disembarks the ship and heads for land. Strings spiral into a tight knot and a percussion and timpani rumble alongside the grave brass heralding a dire reading of the Island Fanfare as Malcolm announces to the trembling CEO of InGen that now Ludlow is like John Hammond, his dream in pieces and a monster set free in the city of San Diego, the theme here another bittersweet reminder of the noble pipe dream gone awry for the second time. The T-Rex crashes past the harbour buildings to the heavy plodding of the orchestral forces, high strings presenting their own fateful rhythmic motif over the cymbal crashes, double bass and timpani, Tyrannosaurus Footfalls, the phrase ending with pounding timpani notes as we see the creature against the silhouette of the city growling its fury. The percussion section offers some suspense accompanied by writing for strings and synthesizers, Malcolm and Sarah inquiring from the InGen technician what was used to tranquilize the beast and demanding from Ludlow where the T-Rex baby was taken, Sarah planning to use the infant to lure the monster back to the ship. The Island’s Voice on ghostly synth voices and strings makes an eerie another appearance, Ludlow sitting despondent and still in shock, telling them the baby is at the InGen waterfront facility, muted sharp horns and clarinets underscoring the duo’s decision to go and get it as they speed off in Malcolm's car. In the Making In the film a portion of this composition was replaced by music tracked from the following cue (A Neighborhood Visitor) when we see the T-Rex against the city lights. 29. A Neighborhood Visitor (13m1) 3:26 (LLL set D 4 Track 10 0:00-3:26, OST track 13 Visitor In San Diego 0:00-3:24; Unused in the film 0:00-22) Orchestrator: John Neufeld Length (sheet music): 72 bars In the middle of the night the T-Rex wanders around a San Diego suburb, seeing a pool in the backyard of a house and stopping for a drink. Deep taiko drums, bass trombones, contrabass clarinets, bassoons, celli and double basses shudder under the steps of the monster, catching its movements, horns growling a throaty and pinched variation of the Island’s Voice motif. The camera moves inside the house and into the bedroom of a small boy. The fish tank beside his bed vibrates to unseen footfalls, the tremors captured by the harp, metallic rub rod,skittery sul ponticello strings, woodwinds and percussion and synthesizers, the Island’s Voice subtly quoted by bass clarinets as the boy wakes up. He sees the T-Rex and backs away, goes to his parents’ room and drags the sleepy and complaining pair to his room babbling all the time about a dinosaur in their backyard, the expectant nervous orchestral effects coalescing, clarinet and flute presenting twice a jumpy variation on the Island’s Voice in a bed of bubbling woodwinds and percussion. At 1:35 very quietly at first a familiar rhythm of Tyrannosaurus Footfalls takes hold of the score, growing slowly in menace under rising string reading of the Island’s Voice, finally reaching a dramatic peak as the parents see the hulking beast through the window with a dog coop hanging by the chain from its jaws, ferocious horns repeating the 4-note Tyrannosaurus Footfalls rhythm and adding a 5th note here imitating the T-Rex’s roar. At 2:09 the Tyrannosaurus Footfalls and its accompanying rhythmic string motif continue as we cut to Malcolm and Sarah speeding towards the InGen facilities, the cymbal crashes coinciding with the moment before the car crashes through a guardpost safety beam. The heroic and urgent Island Fanfare calls out over the string motif as the two arrive at the Jurassic Park facilities and the discovery of the caged baby T-Rex is treated to a brief ethereal passage for flute and synthesized zither, perhaps a textural nod to the earlier music for the infant dinosaurs heard in the film. As our heroes take the infant and get into the car, the forceful string motif from earlier returns and with this determined musical ally the pair prepares to go searching for the adult Tyrannosaurus. In the Making The heavy percussive opening (0:00-0:22) was ultimately not used in the film and T-Rex steps into the backyard in silence, the sound effects again carrying the suspense without musical help. 30. Streets Of San Diego (13m2) 4:14 (LLL set D 4 Track 10 3:27-end, OST track 13 Visitor In San Diego 3:24-end; Unused in the film 0:00-0:41) Orchestrator: Conrad Pope Length (sheet music): 105 bars Meanwhile on the streets the panic is rising. A quick cut to a screaming woman’s face opens the cue as rapid fire trumpets and yelping piccolo runs launch her car away from the T-Rex only to crash into the side of another vehicle. Sharp snapping of piccolo snare drum, percussion, resounding cymbal hits and brass describe the on-screen mayhem with raucous fury, low thumping piano and the strings joining the fray. People flee in panic. The Island’s Voice makes a doom laden announcement in the brass further enhanced by the cymbal crashes at around 0:50. The raging orchestral forces push the action forward, Malcolm and Sarah spotting the monster, Sarah waking the baby and its voice luring the adult T-Rex after them and the beast giving furious chase all captured with brilliant aggressive and blazing music for orchestra, brass and percussion highlighted throughout the cue. Again the rhythm seems to be the key here, the ever driving momentum hurtling the action forward with unstoppable speed. At 2:32 a new action rhythm appears, underpinned by deep blasts from trombones and tuba, the trumpets wild and fervent, horns howling the Island’s Voice, the music underscoring Malcolm and Sarah dashing through the streets and into the harbor, abandoning the car and cutting through the warehouses on foot with the T-Rex in hot pursuit, reaching the ship and dropping off the Tyrannosaurus baby and with the final flourish of the Island’s Voice from the orchestra the pair jumps over the ship's railing into the water, leaving baffled Ludlow to take measure of the situation. In the Making The opening 42 seconds music were not used in the film for the initial shots of the Tyrannosaur attack starting from the transition to the screaming woman backing away from the dinosaur up until the shot where the mauled bus crashes into the video rental store. Interestingly a brief snippet of High Bar and Ceiling Tiles (deep Island's Voice exclamation) makes an appearance for the shot of fleeing Japanese businessmen before the actual cue returns as the script writer David Koepp makes his cameo as the unfortunate pedestrian who gets eaten by the Tyrannosaurus. 31. Ludlow’s End (13m3-14m1) 2:52 (LLL set D 4 Track 11, OST track 12 Ludlow's Demise 1:35-end) Orchestrator: John Neufeld & Conrad Pope Length (sheet music): 74 bars A string motif similar to the one heard under Tyrannosaurus Footfalls (and in snippets in the previous cue) returns in much accelerated guise with full orchestra backing as Ludlow looks down into the cargo hold with a helicopter and a sniper emergimg from the background ready to kill the adult dinosaur. In a shimmer of harp the motif dies down and atmospheric sul ponticello strings and the nervous percussion passages underscore Ludlow descending to the cargohold to find the baby T-Rex, synthesized animal howl further enhancing the edgy moment for the InGen CEO. But soon the adult T-Rex emerges behind the cargohold doors and comes down to find its infant and the previous string action ostinato motif returns with vengeance punctuated by agitated woodwinds, fateful brass rising to an exclamation point of Ludlow’s demise, orchestral hits scoring the baby T-Rex descending on the wounded man and finishing him off. Outside Sarah and Malcolm are determined to safe the dinosaurs, Sarah loading a tranquilizer gun, the string action motif, breathlessly fast brass figures and cymbals raising the tension while in the helicopter the sniper is ready to take the T-Rex down per Ludlow’s orders. Finally the piece reaches its dramatic conclusion with the tortured string and brass lines over percussion pulse rising to a climax, a heavy orchestral thump announcing Sarah’s tranquilizer dart finding its mark. In the Making In the film only the first 15 seconds of the cue are used but the suspenseful underscore is dropped and the T-Rex capturing and crippling Ludlow and feeding the man to his infant and Sarah tranquilizing the creature were tracked with the Lost World theme concert version (and End Credits intro). Williams originally scored the scene much as a continuation of the previous action cues, the string motif heavy and unrelenting, enhancing the ferocity and merciless way the dinosaurs dispatch Ludlow. The film makers’ intention was obviously to highlight justice being done, the bad guy of the movie getting his rightful reward for his actions, with the dinosaurs representing the nemesis and the music celebrating the happy ending for these animals. This could be seen as a continuation of a tradition started in Jurassic Park of showing the T-Rex in a heroic light as it's appearance was re-scored with tracked music (The Island Fanfare) also in the first film to give the finale an optimistic feel. But in some way the original cue fitted the action much better even though it deprived the scene of a victorious sense of closure, which Williams reserved for the next cue. 32. The Saving Dart (14m2) 3:01 (LLL set D 4 Track 12, Film Edit LLL D 4 Track 15, OST track 14 Finale and Jurassic Park Theme 0:00-2:23) Orchestrator: Conrad Pope Length (sheet music): 57 bars Fluttering woodwinds, synthesized celesta/piano and tremoloing strings announce the Tyrannosaurus falling unconscious and into the safety of the cargo hold. Led by the horn section the orchestra rises to a noble but tragic exclamation of victory and the end for the adventure as Malcolm, weary and breathless surveys the scene in front of him, offering Sarah a grateful and relieved look. We cut to a hotel room and see the trio on a couch with a CNN news report showing on the television, Sarah and Malcolm sleeping, Kelly alone watching the transportation of the dinosaurs back to the island. With harp accompaniment flutes, horns and strings present a luminous slow and fragmented major mode variation on the Lost World theme, here warm and comforting, the news showing the cargo ship at sea escorted by the military back to Isla Sorna. When John Hammond offers his own view on the matter in the TV interview, piano enters alone, playing the Dinosaurs theme (or the Main theme) from Jurassic Park offering its gentle blessing to the endeavor and to Hammond’s dream continuing in another form. The film then cuts to Isla Sorna and shows the dinosaurs living in their natural habitat while a wistful and slightly pensive coda using subtle interpolation of the Island's Voice motif on synthetic chorus with gentle harp arpeggio accompaniment trails into silence as a Pteranodon lands on a branch of a nearby tree, letting out a victorious cry. Life has indeed found a way. In the Making In the film the short 38 second ending of the cue was replaced by the Island Fanfare tracked from the concert suite material recorded for the film, ending the movie on a more positive and triumphant note. This editorial version was also included on the LLL set (Disc 4 track 15) while on the original soundtrack album the suite from Jurassic Park followed immediately after the piano rendition of the Dinosaurs theme. Williams original more subdued and pensive ending can be heard on the LLL set for the first time. 33. End Credit Intro (unnumbered) 0:14 Orchestrator: ? Length (sheet music): 11 bars For the End Credits Williams wrote a revised opening for the new theme of the film featuring a bit deeper brass, horns and trombones in particular, and percussion than the original version. This is edited to flow to 34. The Lost World (End Credits) 3:34 (LLL set D 3 Track 1, D 4 Track 14 (with End Credit Intro), OST track 1 The Lost World) Orchestrator: John Neufeld & Conrad Pope Length (sheet music): 134 bars The concert version of the main theme. As with many Williams’ concert suites this seems to almost tell the story of the film. Here the thematic material receives its most adventurous, celebratory and lengthiest development closing the score in the most triumphantly thrilling and satisfying way. 35. Jurassic Park Theme 5:30 (unnumbered) (LLL set D 4 Track 13, OST track 14 Finale and Jurassic Park Theme 2:23-end) To accommodate the length of the end credits Williams re-recorded his concert arrangement of his two main themes from Jurassic Park, which he created after the release of the first film and recorded for one of his Boston Pops compilation albums, Williams on Williams: The Classic Spielberg Scores. In the suite he first presents the Dinosaurs Theme/Theme from Jurassic Park, which starts much as it does on the original soundtrack album, on solo horn, but the performance is markedly faster and there is no choral accompaniment. The composition fuses together thematic development from the Welcome to Jurassic Park and the cue Dinosaurs from Jurassic Park and goes fluidly to the Island Fanfare that has also gotten embellishments in the orchestration, making it a bit more powerful performance percussion-wise than on the Jurassic Park OST and closing with the triumphant music from the end of T-Rex Rescue and Finale. In the Making In the film the Island Fanfare portion of this suite opens the end credits which is then edited to continue with the Lost World theme concert arrangement which in turn is editorially combined with theme's variations from the cue To the Island . The Theme from Jurassic Park section of the suite goes completely unused in the film and the end credits and can only be heard on the album releases of the score. -Mikko Ojala- © Special thanks to Datameister, Jason LeBlanc and Goodmusician for complete cue lists, musical analysis, mock-ups and all the rest. Notes [1]The Lost World DVD documentary: The Making of the Lost World. © 1997 Universal Studios & Amblin Entertainment Inc. © 2001. All Rights Reserved. [2]Wikipedia article: The Lost World Jurassic Park (film score) written by Datameister. [3]Wikipedia article: The Lost World Jurassic Park (film score) written by Datameister. [4]The Lost World DVD documentary: The Making of the Lost World. © 1997 Universal Studios & Amblin Entertainment Inc. © 2001. All Rights Reserved.
  2. JAWS 3-D (1983) – Music Composed and Conducted by Alan Parker ***** out of ***** The complete score is arguably the more varied and “bigger” (in terms of number of themes and scope) Jaws score of them all. It could never reach the high level and effectiveness of the John Williams scores but it is a fantastic score on its own deserving a 5 star rating, with an incredible number of themes and motifs and some variations on the Jaws theme. The uncredited borrowings from the “Rite of Spring” can be a bit distracting to people very familiar with that piece, but do work very well in the movie. TV Producer Alan Landsburg made a lot of bad decisions while producing Jaws 3-D (such as scraping the superior electronic composites from PSE and replacing them by hastily prepared poor optical effects and keeping in the movie some unfinished shots like in the underwater tunnel attack scene to meet its release date), but in the music department he did great by hiring composer Alan Parker (no relation to the homonimous movie director) and then calling back Parker alowing him to adapt and rerecord most of the score when the movie was extensively reedited before release. The score was released on LP and tapes at the time of the film release in 1983 as a 35 min. album including several tracks that differed a lot from the music heard in the film. There was some speculation if the album was a rerecording, as the first Jaws was, but in fact the album contained music from the original version of the score, before a lot of the tracks had to be modified and rerecorded for the reedited/shortened version of the movie. More than 36 minutes of rescored music had to be completed by Parker in a very short 6-day period (and these new versions generaly improved on the energy and exitement of the music compared to the original versions). First released on CD in 2007 by Intrada Records as straight reissue of the 35 min. MCA LP program the complete score was finally released by Intrada Records in 2015 as part of their Jaws series releases that year, including all tracks that were recorded for the original cut of the film and for its reedited version, plus the source music, overlays and alternates recorded by Parker with a total time of 108 min. (longer than the 98 min. picture). The 2015 Intrada Release is a fantastic release that I thought I would never see happening. Sound quality is great even if unfortunately, a few tracks present some damage (due to the degradation of the tapes since its recording in 1983). According to the press release on the 2-CD 2015 edition the presentation opted to follow as closely as possible the film sequence, but that is not exactly precise and the main issue I have with this release is the sequencing. In fact the main program at CD 1 includes tracks out of sequence, unused tracks and alternate versions (while some of the actual film versions are at CD2 instead of CD1). So, before I do a track-by-track breakdown of the score, I will do it in the way I preferred to sequence the tracks, to match the film sequence, prioritizing in the main program the music that is actually used in the film, then an alternate program with the original/alternate versions, stingers, unused tracks and keeping the source music separated from the main program. My sequencing in two separated iTunes “albums” (tracks with * are from CD2*): I - JAWS 3-D the film score: 1, 2, 3, 4, 2*, 7, 8, 9, 12, 8*, 14, 16, 17, 11*, 29, 21, 22, 23, 24, 26, 28, 30, 31, 32, 33, 16*, 35, 37 Used source music: 5, 25*, 31*, 27*, 28*, 18, 19, 30*, 20, 29*, 32*. CD 1 track 11 “Dolphin Chase” is not used in the program as it is an oddly edited version (omitting a section with the shark theme) of “Dolphin Chase (Telex Version)”, which is the actual track used in the movie. II - JAWS 3-D original versions, alternates & unused 1*, 6, 4*, 5*, 6*, 10, 7*, 10*, 16, 25, 12*, 13*, 14*, 18*, 15*, 34, 17*, 36, 37 Unused music/alternates: 20*, 3*, 13, 15, 18, 19, 27, 21*, 22*, 23*, 24* Unused source music: 26* Before doing a track-by-track comment it is convenient to do a summary of the main themes and motifs used through the movie: 1) Jaws theme: John Williams classic Jaws theme is somewhat underused in this film, several tracks include portions of the theme (Parker uses only the main two note motif, but not any of the other parts of the theme like the horn melody, the bridge and the "Orca" theme). In some key sequences Parker opted to use different action/suspense music (including a new three-note shark motif). As in the film there are two sharks (a baby shark and a big mother shark) Parker applied different orchestrations to differentiate the sharks: “two horns, woodwinds and the strings” for the baby shark and “six horns and the entire trombone section” for the big mother shark. 2) Three-note shark theme: A new motif used several times during the movie, sometimes in association with the Jaws theme - it kind of replaces the Jaws theme horn melody. 3) Sea World Theme: A beautiful theme used extensively during the score (also used in association with adventurer/photographer Phillip Fitzroyce) and with a powerful rendition for the end credits. The theme is playful and happy but very flexible being also used in sad ominous tone during the score. Interestingly its three-note refrain is similar to the three-note shark motif used in the film (but altering the emphasis from the third to the second note). 4) Love theme: A lovely theme used several times during the movie for the love between the two protagonists Mike Brody and Kay. 5) Ski Theme: A playful and infectious theme that plays over the second half of the main titles and was supposed to be used in other tracks of the movie (Kay Meets Phillip [original version], Sea World Opening Day [original version]) but ended being dialed out of the movie. 6) Dolphin Theme: Another playful theme used for the dolphins, it is used several times in conjunction with the Sea World theme and first appears in the track “Kay Meets Phillip”. 7) Attack motif: Modernistic brass and string clusters that the liner notes refer to as a kind of precursor of similar techniques that Elliot Goldenthal would use in Alien3. It is used during some of the shark attacks in tracks like “Attack”, “Shark Attacks Skiers”, “Shark Attacks Kelly” and “Phillips Demise”. 8) Music derived from Stravinskys’ “Rite Of Spring”: It is said that Rite Of Spring inspired some of John Williams music for Jaws, in Jaws 3-D however there are several passages that are directly quoting almost note for note Rite of Spring, as further detailed in the track-by-track description and on the attached video: I - JAWS 3-D the film score: http://store.intrada.com/core/media/media.nl?id=11145&c=ACCT67745&h=4aa3f1529e62c8d826d2 1) Jaws 3-D Main Title (film version) – CD1 Track 1 In the previous Jaws movies the Universal Logo was left unscored with some sonar/underwater sounds used. For Jaws 3-D an unique 3-D Universal logo was used (AFAIK the only time that logo was used). No music was composed by Alan Parker for the logo, but in the theatrical version a portion of the track “Baby Shark Dies” was tracked and it is edited in this “film version of the track”. The actual score begins with a string crescendo, then the Jaws theme briefly plays with the underwater shark POV followed by a three note horn motif that is incorporated as a new shark motif for this movie frequently used in conjunction with the Jaws theme, the scene continues with the POV but this time it is not a continuous shot (which strongly diminishes the effect of the POV shots) but several cut shots clearly intending to display the 3-D effects with several fishes swimming around out of the screen with coral reefs in the distance, the music including strings and harps reflecting the underwater environment until it accelerates as the POV approaches a big grouper and bites it with a curtain of blood filing the screen and changing to a shot of the grouper head floating out of screen still opening and closing its mouth (this shot – one of the few electronic composite effects that remained from PSE [much superior to other opticals in the movie] - was extended after the original cut and an insert “Grouper Head” music was added to the film version of the track comparing to the shorter original version in disc two). The POV returns with a fast-paced arrangement of the shark theme with a different punctuation that is much closer to Stravinsky’s Rite of Spring than to the original Jaws theme (see Rite of Spring Part I, 2. The Harbingers Of Spring, Dance Of The Adolescents) and a brass fanfare plays when the title appears in 3-D and “bites” out of the screen. The cut shots of the POV continue as the actor names are displayed with the lovely “Sea World theme” playing and then returning to the shark theme as the POV spots a boat with skiers passing above and starts to follow it. A playful and infectious “ski theme” plays as the camera shows the Sea World skiers rehearsing a pyramid formation (the kind of theme the audience can easily whistle). As the POV continue following the boat the shark theme plays underneath the ski theme and, in the end of the film version of the track, an insert with the shark theme plays as a shot shows the shark fin in the distance. 2) First Underwater – CD1 Track 2 The skiers fall in the water and an underwater POV shows they swimming - only the first 7 seconds of this track plays in the movie (the last 12 seconds are used later for the Overman’s death scene). In the movie as the shark POV approaches (but very slowly – undermining any suspense the sequence could have as the POV camera appears almost static) a tracking of “Shark Thru The Gate” plays and when the boat pulls the skiers and they are safe a tracked version of the ending of the Main Title plays. Interestingly the music does not include the shark theme for the shark POV approaching. 3) Shark Thru Gate – CD1 Track 3 The shark follows the skiers as they enter the Sea World lagoon through a sea gate. As the sea gate starts to close the fin appears and proceeds through the sea channel until a noise of “something” hitting the gate is heard and the gate breaks. This track follows the shark fin moving until it hits the gate. Again, contrary to expectation, Parker does not use the shark theme in this scene. 4) Kay Rides The Whale – CD1 Track 4 After inspecting the broken sea gate, park chief engineer Mike Brody (Dennis Quaid), the eldest son of Sheriff Brody from the first two films, goes to meet his girlfriend Kay (Bess Armstrong) to inform that his brother Sean (John Putch) will arrive that afternoon and they will have dinner together. Kay is the park’s senior biologist and is riding Shamu as Mike appears. In the first part of this track the Sea World theme plays as Kay is riding the whale. The second part of the track (as of 45 seconds) is dialed down in the movie and introduces the love theme for Kay and Mike as they talk while feeding the whale. This is a great track introducing two of the score main themes, unfortunately it is one of the tracks on which some deterioration can be perceived (specially as of the 25 seconds mark when the strings and percussion show some flutter). 5) Attack (telex version) – CD2* Track 2 Against Mike’s orders park employee Overman decides to dive alone that afternoon to lock the broken sea gate. As he locks the gate the shark suddenly appears and eats him. His severed arm floats out of the screen in 3-D and the shark is now locked into the park lagoon. This track fits the theatrical cut of the scene but went unused (the music included in CD 1 “Overman’s Last Dive” was the original version of this track that do not fit the theatrical cut but fitted the original “workprint” cut of the scene). The music consists on sustained strings suspense music with some percussion effects to increase tension and then modernistic brass and string clusters for the attack itself (which Parker will use also for subsequent attacks in the film such as the attack on Kelly and Phillip’s Demise). Again, Parker does not use the shark theme. In the movie this track was replaced by tracked music from the ending of “Underwater Kingdom and Shark Chase” and from the last portion of “First Underwater”. 6) Love Scene – CD1 Track 7 Alan Parker’s personal favorite theme for the film (and the only love theme in the Jaws series). This rescored version is very similar to the original version (Kay and Mike’s Love Theme – CD2 track 4) but, as he had to record a slightly shorter version it is interesting that he opted also to modify the orchestrations, highlighting the piano instead of the clarinet and horns. It is a lovely bittersweet theme for Mike and Kay who are concerned because Mike will move to work in Venezuela. I prefer this version to the original version available at the original LP and CD2. Again, some minor tape deterioration can be perceived in this track. 7) Boys In The Raft – CD1 Track 8 Two guys break-in the park at night to steal some coral from the lagoon. While one is diving the other waits in an inflatable raft. The scene is largely left unscored (no shark theme music even when the flashing light of the guy who is diving disappears indicating he has been eaten) and this very short track consists of two stingers, the first is used in the film when the guy in the boat is pulled into the water and the second (dialed down in the film) should score the guy being dragged underwater by the shark. A "score restore" of this short track: 8) Kay Meets Phillip (Revised) – CD1 Track 9 Kay is training the dolphins when adventurer/photographer Phillip Fitzroyce (Simon MacCorkindale) appears, mocks the training and invites Kay to dinner, which she refuses. This track introduces the dolphin theme, a fast paced “happy theme” that mimics the dolphins spins, then some brief humorous underscore for Fitzroyce mocking the training and continuing with the uplifting Sea World music. It is very good track with an energic version of the dolphin’s theme and a beautiful rendition of the Sea World theme in its final portion. 9) Sub Search (Revised) – CD1 Track 12 The sequencing of the Intrada release is a bit odd with respect to this portion of the movie. It includes the unused original version of this track (CD 1 Track 10 – “Underwater Kingdom And Shark Chase”) then an edited version of the “Dolphin Chase” (while the used unedited version is included in CD2 track 8), then it returns back to the music used in the film with this track. Kay and Mike go down in the lagoon to search for the missing park employee in a small submarine, when they reach the sunken “Spanish galleon” they go out of the sub to investigate. The dolphins are extremely nervous as they go out of the sub. This is the revised music that differ the most from its original version. Alan Parker mentioned in the interview for the liner notes to the Intrada’s release that only one track had to be modified by request of the producers to “make it scarier”. For sure it was this track, as the original version focused on the wonders of the undersea kingdom and this one has a different tone - much more suspenseful (while retaining only one “wonder” moment from the original version for the 3-D shot of the submarine making a turn and the finale of the track). The music begins with ominous low strings as the submarine starts to dive in the lagoon (another track clearly inspired by The Rite of Spring – see the second portion of Rite of Spring Part 2 - 1. Introduction), as the submarine passes in front of the underwater control room a powerful statement of Sea World theme plays, the track returns to suspense music as the submarine continues its search (with Parker’s three note horn shark motif playing in the background), more ominous low strings are used when the submarine passes by the lagoon filtration pipes foreshadowing that the shark is in there. Suspense intensifies when Kay and Mike leaves the submarine to explore the sunken Spanish galleon and the dolphins are very nervous. In this portion a moray eel “scare” (not very effective, comparing to the similar effective scare in Jaws The Revenge) is scored with CD 2 – track 24 [Sting4] but that overlay is not mixed in this track. This is a highlight of the score, a very suspenseful track with several mood variations on which the tension increases gradually. 10) Dolphin Chase (telex version) - CD2* track 08 A shark hits the sunken Spanish galleon and starts chasing Mike and Kay, they hold on the dolphins to swim away and manage to get out of the water. This is another highlight of the score with an exciting action theme for the escape based on Parker’s three note horn motif for the shark, then the more traditional version of the Jaws theme plays for the shark fin rising above the water returning to more dramatic action music for the finale of the chase. As this scene involves the “baby shark” the lighter orchestration of the shark theme is used. 11) Night Capture (Revised) – CD1 track 14 Kay convinces the park owner Calvin Bouchard (Louis Gosset Jr.) to allow them to capture the shark to display it as an exhibit at Sea World. As Kay, Mike and Phillip Fitzroyce go out on a barge at night to capture the shark a suspenseful take on the Sea World theme plays in conjunction with the shark theme, some suspenseful music plays as the team dives and waits for the shark. The shark appears suddenly biting the air tank of Kay and exciting action music follows with the shark theme and powerful statements of Parker’s three note shark motif interpolated until they manage to shoot the shark with tranquilizer and capture it. Another score highlight. The film version is shortened from the original version mainly omitting a middle portion with the shark theme and with an abridged ending. I personally prefer the film version which is more concise and exciting and has more prominent drums in the mix when the shark is attacking Kay. 12) It’s Alive/Sea World Opening Day – CD1 track 16 Kay and Mike are in a tank keeping the tranquilized shark oxygenized when it suddenly awakes and the two have to leave the water quickly, as the situation calms the Sea World theme plays and then a park opening montage starts (a similar sequence to the “tourists on The Menu” montages from the first two Jaws) with a crowd entering the park on its opening day. This track includes an early version of the park opening montage which is longer featuring a playful version of the Sea World theme for the tourists entering the park then moving to the dolphins theme, the ski theme and closing with a more epic take on the Sea World theme for the “Silver Bullet” skiers acrobatics, ending softly with the Sea World theme. It is a very good track summarizing the main Sea World themes, it was replaced in the movie by “Park Opening (Revised)” (but as it is attached to “It’s Alive” I kept it in the main program and placed the used version “Park Opening” after “Baby Shark Dies”). 13) Baby Shark Dies – CD1 track 17 Kay learns that the baby shark has been transferred to an inadequate small display pool. As she arrives there she sees that the shark is dying from lack of oxygen and jumps in the water in an attempt to keep it moving and save him. This tense track plays with ominous strings mimicking the shark’s heart beats slowing down until it stops and the shark is dead, then a sad version of the Sea World first three notes plays as Kay leaves the tank frustrated. 14) Park Opening (revised) – CD2* track 11 This track replaced the original “Sea World Opening Day” as the park opening montage was shortened and split in two different sequences – the two tracks of the film version are joined in this track. The first part starts with a fast-paced version of the dolphin theme and then the Sea World theme (including the playful version of the Sea World theme for the tourists entering the park and a faster version for the glimpse of the dolphins and whales shows), the second part starts with a short version of the ski theme and the Sea World theme for a dancing show (both not used in the movie that replaced it with source music - from the track “Country Music Show”), the used music returns to the more epic take on the Sea World theme for the “Silver Bullet” skiers acrobatics, similar to the original version but “better” with added violins swirls in the backing and with a stronger finale. A "score restore" with this track following It's Alive: 15) Shark Loose – CD1 track 21 The park owner, Calvin, is informed on a malfunction in one of the park water filtration pipes. He orders it to be switched off. As the pumps are switched off and the water flow stops, a giant shark tail starts to move out of the pipe. In the film the shark theme (edited from track CD 1 – track 31 “Shark Wants Out”) plays mixed with this string suspense track as the big shark swims out of the pipe towards the underwater restaurant where Kay is explaining Calvin that, based on the bite radius at Overman’s body, a much bigger shark around 35 feet in length must be inside the park (Calvin: “Are you talkin’ bout some damn shark mutha?” Kay: “Overman was killed INSIDE the park, the baby was caught INSIDE the park, it’s mother is INSIDE the park!”). 16) Shark Attacks Skiers – CD1 track 22 This track actually includes several tracks merged together, it starts with the shark theme for the scene on which the shark fin rises behind skiers performing a show, as the skiers see the shark and loose balance falling in the water a “triumphant” version of the Jaws theme plays (that same music will be tracked at the end of Phillip’s Demise). The ending of that track is cross-faded with the music for the previous scene in the film, on which the shark approaches the underwater restaurant and is seen for the first time, then the music is again cross-faded with an unused fast-paced version of the shark theme (it is difficult to identify which would be the application of that portion of the track, it seems it could be alternate versions for the ending of “Shark Attacks Kelly”). A score restore including the final section of this track in the film: 17) Shark Attacks Kelly – CD1 track 23 Kelly (Lea Thompson in her screen debut) and Sean are in a bumper boat and fall in the water, as they swim the shark rises and starts to attack her, hurting her leg. The shark then bumps on a nearby pier knocking several people in the water and swims away. This is very good action track using the shark theme and then the modernistic brass and string clusters for the attack itself (as used in “Attack” and “Phillip’s Demise”). 18) Shark Rams Tunnel (Revised) – CD1 track 24 As the underwater tunnels are being evacuated the shark is spotted and panic ensues, with tourists running away as the shark rams the tunnel and water starts to flood it. Safety doors are activated leaving the tourists trapped in a small section of the tunnel. This is an action track bookended by the shark theme, this revised version a bit more energetic than the original version in CD 2. 19) Live Bait – CD1 track 26 With the tourists trapped in the underwater tunnel with a limited air supply it becomes necessary to set a rescue plan. Phillip Fitzroyce proposes to trap the shark into the filtration pipe while Mike repairs the tunnel to release the tourists. Phillip proposes act as a “live bait” to lure the shark into the pipe. An ominous version of the Sea World theme plays as Phillip and Mike boards a barge to perform their plan. Kay joins Calvin in the underwater control room where she spots the dolphins in the lagoon and gets concerned with them. 20) Phillip’s Demise (revised) – CD1 track 27 Phillip dives with his associate Jack and uses fish blood and noises to attract the shark. The shark appears, follows Phillip into the pipe and is locked inside the pipe. The safety line Phillip is using to get to the exit breaks and the shark gets him. In the more famous scene of the film (other than the “infamous” scene of shark breaking the control room window) the camera shows Phillip struggling from inside the shark’s mouth. As a last act Phillip tries to ignite a grenade but is chomped with the grenade in his hands. This lengthy track composed of two parts starts with some diving music clearly inspired by Rite of Spring (Part 2: 1. Introduction, in fact the beginning of the track is identical to the Rite of Spring music, even more in the original version of the track), as the shark appears and follows Phillip into the pipe the shark theme is used and then the modernistic brass and string clusters play for the attack itself, as the shark manages to chomp Phillip a sad version of the Sea World theme is used – in the film this final portion was replaced by the triumphant fanfare from “Attack On The Skiers” changing the original mood of the scene from the ‘loss of Phillip’ to the ‘victory of the shark’. 21) Pull The Pin (Revised) – CD1 track 30 As Jack learns that Phillip has not came back he desperately tries to call him and realizes that he must be dead, he them hears the pumps being turned off and concerns that the gates will not be able to hold the shark. A mournful version of the Sea World theme plays as Jack cries and whishes his boss had pulled the pin of the grenade, then some suspense strings as the scene moves to the shark tail pressuring the gate. 22) Shark Theme (Utility No. 2) – CD2* track 19 The shark manages to break the gates with the pressure of its tail, as the Jaws theme plays. 23) Shark Wants Out – CD1 track 31 Mike and Kay are repairing the tunnel as the personnel in the barge are trying to inform them that the shark is approaching. This is a short track with the Jaws theme for the shark swimming towards Mike and Kay. 24) Shark Chases Mike and Kay – CD1 track 32 Mike manages to complete the repair on the tunnel as the shark arrives. The dolphins appear and start to attack the shark. While the shark is fighting the dolphins Mike and Kay swim toward the underwater control room. The shark then start to pursue them and they manage to escape just as the shark was reaching them. This is a very good action track for the fight between the shark and the dolphins and the following pursuit, it is very similar to the original version at CD 2 (track 15 “Saved By The Dolphins”) but with a modified faster tempo finale and using more the Jaws theme as a backing. 25) We’re Saved – CD1 track 33 With the underwater tunnel repaired air pressure is equalized and the safety doors open, releasing the trapped tourists. As they escape a happy version of the Sea World theme plays. 26) Shark Thru The Window (Telex Version) – CD2* track 16 This is a slightly shorter revision of the track for the shark coming towards the control room window. The shark theme starts slowly and accelerates as the shark approaches and breaks the window. 27) The Shark’s Gonna Hit Us – CD1 track 35 The control room floods, the shark chomps a control room technician and gets stuck in the window. Mike and Kay spots the body of Fitzroyce still stuck in the mouth of the shark with the grenade in its hands. They manage to pull the pin of the grenade and the shark explodes. This is an exciting action track, again based on The Rite Of Spring (see Part 1: Dance Of The Earth). 28) Jaws 3D End Titles – CD 1 track 36 The love theme plays as Mike and Kay swims to the surface. They became concerned if the dolphins survived and Kay starts to call for them. As the dolphins jump out of the water a powerful rendition of the Sea World theme plays and continues for the end credits alternating the Sea World theme with the dolphin’s theme. Source Music: 29) Sean Arrives – CD 1 track 5 This track is used in several moments of the movie as park “source music”. It plays first when Mike meets his brother Sean at the park gate. It’s a playful “happy theme” but like other source music in the film it becomes a bit repetitive, with no dramatic progression (reason why I prefer to leave the source music out of the main program). If you want to hear it in film order place it after “Kay Rides The Whale”. 30) Rock Bar Source – CD2* track 25 Sean meets a park skier, Kelly (Lea Thompson), at a Bar were they play a strange game called “stand-off”. The source music is this instrumental rock track. If you want to hear it in film order place it after “Attack (Telex Version)”. 31) Exterior Bar Source – CD2* track 31. This track, a kind of country instrumental, plays after the previous Bar source as Mike, Kay, Sean and Kelly leave the bar. 32) Apartment Source – CD2* track 28 Another light country style source. It plays while Mike Kay and Sean are having breakfast. If you want to hear it in film order place it after “Boys In The Raft”. 33) Lunch Restaurant Source – CD2* track 27 A kind of easy listening source for guitar, flute and drums that plays while Calvin is dining with Phillip and is informed that a shark chased Mike and Kay in the lagoon. Not my favorite among the source cues. If you want to hear it in film order place it after “Dolphin Chase (Telex Version)”. 34) Country Music Show – CD2* track 30 A section of this track plays during the Opening Day montage. It is a fun track with guitar, drums and piano. If you want to hear it in film order place it after “Sea World Opening Day” (in fact it replaces the start of the second half of Opening Day – but it would require editing to place it chronologically) 35) Restaurant Source (Flute & Harp) – CD1 track 20 This source track alternates gentle versions for flute of the dolphin theme, the love theme and the Sea World theme. It is a lovely track but being over 4 min. it becomes a bit repetitive and too long, dragging a bit, reason why I prefer it out of the main program. If you want to hear it in film order place it before “Shark Loose”. 36) Guitar Show – CD2* track 29 Another country style source that plays as background music for the scene of the ski show, while Mike is trying to warn the skiers to get out of the water after the big shark first appeared. In the film it plays right before “Attack On The Skiers” but, as that track also mergers some tracks from a previous scene of the shark appearing on the window of the restaurant, it is not possible to actually place this track chronologically. 37) Hawaiian Drums – CD2* track 32 In the movie this brief drum track plays before “Guitar Show” while Mike is running to the ski show stadium. As it includes a long pause and a stinger in the end it is more appropriate to use it to end the program. II - JAWS 3-D original versions, alternates & unused http://store.intrada.com/core/media/media.nl?id=11146&c=ACCT67745&h=86e2640fc99a30183d9c 1) Jaws 3D – Main Title (original version) CD2* track 1 The original version of the main titles does not have the insert of tracked music for the Universal Logo, the extension of Grouper Head scene and the extension of the finale. Is a bit more straight forward version omitting these additions. 2) Overman’s Last Dive CD1 track 6 The original edit of Overman’s death was different, including an approaching shark POV before the attack. For this different edit Alan Parker applied the Jaws theme (absent from the revised version – “Attack - Telex Version”). Also the ending of the track is shorter as the original version of the scene did not included the “severed arm” 3-D effect. I made a “compare” video of this track and the revised version: 3) Kay And Mike’s Love Theme (Original) CD2* track 4 This original version of “Love Scene” (CD1 track 7) is slightly longer and has a different orchestration with the piano less prominent in the mix with the melody carried by the clarinet. 4) Boys In The Raft (Revised) CD2* track 5 This alternate version is similar to the music used for the theatrical version with a slightly extended second stinger. 5) Kay Meets Phillip CD2* track 6 This original version is extended comparing to the theatrical revised version. The main difference is the use of the ski theme in the middle of the track, possibly scoring some extended acrobatics from the dolphins that was deleted from the movie. 6) Underwater Kingdom and Shark Chase CD1 track 10 This original version of “Sub Search” has a very different tone, emphasizing the wonders of the Undersea Kingdom instead of the suspense. The suspense only starts at the final portion of the track after Mike and Kay leaves the submarine to explore the sunken Spanish galleon. This original version includes variations on the Sea World theme and the dolphin’s theme. 7) Shark Chase And Dolphin Rescue CD2* track 7 The original edit of the scene was shorter without the edited portion of Kay almost getting bitten by the shark. The first part is similar, with the action music based on Alan Parker’s three note shark motif but the final part is completely different, omitting the jaws theme and using a fast paced action music based on Rite Of Spring (see Part 1: Dance Of The Earth) that will be used again at the climax of the movie (“The Shark’s Gonna Hit Us”). 8) Night Capture CD2* – track 10 This extended original version of the track is very similar to the theatrical version but has as the main difference a section (2:45 to 3:10) including the shark theme before the music for the attack on Kay starts. I speculate that in the original cut of the film the shark was spotted approaching / the shark POV approaching was used before the attack started (and when the movie was reedited they opted to take this portion out so the attack would start more as a surprise). The mix is slightly different to the film version with the percussion less prominent. 9) It’s Alive/Sea World Opening Day CD1 – track 16 This and the End Titles are the only tracks I repeat in both programs, as the start of the track (It’s Alive) is used in the film and the Sea World Opening montage is the original version replaced in the film by the revised “Park Opening”. 10) Shark Breaks Loose CD1 – track 29 This is the shark theme for the big shark first appearance, when it leaves the filtration pipe and swims towards the restaurant, in the Intrada’s sequencing apparently it was confounded with the track for the shark breaking loose after being captured by Fitzroyce (Shark Theme Utility 2). In the film this track is edited and mixed with “Shark Loose”. 11) Panic At Sea World CD1 – track 25 This unused track apparently scored a deleted scene of panic among the Sea World tourists with the appearance of the shark. It is based on fast paced variations of Alan Parker’s three note motif for the shark. For the sequencing I opted to place it before the original Shark Rams Tunnel, as it was edited in a track of the original LP. 12) Shark Rams Tunnel CD2* – track 12 This original version of the track is slightly longer than the revised version, with less emphasis on the jaws theme. 13) Phillip’s Demise CD2* – track 13 This original version of the track is longer than the revised version with an extended opening (quoting Rite Of Spring - Part 2: 1. Introduction) and slightly slower sections of the jaws theme. Its final portion is almost identical to the revised version. 14) Pull The Pin CD2* – track 14 A very similar version to the film version omitting the final suspense portion. 15) Shark Theme (utility 1) – CD2* – track 18 Similar to “Shark Theme Utility 2” used in the film for the shark escaping the filtration pipe I decided to include this in the same place chronologically for the alternate score. 16) Saved By The Dolphins CD2* – track 15 This original version has a very similar first part to the revised “Shark Chases Mike And Kay” but a slower second half. Apparently the music was revised to make it faster/more exiting in its second half. 17) Shark Thru The Window CD1 – track 34 This original version of the track is longer than the film version (this alternate included in CD1 while the film version is included in CD2), the main differences being that the shark two note theme repeats twice in the beginning (instead of three times as in the theatrical version) and this version has an extended final section. 18) Finale (alternate) CD2* – track 17 After 30 seconds of some string suspense music an alternate take on the final portion of “The Shark’s Gonna Hit Us” plays with a slightly faster tempo at the finale (same track inspired by Rite Of Spring Part 1: Dance Of The Earth) 19) Shark Guts CD1 – track 36 I opted to include this track in the original/alternate version of the score because it was not used in the film. It should score the 3-D effect of the shark’s jaws floating in 3D after the shark’s explosion. A "score restore" of this very short track: 20) Jaws 3D End Titles CD1 – Track 37 To close the alternate score program I included the End Titles also in this program. Unused music/alternates 21) Grouper Head (alternate) CD2* – track 20 An alternate of the insert for the extended grouper head scene during the Main Titles 22) Attack (Revised) CD2* – track 3 Slightly longer version of the Overman’s “Attack Telex Version” track. 23) Sub Search (Short) CD2* – track 9 A very short track that sounds like a TV bumper (using the Love Theme) 24) Phillip’s Gear CD1 – track 13 Another very short unused track similar to the previous track (Sub Search Short), as it is a short track unused in the film I prefer to include it at the extras section. 25) Shark Drop CD1 – track 15 A short unused track. It is a kind of humorous take (possibly associated with the Fitzroyce character) on the Sea World theme. As it is unused and IMO does not plays well with the main program I prefer to include it at the extras section. 26) Tunnels And Tentacles CD1 – track 18 Apparently, this track should be used as source music for the “Captain Sink” cave attraction in fact a very short section of it is used when the fake tentacle attacks a visitor. As this is source music almost completely unused I prefer to include it as an extra. The Underwater Tunnels sequences were some of the most harmed by the late hour changing of the electronic composites for opticals, this sequence in the finished film is much shorter than the music. A "score restore" of this scene (only the very beginning and end of the music fits the sequence that remained in the movie): 27) Almost But No Bite CD1 – track 19 Another track mostly unused, the final portion briefly used for the Overman’s body discovery. As it is mostly unused and a very short stinger I prefer to include it as an extra. 28) Ready To Dive CD1 – track 27 A short unused track. Like the previous track (a kind of humorous take on the Sea World theme). As it is unused and IMO does not plays well with the main program I prefer to include it at the extras section. 29) Sting 1 CD2* – track 21 A short unused stinger sounds like an abridged version of the stinger used in “Boys In The Raft” 30) Sting 2 CD2* – track 22 Short unused stinger similar to Sting 4 31) Sting 3 CD2* – track 23 A stinger similar to the one used for discovery of Overman’s Body (Almost But No Bite 0:16) and the first appearance of the big shark at the restaurant window (Attack On The Skiers 0:38) 32) Sting 4 CD2* – track 24 This stinger was used as an overlay in “Sub Search Revised” for the Moray Eel scare. 33) Rock Bar Source (alternate) CD2* – track 26 An unused alternate for the source bar music. I prefer the version that was used in the film. ***** To finalize I think the movie is a missed opportunity, it had the potential to be so much better - it had a great premise, great talent in the writing department (Richard Matheson[Duel], Carl Gotlieb), a good cast, but poor direction, editing and special effects diminished its potential. Alan Parker score when listened on its own however is an example, among many others, that even mediocre films can inspire great scores.
  3. I think Amistad is a very interesting and quite a unique entry in Williams' ouvre and a slightly overlooked collaboration with Steven Spielberg. After watching the film a few times I ended up compiling a complete track list of the music and since we do not have an official cue list from any source (sheet music or otherwise) I made up my own track titles for the music, sometimes refering to the OST for help. Here is the cue/track list for the complete score as heard in the film and below a track list with notes which also notes how the music corresponds to the OST. Any comments and observations and revision suggestions are welcome. Track List: 1. Dream Works Logo (0:20) 2. Main Title (0:22) 3. July, 1839 (1:51) a) The Africans Take Over (0:54) b) Cinque Under the Stars (1:29) 4. The Capture of La Amistad and Cinque – The Africans Are Led to the Prison (4:09) 5. Africans in their Cell (0:22) 6. The Senate – Mr. Tappan and Mr. Joadson Meets John Quincy Adams (5:05) 7. Baldwin, the Professor and Joadson Visit the Prison (2:18) 8. Baldwin Meets Cinque (1:22) 9. Map Drawing/Afrika! – La Amistad Inspected – Chains (5:29) 10. Mr. Joadson Appeals to Adams (4:56) 11. Searching for an Interpreter (1:09) 12. Cinque’s Memories of Home / Cinque’s Story of the Lion / The Other Lion (5:15) 13. Sierra Leone and the Capture of Cinque / Lomboko Slave Fortress (4:32) 14. Crossing the Atlantic / Feeding / Drowning of the Slaves (2:49) 15. Havana, Cuba / Slaves Renamed (2:06) 16. Middle Passage – Court Room Scene – “Give Us Free!” (5:48) 17. Cinque and Africans Wait for the Verdict (0:30) 18. Judge’s Conscience, Yamba Explains the Bible (3:36) 19. Walking to Hear the Verdict (1:00) 20. The Africans Celebrate / Cinque’s Frustration (Source Music Drums) (3:21) 21. Baldwin Writes to Mr. Adams (1:56) 22. Cinque’s Questions (2:02) 23. Cinque Meets Adams – The African Violet – Ancestors (5:01) 24. Adams’ Summation Part 1 (6:58) 25. Adam’s Summation Part 2 / Ancestral Help (2:53) 26. The Supreme Court Verdict / Goodbyes (4:41) 27. Liberation of Lomboko (2:12) 28. Going Home (2:02) 29. End Credits Part 1: Dry Your Tears Afrika (4:18) 30. End Credits Part 2: The Long Road to Justice (3:16) Approximate Total Running Time: 94 minutes Notes on the Chronological Film Score 1. Dream Works Logo (0:20) 2. Main Title (0:22) (OST Track 1, 0:00-0:22) The opening credits music might be the original composition for the scene or tracked from track 1, with Pamela Dillard humming the first phrase of Cinque’s Theme. 3. July, 1839 (4:01) (Track 8) Williams’ original composition for these scenes went unused for the most part. In the film the sequence can be divided in: a) The Africans Take Over (0:22) (Tracked) Another case of tracking from track 1 opening. This music underscores the African slaves on the ship after taking over. This is followed by a short section from OST track 8 (1:38-2:10) (0:32) b) Cinque Under the Stars (1:29) (Tracked) Here the choral music is taken from track 6 Middle Passage (0:58-2:27) as we see Cinque changing course of the ship and navigating by the stars. It can be surmised that OST track 8 (July, 1839) is the original version Williams composed for these two scenes (of which 1:38-2:10 used in the film) and it lines up quite well with them but especially the ending with the chanting male choir might have been too strong for the Cinque navigating under the stars scene. Williams’ original approach was eerie, frightening and rather grimly determined but the later tracked music suggests that Spielberg wanted to emphasize the spiritual aspect of the character here. 4. The Capture of La Amistad and Cinque – The Africans Are Led to the Prison (4:09) (OST Track 2, 0:14-2:22 + 2:01 unreleased) Track 2 (3:39): Only approximately 2:08 of the piece was used, the rest is more or less dialed out. The opening 14 seconds of chanting are dialed out, the music starting with the percussion as the Africans hurry back to the ship as American Navy vessel approaches. After Cinque is captured the music is cut short (at 2:22 on the OST). The mix of the OST track 2 sounds slightly different from the film counterpart. An alternate was used in the film for the Africans arriving at the prison (2:01 in length) featuring a forlorn light choir and some atmospheric scoring reminiscent in places of the original version found on the OST. The final piece is longer than the OST version by about 30 seconds. 5. Africans in their Cell (0:22) (Track 1, 0:00-0:22) Another case of tracking Pamela Dillard’s humming of Cinque’s Theme from OST track 1. 6. The Senate – Mr. Tappan and Mr. Joadson Meets John Quincy Adams (5:05) (Track 9, 0:00-3:47 + 1:18 unreleased music). The music opens as Baldwin says goodbye to Tappan and Joadson and we transition to the Senate. On the OST the music under the dialogue in the Senate garden between Mr.Adams and the two abolitionists is shortened (0:00-3:47) and continues for a little over a minute in the film. 7. Baldwin, the Professor and Joadson Visit the Prison (2:18) (Unreleased) Lightly percussive piece slightly similar in style to the Cinque’s Memories of Home but with a low male choir quietly humming and chanting. Underscores the linguistic difficulties between the Africans and the trio of Americans. 8. Baldwin Meets Cinque (1:22) (Unreleased) Delicate oboe, harp and strings cue for the scene where Baldwin meets Cinque for the first time. 9. Map Drawing/Afrika! – La Amistad Inspected – Chains (5:29) (Track 10, 0:00-1:58, unreleased 15 seconds which goes to track 10, 1:58-end.) 15 seconds of sustained dark low strings is missing from the middle section when Joadson peers into the dark cargo hold for the first time. 10. Mr. Joadson Appeals to Adams (4:56) (Unreleased 1:29 + track 9, 3:47-end.) The opening 1:29 is missing from the OST as Adams talks to Joadson in the plant room. The music continues on the OST as the pair steps inside and Adams questions Joadson and the defence counsel’s methods of presenting the Africans, reminding him to find out their story. 11. Searching for an Interpreter (1:09) (Unreleased) 12. Cinque’s Memories of Home / Cinque’s Story of the Lion / The Other Lion (5:15) (Unreleased) The whole sequence where Baldwin talks to Cinque in the prison is unreleased. Track 5 is most likely an alternate / early version of the opening section of the piece. crossfades to 13. Sierra Leone and the Capture of Cinque / Lomboko Slave Fortress (4:32) (Partially unreleased) The music for the capture of Cinque is unreleased (2:29) and is followed by what sounds like tracked music from track 3 (approximately 1:36-end) which is repeated in places to cover the length of the scene. 14. Crossing the Atlantic / Feeding / Drowning of the Slaves (2:49) (Track 3?/unreleased) The film version is shorter than track 3 and differs in editing and has alternate passages. 15. Havana, Cuba / Slaves Renamed (2:06) (Unreleased) Sounds like the opening 1:05 is partially tracked from track 2 (~0:20-1:20), the rest is unreleased. 16. Middle Passage – Court Room Scene – “Give Us Free!” (5:48) (OST track 6) The piece is looped in places to cover the scene in its entirety and there are drum overlays to accentuate some cuts but the OST version reflects most likely Williams’ original intention. 17. Cinque and Africans Wait for the Verdict (0:30) (Unreleased) A short light percussion piece to add suspence for this short scene. 18. Judge’s Conscience, Yamba Explains the Bible (3:36) (Unreleased) This is basically a long development of Cinque’s theme. OST track 4 (Cinque’s Theme) might be either an alternate although it runs more than 30 seconds longer than the film version or it could be just a pure concert reworking of the music in this scene. It shares a number of passages with the film version. 19. Walking to Hear the Verdict (1:00) (Unreleased) 20. The Africans Celebrate / Cinque’s Frustration (Source Music Drums) (3:21) (Unreleased) 21. Baldwin Writes to Mr. Adams (1:56) (Track 11, 0:00-1:56) Missing a clean ending on the OST. 22. Cinque’s Questions (2:02) (Unreleased) 23. Cinque Meets Adams – The African Violet – Ancestors (5:01) (Unreleased) 24. Adams’ Summation Part 1 (6:58) (Partially unreleased) (Track 12 0:00-1:37 + 5:21 of unreleased material) Most of Adams’ summation is unreleased. 25. Adam’s Summation Part 2 / Ancestral Help (2:53) (1:35 unreleased + 1:18 of Track 12 (1:38-end)) 26. The Supreme Court Verdict / Goodbyes (4:41) (Unreleased) 27. Liberation of Lomboko (2:12) (Track 11, 1:56-end). Missing a clean opening on the OST. 28. Going Home (2:02) (Track 13) OST contains the complete composition. 29. End Credits Part 1: Dry Your Tears Afrika (4:18) (Track 1) Again the OST has the complete piece. 30. End Credits Part 2: The Long Road to Justice (3:16) (Track 7) A concert suite of John Quincy Adams Theme.
  4. Well it is finally done and I am glad that I can present this in the honor of our Maestro John Williams' 80th anniversary. As always input, critique and comments are more than welcome in every regard. I hope you enjoy this rather lengthy analysis. EDIT: The analysis has been updated on 17th of December 2018 after La-La Land Records' Harry Potter: John Williams Soundtrack Collection was released after 27th of November 2018. Harry Potter and the Philosopher’s Stone A Magical Masterpiece A Complete Score Analysis by Mikko Ojala Auspicious beginnings – The birth of a modern fantasy classic When J. K. Rowling’s Harry Potter children’s book series had gradually taken phenomenal flight after the release of the 1st novel in 1997 and continued its rise with the sequels that came in steady flow in 1998, 1999 and 2000, Hollywood took interest. This was obviously becoming a popular children’s franchise and a literary phenomenon that appealed to readers of all ages and was taking the world by storm. The film studios saw the potential in this colorful and compelling story which had a great mix of humour, adventure and danger and more than a sprinkle of magic and that would be ideal to make it into a hit film. In 1999 Rowling sold the rights to the first four books to Warner Brothers who immediately began to plan a series of films based on them, with the first film’s release set initially for the summer of 2001 but later postponed due to production delays to the fourth quarter of the same year. The first novel of the series Harry Potter and the Philosopher’s Stone (HPPS for short) tells the story of the eponymous protagonist, a young English orphan boy living with his aunt, uncle and cousin in Surrey, England. The relatives treat him terribly and have housed him in a cupboard under the staircase. His life is quite miserable but he seems to have unexplainable abilities that manifest when he is in trouble or angry, that makes strange things happen around him. Thanks to these mysterious occurences his stuffy and ordinary relatives shun and fear him even more, being as they are the paragons of normality, a virtous image of British suburban life and as a consequence coming off as thoroughly dull and conventional. But suddenly on his 11th birthday Harry receives a letter from an unlikeliest of places, Hogwarts, a school of Witchcraft and Wizardy, informing that he has been accepted there to study the magical arts. The revelation that he is infact a wizard opens a whole world of magic, wonder but also of danger to him. He goes to this strange school, leaving his dreary life with his relatives, the Dursleys, behind him and diving headlong into the new and exciting world of wizards and witches that co-exists with the world of normal people or Muggles as wizards call them. At school he makes two inseparable friends, Ron Weasley , a red headed, loyal and good humored boy and Hermione Granger, a studious, clever and serious girl, with whom he shares his adventures. During his first year Harry also befriends the Hogwarts’ half-giant Groundskeep Hagrid and the Head Master Albus Dumbledore but also makes a few enemies, the chief among them a teacher, Magic Potions Master Severus Snape and a fellow student Draco Malfoy who continue to be an obstacle in his adventures throughout the book series. In the backdrop of the story looms the shadow of Lord Voldemort, the greatest dark wizard of all time who, as we find out with our protagonist, killed Harry’s parents yet the boy by some miracle survived and Voldemort himself was mysteriously destroyed. Harry received a lightning shaped scar on his forehead from this tragedy and this earned him the enigmatic title of the Boy Who Lived. Harry’s first school year is full of new exciting things, magic, broom flying lessons, Quidditch (a wizard sport played while flying with broom sticks through the air, a sort of mix of rugby, cricket, basket- and baseball), extraordinary encounters with monsters, ghosts and curious events and people. More than that Harry gets involved in solving a mystery surrounding Voldemort’s possible return and the Philospher’s Stone, a magical artefact, that this dark wizard covets. In the end the three friends succeed in stopping the dark lord from returning (for the time being) and keeping the precious miracles performing stone safe from the clutches of his evil. Through magic, honesty, friendship and most of all simple courage our small hero overcomes nearly insurmountable obstacles and defeats his foes and at the end of the school year returns home to Dursley’s for the summer, the final lines of the book promising his return to the world of magic next year (and the inevitable sequel novel). The Movie makers Rowling sold the film rights to the Warner Bros. for a sum of 1 million £ (US$1,982,900) and made additional stipulations regarding the production, including an all British/Irish cast (exceptions for foreign characters were allowed) to keep the cultural integrity of the film and she retained the right to inspect and approve the screenplay. The film production began in 2000, with Chris Columbus being chosen to create the film from a short list of directors that included among others Steven Spielberg and Rob Reiner. Columbus had a lot of experience in working with children having such movies as Home Alone, Home Alone 2, Mrs. Doubfire and Stepmom under his belt, each with children in major roles and the work on these family pictures was cited by the Warner Brothers as one of the main reasons for their decision to hire him.[1] And Chris Columbus was no stranger to fantasy genre either, having penned a number of fantasy/adventure screen plays in the adventure film’s heyday in the 1980’s including e.g. The Young Sherlock Holmes, Gremlins and Goonies, which also featured children or teens in lead roles and contained an ample amount of fantasy elements. The screenplay for HPPS was written by Steve Kloves who went for Rowling for approval and she received a certain amount of creative control over it. As already mentioned she also retained some degree of creative control over other aspects of the production, an arrangement that the director Columbus did not mind and by including her insured that her creation was treated with respect. The film was shot at Leavesden Film Studios in England and numerous historic buildings and sites around the United Kingdom. Chris Columbus’ vision for the world of Harry Potter was to present the Muggle or ordinary world as drab and devoid of colour and in constrast the magical world of Hogwarts would have a stronger palette of vibrant colour and detail.[2] The Hogwart’s School of Witchcraft and Wizardry receives a highly British veneer from extensive location shooting at various historical sites and buildings, the castle becoming a sprawling and varied cultural backdrop for the story to unfold. The colorful and whimsical cinematography captures a story book atmosphere reaching for inspiration in the most luminous architectural and design ideas of various historical periods mixed with modern sensibilities, evoking at the same time somewhat Dickensian spirit throughout. The British (and Irish) cast included the young newcomers as the protagonist trio, Daniel Radcliffe as Harry Potter, Rupert Grint as Ron Weasley and Emma Watson as Hermione Granger, who were found only after an extensive and difficult casting period involving auditions of thounsands of children. The top tier British thespians lending their talent to this first instalment of the story include Robbie Coltrane as Rubeus Hagrid, Richard Griffiths as Vernon Dursley, Fiona Shaw as Petunia Dursley, Richard Harris as Albus Dumbledore, the Headmaster of Hogwarts, Ian Hart as Professor Quirrell, John Hurt as Mr. Ollivander, Alan Rickman as Severus Snape, Maggie Smith as Minerva McGonagall, John Cleese as the ghost Nearly Headless Nick and Julie Walters as Molly Weasley only to name a few. In time the series would feature nearly all major names of the acting talent of British Isles in roles large and small from Kenneth Branagh of the Shakespearean fame to Bill Nighy and Imelda Staunton. One small but none the less curious aspect of the production was the name of the movie. The film was titled Harry Potter and the Philosopher’s Stone in Europe just as the novel was but in USA it was dubbed as Harry Potter and the Sorcerer’s Stone. This was due to the fact that the original US publisher Scholastic Corporation had thought that no child would want to read a book with the word "philosopher" in the title and, after some discussion, the American edition was published in October 1998 under the title Rowling suggested, Harry Potter and the Sorcerer's Stone, a decision she later regretted.[3] As a consequence of the change of the film’s American title all scenes that mention the philosopher's stone had to be reshot and/or dubbed, once with the actors saying "philosopher's" and once with "sorcerer's". This also affected all the publicity material and merchandise, including the soundtrack CD, which was to have two different incarnations, one for Europe and the rest of the world and another for USA. The film was released in the United Kingdom and United States in November 2001 and received positive critical reception, made more than $974 million at the worldwide box office, and was nominated for many awards, including the Academy Awards for Best Original Score, Best Art Direction and Best Costume Design (although it lost in all 3 categories). As of June 2011, it is the ninth highest-grossing film of all time.[4] It also went to start one of the most succesful fantasy film series of all time and remains as one of Warner Brothers’ crown jewels. Choosing the right composer To complement his visual style and the scope of the story director Columbus by his own admission had only one composer in mind, John Williams. Having worked previously with him on the phenomenally succesful surprise hit Home Alone (1990) and its sequel (1992) and the small intimate family drama Stepmom (1998) Columbus had established a good working relationship with Williams, who not only had adored his movies (Home Alone being the prime example) but also seemed to have a great affinity and understanding of them. Of course Williams was also known for his larger than life adventure and fantasy scores for films like the Star Wars series, Indiana Jones trilogy, Superman, E.T. and Jurassic Park, where his music had played a large and integral role, and he had through the decades created a whole host of memorable themes for them that have become part of the cultural lexicon of the movie going audiences. Harry Potter seemed something right up Williams’ alley. It would continue the series of large symphonic, bold and colorful scores, that had begun two years prior in 1999 with George Lucas' Star Wars Episode I the Phantom Menace and would go on all the way to The Adventures of Tintin the Secret of the Unicorn in 2011, in which Williams would score one major action and adventure filled score after another in the Star Wars and Harry Potter franchises and several films for Steven Spielberg. Williams admits that by pure chance he had to deviate from his normal working procedures for this film. Usually he prefers to know very little about the subject beforehand so as to have as few as possible preconceptions about the matter before he starts his work. This way he can react to the film much as a member of the audience and use this reaction and feeling as part of the compositional process. This is why the composer does not usually read scripts nor the novels if a movie is based on one, but this time he had already done so because in his own words "In this case, because my kids were all reading the books, I read the first Harry Potter book," he says. "I never even imagined I would be writing a score for the film. I didn't even know they were planning to make a film when I was reading it."[5] So Williams was happy to take on The Sorcerer's Stone because J.K. Rowling's work had multi-generational appeal in his family. "I have grandchildren who read them (the Harry Potter books) and love them. I have children who read them and love them. In my family, there are three generations of American people enjoying Rowling," he told The Times of London. He also stated that his score for Philosopher's Stone was to be, naturally, "theatrical, magical and to capture a child's sense of wonder in the world." [6] John Williams was hired in the autumn of 2000 [7] and in November Columbus and the producers asked him to compose music for the upcoming teaser trailer they were putting together [8]. And later in June the next year he provided music for the official full length trailer as well.[9] The music in the trailers was based on his impressions of the novel and the footage he had seen and Williams responded to the imagery with a whimsical waltz theme in which he tried to capture feeling of magic and flight. This little over minute and a half composition for the teaser received the name Hedwig’s theme after Harry’s pet Snowy Owl, and because of the overwhelmingly positive feedback from the film makers, Williams decided to incorporate this material into his score. As it turned out this musical motif was to become the corner stone of the score and in time the central theme for the whole franchise. It has indeed become the most enduring element of the musical lexicon of Harry Potter and has since received wide recognition, been re-recorded countless times since 2001 by various orchestras and attained near pop culture status and a place among Williams’ most iconic themes. The music for Harry Potter and the Philosopher’s Stone was composed during the spring and summer of 2001, mainly at Tanglewood and in Los Angeles and recorded in London between August 28 and September 12.[10] The orchestrations were prepared by Conrad Pope and Eddie Karam and the score is performed by a studio orchestra on which reportedly there were members from both of London’s most distinguished symphonic ensembles, the London Philharmonic and the London Symphony Orchestra. The choral talent was provided by the famous London Voices under the direction of their founder and musical director Terry Edwards, who also had two years prior worked on Williams’ Star Wars Episode I the Phantom Menace. The score was recorded and mixed by Simon Rhodes, and Ken Wannberg, Williams' long time collaborator, returned once again to the duties of the music editor. Randy Kerber, a Los Angeles based veteran musician of countless soundtrack recordings and a frequent keyboard player on John Williams' soundtracks, performed the numerous celesta solos in the score. And as it tends to happen with the biggest movie phenomena, the music became a part of the publicity efforts of the film not only in the form of trailer underscore but with Williams' contribution to the annual Tanglewood on Parade benefit concert on July 31, 2001, where the composer unveiled a preview of his music for the film, a performance of the full-fledged concert version of "Hedwig's Theme." [11] The Musical Tapestry of Harry Potter For such a colorful and multifaceted children’s story and fantasy film Williams had a rich source from which to draw inspiration for the music. Columbus’ colorful images, the magical atmosphere and faithful adaptation of the source material with input from the author herself created a film very much in sync with the novel, which again would provide another source for ideas. These musical ideas seemed to flow from the Maestro’s pen with as exuberant force as he professed his enthusiasm for the project to be. The music is permeated by a unique spirit. Williams says following about his approach in a USA Today interview: I wanted to capture the world of weightlessness and flight and sleight of hand and happy surprise. This caused the music to be a little more theatrical than most film scores would be. It sounds like music that you would hear in the theater rather than the film.[12] This is very much the feel of the music when wedded with the images that it fills undeniably to the brim but still retains suitable subtleties where needed. The Owl’s Flight and Sounds of the Celesta Hedwig’s theme as inadvertently as it came to be the central element of the score, captures the heart of the whole story with precision. Complementing this musical motif is the nearly ubiquitous instrumental sound of celesta which was featured already in the trailer music. This sound became emblematic of the music of Harry Potter outside the theme as well and the glowing, whirling series of notes now instantly evoke the wizarding world and wonderment even when separated from the images. This musical instrument was a deft choice since its history and connections were complementary to the theme of the film and to the genre of the music, also linking Williams’ score to a larger symphonic tradition. Whether this is just a happy conincidence born out of the composer’s personal ideas of how magic is expressed through music or by deliberate design, the choice of celesta has proven to be a stroke of genius. With the holiday season coinciding with the release of the film (even though the original release date had been in the summer of 2001) the music contains a subliminal and most likely unintended Tchaikovskian atmosphere, the style of the music recalling his famous ballet, the Nutcracker, in its tone and style that are Romantic, colorful, melodic and full of childish whimsy and heart. Especially the central Hedwig’s theme played on the aforementioned signature instrument of the score, a celesta, was compared by some to Tchaikovsky ballet music since the central and famous Dance of the Sugarplum Fairy utilized this instrument as well.[13] The bell-like tones and the instrumental usage of celesta are no doubt similar, conjuring magic and wonder, but Williams’ score remains as individual as anything he has done. In this case the celesta compositions demanded finesse and deft playing, not just magical and light soloing, while retaining the glowing clear notes which this instrument in the hands of a skilled musician could provide, linking the sound subconsciously to the ideas of flight and weightlessness. John Williams and the keyboard and celesta player Randy Kerber created a special sound for the film, the celesta timbres constructed on synthesizer to achieve a unique tone for the instrument, that was more powerful, sharper and singular than of its acoustic counterpart’s. In the score the celesta is usually complemented by the string section weaving their complex and fast figures into the music, providing a basis from which the orchestra takes flight but Williams keeps the fragile tones of the instrument in mind, never drowning its soft tread in the sea of other musical sounds. But the use of the instrument is not limited to solos and it often provide essential colouring to many key scenes in the film. An often quoted musical influence, another Russian composer Sergei Prokofiev, could be also said to loom good naturedly over the music of Harry Potter. Williams’ fondness for colorful marches, highly recognizable melodic writing and excellent, inventive orchestration has always been compared with Prokofiev’s and stylistically the score definitely shares these qualities even though it does not directly or consciously quote anything from the composer’s repertoire but this comparison rather illustrates one of Williams’ many influences as a composer. And even though the two composers above are mentioned as possible stylistic influences there is no sense of pastiche in the score, although Williams’ detractors might readily point out the contrary, but rather of musical allusion, one of Williams’ fortes, an ability to evoke a certain mood or style, classical or popular and enhance the experience of the film by suggesting something already familiar in the experience of the listener/viewer. The music seems accessible just for that reason, as it should if a film composer knows anything about the conventions of form although good composers like Williams, know how to use this allusion while creating something new. As mentioned before the ensemble of the score is fully symphonic with the London Voices choir complementing a large symphony orchesta and few selected specialty instruments adding their unique timbres into the mix. The word “magic” is the oft repeated key to what Williams was trying to and did achieve in his music, a modern counterpart to the grand operatic and ballet tradition of old, the music carrying itself with self assured grace even without the images, all the while retaining a child’s sense of awe and wonder in its notes. More Musical possibilities – The Children’s Suite Williams was so genuinely inspired by this film project that he ended up writing musical miniatures based on the story and in a most unusual style set aside time at the end of each day of the recording sessions to prepare and record what was to become a 9-movement concert work he finally dubbed Harry Potter and the Sorcerer’s Stone Children’s Suite for Orchestra. He comments on the genesis of this work in the program note of the published sheet music: When I wrote the full orchestral score for Harry Potter and Sorcerer’s Stone, I hadn’t planned to write the 8 miniatures presented here. The film’s score didn’t require them, and our production schedule, usually very difficult in the film world, made no provision for their arrival. However, if I am permitted to put it a bit more colorfully, each piece seemed to insist on being “hatched” out of the larger body of the full score.[14] This was essentially a series of musical vignettes in the spirit of Young Person’s Guide to the Orchestra of Benjamin Britten, that not only presented the central thematic ideas of the score but also highlighted different orchestral and instrumental sections and combinations in each movement with the final piece titled Harry’s Wondrous World drawing together several thematic threads and utilizing the entire symphonic ensemble for a grand finale. The music of the suite gathers up all the major musical ideas of the score to form self-contained pieces of music, that offer a unique take on the material, often expanding the themes or melodies, fleshing out or embellishing their orchestrations and connecting them in original ways. They showcase soloists and performers from all the orchestral sections and present the whole score itself in almost a miniature, a condensed programme of 25 minutes. Originally Williams wrote these pieces to be recorded at the film's scoring sessions but later revised them and these revisions the officially published versions available as sheet music from Hal Leonard publishing. But the suite recorded at the original scoring sessions has been made fully available for the first time on the La-La Land Records' Harry Potter: John Williams Soundtrack Collection boxed set. I will discuss the Children’s Suite in further detail after the analysis of the actual film score. The Magic made manifest: The Themes of Harry Potter and the Philosopher’s Stone The HPPS score is build in a classic Wagnerian Hollywood style upon several recurring themes for various elements of the tale. From the start the composer saw the film as an opportunity to create a whole host of themes to illustrate the story, which would then in leitmotivic fashion be developed and varied through the movie as the events unfold. It could be said that more than any of his modern peers Williams has relied on and emphasized strong themes to carry the message of the film and to help the audience to identify with the characters and the story. This very much applies to the world of Harry Potter as well: So much of successful film scoring relies on a gratifying melodic identification for the characters," Williams says. "I try to draw on something that marries very well with what I'm seeing.[15] His skill at writing clear and easily identifiable musical ideas is one of his greatest strengths and for Harry Potter and the Philosopher’s Stone he composed no less than 7 major thematic ideas and several smaller motifs, which many interrelate with each other forming small thematic families as they share some common musical traits, another strong and typical feature in Williams’ thematic constructs. MAJOR THEMES 1. Hedwig’s Theme Despite its name this theme could be said to be a musical depiction for the whole world of Harry Potter and its magic, not just for Harry’s pet snowy owl , though it may have been in the composer’s mind the initial inspiration for the musical idea as he was particularly impressed by the image of the owls delivering the mail in the story. The celesta is the central instrument of this theme, which as much as it describes pure magic, conjures thoughts of flight. This whimsical waltz, slightly mischievous and projecting childlike wonder but also a hint of danger, receives numerous variations throughout the story, each time offering another accent to the events, the action reflected in its myriad orchestrations. And although the theme contains one elaborate long lined melody, it can be divided into two distinct sections with individual narrative purpose: The A phrase presents the main melody of the waltz (example OST CD track 19 Hedwig’s theme 0:00-0:17), lilting on celesta with an air of mystery, magic, mischief and anticipation. It works as a sort of musical trigger that announces to the audience that something extraordinary is about to happen, the scene where owls begin to bring letters from Hogwarts being a prime example of this, the music rising into a grand statement of the full Hedwig’s theme after the A phrase opening. Frank Lehman expounds on the musical idea in his thematic analysis thus: In its first guise, this theme begins on a pickup on the fifth scale degree, which moves to the tonic, and proceeds up to third scale degree, outlining a minor chord in 2nd inversion. The second guise begins with a pickup on the third, and sways between the fifth and the third of the minor tonic chord.[16] The B phrase (example OST CD track 19 Hedwig’s theme 0:18-0:36) continues the waltz idea with a rising and falling back-and-forth figure and a sense determination and closure, the phrase being regularly used e.g. for various transitional and approach shots in the film. This section finishes the melody began by the A phrase and thus completes the whole main melody of the theme. As parts of a longer theme these phrases are most frequently used in conjunction but with two-part melody Williams has provided himself with musical idea that can be quoted as a long lined melody and also in smaller sections, the theme retaining a highly recognizable persona in either guise. Frank Lehman further describes Hedwig's Theme's musical form and harmonic structure: Harmonically, Hedwig’s Theme is almost always minor, and highly chromatic. (A highly reduced version of the progression goes something like this: i – Vish – i – biii – bii – iv -bVI Fr aug6 - i. Note the extremely exotic use of the French Augmented sixth to tonic, which, in conjunction with the successive minor chords creates a very magical, off-kilter sound.[17] The way the composer assigns celesta for this theme is very apt, the instrument creating an atmosphere of magic that is at once recognizable, luminous, delicate and mysterious. The string accompaniment propels the material to flight, swirling like a flock of owls with avian sounding chattering woodwinds in tow, the theme playing in a bed of slightly off-kilter seesawing string figures, suggesting perhaps the darker or more mischievous forces at work. Most of all the music corresponds to the magic happening throughout the film, be it owl’s sudden flight, arrival at Hogwarts or the protective magic of love. This main theme of the score also has a close connection to the Flying theme. 2. The Flying Theme (Nimbus 2000) Williams has often stated that depicting flight and weightlessness, the sense of defying gravity, being one his favourite film scoring challenges. In addition and to support Hedwig’s theme he wrote another melody which is closely connected to it, so closely infact that it forms the middle portion of the concert suite of the aforementioned theme. This idea he calls Nimbus 2000 after Harry’s magical broomstick but in the film it is applied not only to flying on broom sticks and stunts of dexterity and agility (Quidditch most prominently) but also to more humorous and quirky moments of magic and wonderment. As with Hedwig's theme this leitmotif also has two distinctive sections: The A phrase (example OST CD track 19 Hedwig’s theme 1:35-2:00) presents a rhythmic playful melody which is often carried by the woodwind section and the brass. It has a sense of powerful forward motion when needed, though the string and celesta variation seems to represent again agility and flying prowess of the main characters. In woodwind setting the melody quite often takes a quirky comical stance, bubbling and skipping forward in anticipation as our protagonists are doing something exciting or magic is happening around them. At its most dramatic the whole orchestra performs it as a full bodied waltz which usually flows into The B phrase (examples OST CD track 19 Hedwig’s theme 2:46-3:01 and again at 3:25-3:45) which ascends dramatically higher and higher mimicking the aerial exploits in the film, painting images of rushing wind and forward surging motion, the excitement and possible dangers of flight which are underlined by the unsteady and threatening sounding up-and-down motion at the beginning of the phrase. Hedwig’s theme and the Flying theme are as thematic constructs very much connected, one usually following the other, allowing Williams for a fluid switch from one idea to the next, keeping the score alive and moving. The Flying theme has also the celesta in common with Hedwig’s theme which is occasionally called to perform fast and difficult passages of the A Phrase at high speed again closely associated with the owls and magic. Frank Lehman describes the connection between Hedwig’s Theme and The Flying Theme thus: As for the theme itself, its chord-progression is nearly identical to "Hedwig’s Theme," only slightly more busy (fewer non-chord tones in the melody – lotsa parallel block chords supporting the melodic line), but sharing the same reliance on biii, bii and aug6 chords. It is more malleable than Hedwig’s theme, and Williams enjoys spinning it through numerous odd modulations.[18] 3. Harry’s Theme/The Family Theme Harry Potter’s theme is a youthful melody which is frequently used for his most personal moments in the film and ranges from melancholy and sad to sweepingly optimistic (example OST CD track 2/18 Harry’s Wondrous World 2:04-2:50). It carries some of the inherent but at first subdued heroism of the protagonist and receives it’s grandest reading in the finale of the film (Leaving Hogwarts), but this music is more connected to Harry’s emotional life than overtly heroic deeds, so it very rarely reaches for flashy orchestration or fanfarish writing remaining at its most sweeping anchored to yearning romanticism. This nostalgic and warm musical idea also very importantly works as a theme for Harry’s family and is woven throughout his first year at Hogwarts reminding us of his past, his love for his lost family and the affection he feels towards his new circle of friends. 4. Harry’s Wondrous World Theme This is a thematic depiction of Harry’s new found place in the magical world he discovers at and through the School of Witchcraft and Wizardry, appearing when he starts to slowly find his courage and self-worth and triumphs over obstacles. The major mode melody (examples OST CD track 2/18 Harry’s Wondrous World 0:26-0:39, 1:20-1:46) is lyrical and expansive with a hint of yearning at its most emotional moments, the music ranging from wistful and nostalgic as the Boy Who Lived slowly starts to find his place in his new life to glowingly warm, triumphant and radiant at victory and success Harry meets during his adventures. The material is related to the principal Harry’s/Family Theme much the same way Hedwig’s Theme and the Flying Theme are linked together, often used in conjunction with each other but Harry’s Wondrous World is reserved for the most significant turns in the story, always appearing at moments of special meaning for the character and his development. Harry’s Secondary motif/Harry's Wondrous World End Cap Williams also attaches another melodic phrase to the character of Harry Potter and the Wondrous World theme, a swaying childlike rising and lilting motif which usually follows or complements the main Wondrous World Theme almost like a musical afterthough offering a comment on Harry’s situation and finishing the musical sentence Harry's Wondrous World Theme began. It (examples OST CD track 2/18 Harry’s Wondrous World 0:20-0:26, 0:40-0:53) also links with his triumphs during his school year, his determination and heroic actions all captured in the optimistic, forward questing motion of this motif. 5. Hogwarts’ Theme (The Gryffindor Theme) The School of Witchcraft and Wizardry receives its own musical identification (example OST CD track 7 Entry into the Great Hall and The Banquet 2:43-3:10), a proud scholarly hymn that still at times succeeds sounding somewhat bumbling and befuddled as it good naturedly underscores many of the school activities from the sorting ceremony to Quidditch. The theme can sound playful, solemn or fanfarish as the situation requires, being highly malleable in its relatively simple progression. This thematic idea also doubles as a theme for Gryffindor, one of the four houses into which the students are divided at the start of their schooling. The other houses do not receive themes of their own, and most likely since our heroes come from this house the composer wanted to emphasize this particular aspect, and so the warm major mode melody follows Gryffindor pupils to Quidditch matches and dormitories announcing as much their house allegiance as it does a general school pride. Frank Lehman comments on the theme's contruction in his analysis thus: In its most straightforward form, it basically consists of a lot of motion between I and IV, and during the most fanfaric rendition during the Quidditch match, with a modulation on the tritone sending it modulating into the key of the lowered mediant.[19] 6. The Philosopher’s Stone The eponymous Philosopher’s Stone at the center of the plot is characterized by a simple three note motif, an up-and-down figure that in equal measure exudes fateful mystery and foreboding (example OST CD track 5 Diagon Alley and Gringotts Vault 2:54-end). The story treats this wondrous substance in gloomy terms instead as a marvel of magic and source of longevity and Williams obviously sees the magical substance as a source of both mystery and danger, the minor mode theme announcing this clearly from the beginning. The basic phrase of the motif is 3 notes long but the composer sometimes extends it further creating a repeating but continually growing melodic row of 3, 4 and 5 notes that ends with a return to the 4 note phrase so Williams can quote an extensive range of variations on it throughout the story from short exclamation to a long melodic line. The Philosopher’s Stone motif changes very little during the story and this development is quite subtle, the magical substance being one of the main mysteries of tale, gradually growing in importance. The motif repeats numerous times with different orchestrations but fundamentally stays the same in form and message. The weight and frequency with which it is quoted as the story moves towards its resolution illustrates its importance, the renditions becoming more pronounced and nearly ever present by the end. The repetition of this motif, the three notes continuing ad infinitum also deftly depicts the obsession of some characters to possess the artefact, becoming in the finale of the film an oppressive snarl as Voldemort through Quirrel tries to steal it, emphasizing his twisted lust for the magical object that could return him to power. Musically the Stone is closely associated with Voldemort’s own musical material, the plot element being so integrally linked with the Dark Lord.[20] 7. Voldemort: For the villain of the story, albeit most of the time a dark shadow looming in the background, Williams conjured up a suitably dark and menacing thematic depiction. The music for the most powerful dark wizard of all time is a brooding melody which like Hedwig’s theme is divided into two parts even though here the parts are so distinctive that they could be called two independed motifs. I have given these two musical ideas separate names for easier recognition in the analysis. A) The first phrase Voldemort Revealed is a dark, angular and maliciously progressing melody, short, direct and nearly exclamatory in its form (example OST CD track 17 The Face of Voldemort 1:25-1:54). It accompanies his most evil deeds in the film as told by the other characters and in scenes, where he reveals his power or presence. There are certainly subtle hints to the classic monster music of old in some of the more aggressive readings of the theme as it announces the dark lord almost like a growling wicked fanfare exuding imperious malevolence. Frank Lehman analyzes it's structure:In this case, beginning o­n the first scale degree, it would proceed to the 7th below, up to a flatted 2nd, back to the seventh and so forth. Harmonically, it sometimes follows this demonic progression: i – dim v6 – i – vii – bvii – i) [21] B) The second idea Voldemort’s Evil seems to allude to the reptilian, scheming persona of the character and his evil plots (example OST CD track 17 The Face of Voldemort 1:55-2:16). The long melodic line literally slithers forward with languid malice, winding snake-like up and down a minor scale, part seductively hypnotic part ominously evil. It is at first used to describe Voldemort’s unseen presence and finally the character himself as he makes a bid for the Philosopher’s Stone at the end of the film.[22] It could be surmised that since Voldemort's Evil is more developed of the two, it is the true Voldemort’s theme although Williams uses these two melodic ideas most often in conjunction and complementing each other much like Hedwig’s theme and The Flying theme and the he utilizes both parts of Voldemort’s musical identity quite fluidly, quoting one or the other depending on the needs of the scene or moment, not strictly or clearly assigning either one as the primary motif for him. Noteworthy is that nearly always Voldemort Revealed precedes the Evil theme, the dark lord announcing his entrance in ominously grandiose manner before slithering into view in person. Moreover as it was stated above the Philosopher’s Stone motif is often linked with these two themes and woven into the orchestration and used as a counterpoint especially to the Voldemort’s Evil theme. MINOR MOTIFS Some of the elements in the story seemed to warrant singular musical set pieces and identifications of their own and thus Williams composed a few independent motifs for locations and events in the film that would be out of necessity keyed to only a few scenes. Some might argue at the validity of identifying the following material as themes but through studying the music in the film I would certainly assert that they are quite clearly musical depictions of specific places, persons, ideas or objects and thus leitmotivic themes of their own right. Diagon Alley For the wizard and witch high street and shopping district in the heart of London secreted away by magic the composer provides a unique theme and instrumental colouring (example OST CD track 5 Diagon Alley and Gringotts Vault 0:00-1:15). He envisioned a small wizards’ band with Medieval/Baroque instruments providing a suitable melodic and playful ambience for the merchant district of the Diagon Alley. Recorders, strings, woodwinds and a wizard’s fiddle propel Harry through magical marvels on display in the shop windows in this fantastical locale.[23] Quidditch Fanfare The great Quidditch game in the middle of the film offered Williams a chance for some pomp and circumstance, the scene being colorful and exciting, full of spectators with flags and the teams competing on a grand arena. To enchance the feeling of the occasion the Quidditch game receives its own heroic fanfare (example OST CD track 2/18 Harry’s Wondrous World 3:07-3:35) both announcing and closing the event and appearing in snippets throughout the underscore of the game. This musical idea complements and relates to the Hogwarts theme exuding similar proud and courageous feel. The Great Hall A small festive march ushers the characters into Hogwarts’ Great Hall for a welcoming feast as they arrive to the castle. This musical idea is then used in the underscore for the Sorting Ceremony and similarly flavoured celebratory music continues in the subsequent banquet scene. The Invisibility Cloak The enchanted artefact receives an eerie motif with suspenseful layers of sighing hollow toned synthesizer effects which follows Harry through the school, the hollow, ghostly tones of the musical idea appearing when he uses the cloak to get to the Forbidden Section of the library unseen. *** Aside from recurring themes the score for Harry Potter and the Philosopher’s Stone is full of incidental melodies, rhythms and textures that fill not only the music but the cinema with colour and magical ambience. There is a constant flow of musical ideas alongside the major themes, Williams often juggling many of them side by side in the scenes, the individual set piece melodies giving away to the character themes at suitable moments. Not since his inarguably most ambitious and expansive fantasy score for Hook has Williams been inspired to create such a colorful and varied musical tapestry for a single film. *** Track-by-Track Analysis of the Film Score The track titles used in the analysis are gleaned from Williams’ original cue names found on the sheet music. This is followed by the soundtrack album counterpart if the music is featured on the CD. The Original soundtrack album was released 30th October 2001 in the United States and United Kingdom on Atlantic/Warner Sunset/Nonesuch Records label. This CD contained little over 73 minutes of music from the film, including nearly all major highlights of the score but, since the whole composition is so expansive, left out more than an hour of music. Finally on November 28th 2018 the La-la Land Records released the full film score as part of the Harry Potter – The John Williams Soundtrack Collection: Limited Edition containing the complete scores for the three John Williams scored Harry Potter films. Another curious aspect of the album production is that Williams included on the soundtrack CD not only music from the original score but also parts of the Children’s Suite mixed with the score cues, resulting a true concept album, but this also meant that more of the original score was left off the CD. The one difference besides the title of the movie in the European release was the placement of the track Harry’s Wondrous World as the 2nd track after Children’s Suite piece Hedwig’s Flight (retitled on the OST as Prologue) whereas it was placed to the end of the American album pressing before Hedwig’s theme where it would belong during the actual end credits. In my references to the OST I will be using the European pressing of the CD and its track numbers and the Harry Potter – The John Williams Soundtrack Collection: Limited Edition for the complete score presentation track numbers and track titles (if they deviate from the original cue titles), abbreviated HP JWSC. 1. WB Potter Logo Lead-In (Version 1) (1M2)- 0:17 (Unused, HP JWSC: CD 3 track 15 Logo) The movie opens with the Warner Bros logo and the solo celesta performs the A Phrase of Hedwig’s theme, the short segment ending in lightly tremoloing anticipatory strings that usher us to the film itself. This was the first version of the cue and was never used. In its place Williams composed another variation WB Potter Logo Lead-In (Version 2)(1M2) - 0:18 (Film Version, HP JWSC, CD 1 track 1 The Prologue and Privet Drive 0:00-0:16) In this version the Warner Bros logo appears to a swirling of string section ghosted by celesta and a determined rendition of the A Phrase of Hedwig’s theme on French horns opens the main story with a hint more darkness and mystery than the celesta solo of the first version. In the Making As might deduced from the slate number 1M2 the Warner Brothers logo was supposed to follow the Prologue in some early incarnation of the film but it was later switched to its final place at the start of the film. Perhaps it was this that necessitated the rewrite of the Hedwig’s Theme for the logo. 2. The Prologue (1M1)- 4:15 (OST track 3 The Arrival of Baby Harry 0:00-1:44, 2:44-end, HP JWSC CD 1 track 1 The Prologue and Privet Drive 0:17-end) As director Chris Columbus reverently re-creates the first chapter of the novel on-screen, presenting the opening of the book shrouded in mystery and magic, Williams had an opportunity to present his main theme in a near overture fashion in the Prologue. Steady deep double bass and celli sonorities and light, glinting (synthesized) celesta create an enigmatic atmosphere (performance marked aptly Magico on the score), the instrument stating a brief melody, not yet a theme but establishing a tone for the score as the movie opens with images of the night time Privet Drive and an owl perched on the street sign is seen flying off into the inky night. Strings and harp slide up and down in an excited manner as mark tree shimmers and oboe offers a brief solo, expanding on the just heard celesta melody when a man in red robes appears from the woods. This is professor Albus Dumbledore (Richard Harris) who steps into view and pulls out a gadget looking like a large cigarette lighter, a Deluminator, and with it extinguishes the lights of the nearby street lamps one by one while a women’s choir enters over strings and loudly glinting mark tree and twirling woodwinds and reaches a deliberately paced crescendo, each orchestral accent signifying another streetlight snuffed out (0:43-1:04). The wizard closes the Deluminator and the horn section announces the first hint of the A phrase of Hedwig’s theme in a slightly ominous manner since we do not know exactly what is happening but the theme at the same time makes note of Dumbledore’s magical feat. As the Headmaster of Hogwarts offers a few words of acknowledgement to a black and grey streaked cat who happens to be standing nearby, it transforms into a woman, professor McGonagall (Maggie Smith). Here the choir, sparkling mark tree and strings return, gradually rising on a scale capturing the transformation from a cat to a woman in their gestures, the phases of the quick metamorphosis underscored by a triangle’s clear accents. With a twirl of string section, oboe and celesta the orchestra begins a full reading of Hedwig’s theme at 1:50 as baby Harry arrives on the back of Rubeus Hagrid’s flying motorcycle, the ensemble’s slightly mischievous strings reaching the end of the A phrase of the melody that is then quickly repeated by the woodwinds as the pair lands and Hagrid (Robbie Coltrane), a half-giant keeper of keys and grounds at Hogwarts, offers the little bundle that is baby Harry to Albus Dumbledore. Strings and clarinet present here a sympathetic yet comical phrase as the giant of a man handles his tiny parcel with a gentle touch. A more slowly paced reading of Hedwig’s theme on oboe, violins and violas accompaniment and interspersed bass and celli pizzicati and accented by orchestral bells joins the deliberations of Dumbledore and McGonagall. Hagrid’s worry and sadness for leaving the baby on the door step of Muggles is expressed by the forlorn women’s choir and strings, flutes soon following their lead. Finally Harry is set down on Dursleys’ doorstep and as the headmaster of Hogwarts presses a letter addressed to Mr. and Mrs Dursley into his lap a solo celesta sings out the theme’s melody again. Hedwig’s Theme’s A phrase continues when the camera pans closer to the lightning shaped scar on the sleeping baby’s forehead and the main title appears. Here the swelling choir and orchestra take up the B phrase of Hedwig’s theme and surge upward in a grand exclamatory statement which ends with a fluttering woodwind and celesta coda and a single crystalline glint of the triangle as we now see sleeping near 11 year old Harry Potter in his cupboard room under the stairs waking up to a light turned on outside the door. Soundtrack Album VS Film Cue On the OST album Arrival of Baby Harry corresponds to the 1M1 Prologue for the most part but with one major difference. On the album some of the original music has been cut and replaced, specifically the section running from 1:49 to 2:29 and augmented with music from a completely different source. This additional material is a piece composed and recorded at the recording sessions for a Coca-Cola commercial meant to be used to promote the film and Williams named the piece Hedwig Tries a Coke or Coke Add 60s (naturally it has no cue number). This piece, approximately one minute long, is used in its entirety on the OST. It is inserted into the music at 1:44 of the OST track Arrival of Baby Harry and runs up until 2:44. Hedwig Tries a Coke contains a different celesta opening compared to the woodwinds and strings of the Prologue and opens up to a full choir and orchestra rendition of the A Phrase of Hedwig’s theme. This is followed by a descending flute figures that can be heard in Harry’s Wondrous World that lead into a statement of Harry’s/Family Theme and ends with a robust statement of A Phrase of Hedwig’s Theme on french horns that flows to a quick celesta coda. This is nearly seamlessly edited with the ending portion of the original Prologue. It is a curious editing choice for the sake of listening experience but illustrates the often different nature of the soundtrack album production compared to the actual film score. *** After breakfast Harry is dragged to the zoo in honor of his cousin Dudley’s birthday and before they step in the car, Harry’s uncle Vernon (Richard Griffiths) warns him against any “funny business”. He will not tolerate any strange behaviour while they are celebrating Dudley’s special day. 3. The Friendly Reptile (1M3) - 2:59 (OST track 4 Visit to the Zoo - Letters from Hogwarts 0:00-1:48, HP JWSC CD 1 track 2 Visit to the Zoo) At the zoo Harry and the Dursleys are watching a large Burmese Python in its habitat and Dudley, who finds the inanimate snake boring, is trying to make it move by tapping on the pane and shouting at it, his father quickly joining to assist him. Harry comes to the snake’s defence saying that it is asleep and that they should not bother it. He receives only sneer from his cousin for this and as the Dursleys loose interested and move on, Harry apologizes to the snake. To his surprise it seems to stir and understand what he is saying. At this moment Williams’ music stirs to life as well, small triangle opening the piece with a single sharp glint, high register strings tremoloing expectantly and oboe presenting a shy but curious melodic phrase. Celesta and string pizzicati express Harry’s further amazement, a hopeful little motif rising upwards as he asks what the snake’s home country and family are like. When the boy notices that the snake was bred in captivity and remarks that they both are orphans a somber celli section captures this realization in melancholy tones. Now Dudley spots the python moving and shoves Harry aside to oggle at the reptile, calling his parents to see. As Harry casts an angry glance at Dudley, who is now pressed nose against the glass in excitement, the orchestra animates. A sparkle of a mark tree at 0:44 announces a moment of magic when Dudley finds that the pane has miraculously vanished and he plunges head first into the snake habitat’s pool. Rhythmic string figures dance and woodwinds follow as we hear the first rendition of the A phrase of the Flying theme rearing its head to make a humorous comment on the situation, the music bubbling with mirth and mischievous magic, celestra, flutes and bassoons particularly expressive here as the snake escapes, causing a panic. Dudley who thinks it is safe to climb out of the pool now notices the the glass pane is back in place, his baffled look and the magical transformation captured in the A phrase of Hedwig’s theme performed by the horn section, the rhythmic woodwinds continuing their comical stance, underscoring aunt Petunia’s panic and Harry’s amused expression. This is counteracted by a sharp low burst from tuba and double basses when uncle Vernon gives the boy a withering look which does not promise anything good. The rhythmic quirky woodwind writing derived from the A phrase of the Flying theme continues when the family gets back home. Vernon is furious and demands to know what happened, Harry protesting, saying that it was like magic. Uncle does not believe him stating that “There is no such thing as magic!” while shoving him into his cupboard under the staircase. And as if to prove him wrong Williams’ score continues with a strings, woodwinds and celesta reading of A phrase of Hedwig’s theme which repeats twice when on the next day an owl lands on the chimney at Privet Drive and we see Harry picking up the day’s mail and finding a letter addressed to him among it. As he walks to the kitchen the string section winds down from its playful sewsawing figures to an expectant ending on celli. Soundtrack Album VS Film Cue This piece is presented heavily edited and combined with cue 1M5 Mail Delivery, on the Original soundtrack album under the title Visit to the Zoo - Letters from Hogwarts. 4. Don't Burn My Letter (1M4) - 2:04 (HP JWSC CD 1 track 3) Clear flutes open the cue as the baffled Dursley family looks at Harry’s letter with concern and first the double basses and celli perform a rhythmic motif that is again derived from the opening of the A phrase of the Flying theme, almost like an unanswered question, stopped horns then joining in and adding their weight to the matter, the flute section continuing their searching melodic line as the family seems to contemplate what this could possibly mean. And so the letters start arriving, first in ones, then in threes and then by the bundle, a muted trombone phrase and triangle transitioning into a reading of the A phrase of Hedwig’s theme on strings and celesta as we see owls and letters arriving. This is cut short by a short bassoon interlude, pizzicato section on violins, violas and celli underscoring the comical moment of uncle Vernon nailing the mail box of the front door shut so there can’t be anymore letters by that way to Harry. When owls are getting unusually numerous and near all-pervasive on the Dursleys’ front yard and too much for Vernon’s and Petunia’s liking the B section of Hedwig’s theme on french horns accompanied by the playful seesawing string and flute motif makes it plain something supernatural is happening on Privet Drive and magic is in the air. Bassoon lines once again flow from the string material and as uncle Vernon is burning Harry’s letters with certain degree of glee, a slightly ominous cold string melody is heard but the quick bassoon and oboe duet which ends the piece promises a spectacular end to Dursleys’ obstinance and Harry’s ordeal. 5. Mail Delivery (1M5)- 1:39 (OST track 4 Visit to the Zoo - Letters from Hogwarts 1:49-end. HP JWSC CD 1 track 4 Letters from Hogwarts) And what follows is one of Williams’ self professed favourite scenes from the film and a major musical moment where the main theme receives its most expansive reading thusfar. After boarding up the house completely the Dursleys and Harry sit inside on a fine Sunday, uncle Vernon gloatingly happy while he is drinking his tea when Harry answers his question, why is Sunday the best day of the week, and confirms that there is no post on Sundays. Just as Vernon happily repeats Harry’s answer a dull rumble fills the room and down the chimney and out of the fire place sails a lonely letter straight into his face. At that moment music opens slowly to an extended reading of Hedwig’s theme in its entirety, first gently on celesta, the strings and woodwinds soon joining the orchestration, weaving up-and-down patterns heard in the previous cue, the seesawing string motif playfully anticipatory. As more letters start billowing from the fire place and break through the mail slot, air filling with sealed envelopes, the music continues to build and with glissandi from harp and billowing swishes of suspended cymbal, the whole orchestra, bolstered finally with the weight of the brass section, rises to the magical waltz melody of Hedwig’s theme. In the midst of the theme Williams cleverly uses the flutes to present bird call like flourishes to subconsciously tie the music to the avians that carry the letters. And with a quick winding melodic phrase the celesta, strings and woodwinds bring the cue to a finish as Harry, still deprived of his letter is whisked away by uncle Vernon into his cupboard, the final shot of light going out underscored by a rising flute and celesta figure and a thump of single double bass pizzicato note. 6. The Beach and the Arrival of Hagrid (2M1) - 1:22 (HP JWSC CD 1 track 5 Harry's Wish and Hagrid's Entrance) A gloomy rendition of the B phrase of Hedwig’s theme on horns and high strings underscores an establishing shot of a small cabin in a raging storm on a forlorn islet somewhere on the coast of Britain. It is here that Dursley’s in their desperation have escaped the owls and their magical letters. It is midnight and the family is sound asleep but Harry, who is still awake and remembers that it’s now his birthday, draws happy wishes to himself in the dust on the floor, the wistful and sad moment underscored by the score’s first appearance of Harry’s/Family Theme on oboe and flute backed by strings clearly stating our protagonist’s wish escape his current life and his feeling of isolation. This moody rumination is interrupted by an eruption from the french horns, tuba and trombones, the brass belting out deep ponderous chords as the woodwinds scream and skitter in fright in the background when the door of the ramshackle house first shakes and creaks violently as if someone was beating it down and is then literally hoisted from it is hinges and something emerges from the lightning wreathed night. The Dursleys wake up and cower in fear, uncle Vernon waving a shotgun at the intruder. Woodwinds continue their wild flailing as horns blast staggered bursts while the piccolos deftly insert a quick quote of the B phrase of Hedwig’s theme into the chaos subtly informing us that magic might be at work. Deep and dramatic rhythmic brass exclamations continue as the towering figure steps slowly in, the music reaching a crescendo as the tall, large creature is revealed to be Hagrid. In the Making The first 25 seconds of opening transitional Hedwig’s theme material was not used in the film and the film makers let the sound effects of storm and waves usher us to the island instead. In the film the music opens with Harry’s theme as we see him forlorn on the floor drawing on the dust. *** The half giant nonchalantly apologizes for knocking down the door and starts to fix the situation. Vernon is livid and orders him to leave but Hagrid just bends the barrel of his shotgun into a twist and sits down. He then reveals to Harry that he is to attend the Hogwarts School of Witchcraft and Wizardry, the boy listening astonished. Then comes the greatest revelation as he announces 7. You're a Wizard, Harry (2M2) - 3:29 (HP JWSC CD 1 track 6) As Hagrid tells the truth a delicate but clear rendition of B phrase of Hedwig’s theme is heard on tremoloing high strings, assorted woodwinds and solo celesta, the music offering hushed astonishment at the revelation. Airy woodwinds and strings present a curious searching melody derived from Hedwig’s theme and the seesawing string material that often accompanies it. Hagrid continues his story, Dursleys protesting and Harry listening intently, and finally he hands Harry the mysterious letter that has been trailing Dursleys and him for days and Harry reads his invitation to Hogwarts. A warm melody of Hogwarts’ Theme on stately strings with woodwinds adding slightly comic effect appears to announce the school’s proud and noble heritage. As Dursleys protest and deny Harry a chance to attend this school and Harry learns that his mother and father died in an explosion and not a car crash as he was led to believe, colder and darker up and down winding woodwind and string underscore, much like the one used for Dursleys in the previous cues, appears adding tension to the dialogue. When Hogwarts’ Keeper of Grounds mentions Albus Dumbledore as the finest headmaster the school has ever had Hogwarts’ Theme echoes his statement in hymn style that once again gains a slight mock serious tone from woodwinds and double basses. Vernon Dursley then makes the mistake of insulting Dumbledore and Hagrid grows all the more irritated by the Muggles. Tremoloing strings kindle as he glares at Dursleys but suddenly he gets an idea and aims his umbrella/magic wand at Dudley who is gorging himself on the birthday cake that the half-giant had brought Harry. With a glimmer of celesta and strings Dudley sprouts a pig tail, the parents panicking and frightening the boy, starting to run around the hut, A phrase of Hedwig’s theme on strings dancing mischievously around the scene. As Hagrid looks at his watch and starts to depart, a bright and optimistic string backed oboe and flute melody rises in the orchestra and when Harry follows his gigantic guide out of the door, they are off to London, the happy turn of events and transitional shot underscored by breezy Harry’s theme on strings, celesta and brass as his life has taken a sudden turn for the better. In the Making In the film only parts of this cue are used. The opening Hedwig’s theme and the the following dialogue underscore (0:00-0:50) are in place but when Harry receives the letter a short passage of Hedwig’s theme is tracked in place of the Hogwart’s theme. The music for the subsequent dialogue (1:00-2:20) about Harry’s past is dialed out as is the second rendition of Hogwarts’ theme as Hagrid praises Dumbledore. The music then continues as written when Hagrid threatens the Dursleys and plays out all the way to the end of the cue as intended (2:21-end). 8. The Wizard's Pub (2M3) - 1:10 (HP JWSC CD 3 track 11 The Leaky Cauldron) Harry and Hagrid arrive to London and make their way through the city to find school supplies for Harry. To the boy’s puzzlement they enter an old pub which seems to be frequented only by witches and wizards. Williams presents here a short piece of diegetic source music emanating from some shadowy corner of the establishment. Mandolin, 2 part percussion (cymbal played with a brush) and accordion (or musette) form a wizardly trio that provides off-kilter entertainment in the form a folksy, sea shanty styled melody.[24] The piece ends abruptly in the middle of a phrase as the whole pub is ushered into an awed silence when Hagrid mentions Harry’s name to Tom, the proprietor of the Leaky Cauldron. To Harry’s further astonishment a number of pub patrons seem to know him by name and reputation. Williams’ cue was written to end suddenly and trail off. This is perhaps the less used practice since in general diegetic source music is written out in full and as rounded pieces and then edited to conform to the needs of the film. And in this case only the ending of the piece is used in the film. On the Harry Potter: John Williams Soundtrack Collection the ending of this piece of source music is faded out before its abrupt ending, probably with the listening experience in mind. 9. Diagon Alley (2M4) - 4:36 (OST track 5 Diagon Alley and The Gringotts Vault 1:15-end. HP JWSC CD 1 track 7 Diagon Alley and The Gringotts Vault (Extended Version)) Hagrid then takes baffled Harry to the empty back alley of the pub where they stop in front of a brick wall. The half giant taps several bricks with his umbrella and the wall parts to reveal a strange and exotic wizardly shopping district of Diagon Alley magically tucked away in the heart of London. As the wall disappears an airy rendition of A phrase of Hedwig’s theme dances on woodwinds and strings with gossamer harp glissandi adding their magic to the moment of revelation. Mark tree shimmers and strings take up a seesawing boisterous rhythm that leads suddenly into a lively recorder solo. The theme for Diagon Alley has a slightly Baroque and folk tune feel in its melody and instrumentation, the recorder, tambourine and fiddle on top of the orchestral sounds propelling Harry through the marvels of the shopping district and the throng of people all dressed in colorful wizardly garb. The score adds a whimsical, awed and a quirky comment on the surroundings and bestows a unique coloring to the scene. A flute led melody that whirls under a veil of all kinds of orchestral chimes announces their arrival to the imposing but slightly askew facade of Gringotts Bank where Hagrid has some business to attend to. As he names the bank a horn fanfare adds a touch of stately weight to his statement and the music continues rich and warm as they enter the chandeliered main hall. Soon the mood turns probing when Harry spots Goblins handling the banking, a solo oboe line in a bed of slowly paced pizzicato strings peering curiously over the scene, joined by other woodwinds. Hagrid states his business and darker colours appear in the music, a rising and falling string motif hinting at mystery, the ominous music also scoring Harry’s close encounter with the Goblin clerk whose suspicious visage frightens him. As Hagrid produces Harry’s vault key a small hint of Hedwig’s theme on chimes appears which is followed by ominous low brass and strings when the half giant hands the clerk a letter from Dumbledore. The Goblin takes a glance at it, with tremoloing strings and a clear eerie flute solo making its significance clear, and allows them entrance to the vault with the previously heard mysterious up-and-down string motif returning briefly. Down in the underground vaults a rhythmic woodwind, brass and string idea derived from the preceding mystery motif underscores the duo and the Goblin clerk opening Harry’s vault. All of a sudden a new thematic idea appears as our protagonist peers inside, baffled by how he suddenly has such a pile of money of his own. Interestingly Williams introduces here the 3-note incarnation of Philosopher’s Stone motif on flute over the glinting shimmer of a mark tree as Harry sees his fortune. Perhaps here the composer draws a connection between the gold and the power of the legendary stone to turn base substances into gold but it also works as a precursor to the music of the following scene. Horn takes over the 3-note variation of the Philosopher Stone motif as the trio arrives at vault 713 where Hagrid claims a small parcel. The 3 notes build and build and gain melodramatic weight, choir adding an icy and fateful tone and ominous significance to the small package in a very operatic way. In the Making In the film the opening of the cue remains intact until 0:16 when Diagon Alley is revealed. In the place of the specifically written thematic material for recorder, tambourine and fiddle the film makers used a festive march from a later cue Entry to the Great Hall (3M5) (0:56-end) that underscores the whole promenade through the district up until the reveal of the Gringotts Bank where the original cue with its horn fanfare returns. Further in the scene the original cue is dialed out just as Harry and Hagrid are going to go down to the vaults (2:47) and the rhythmic motif for their vault opening activities is left unheard. The score returns when Harry sees his fortune in the vault (3:22) and continues as written to the end of the scene. The opening of this cue was also revised a number of times during the recording sessions with several attempts at recording an insert for the Baroque/Medieval section and the fiddle solo but sadly in the end the whole passage was discarded in the film. Soundtrack Album VS Film Cue The OST version of the music is a curious hybrid of its own. The opening of the film cue for the disappearing wall is omitted and the Diagon Alley material at the beginning of the track (0:00-1:16) is derived from the Children’s Suite movement of the same name, not the film cue. The film cue continues at 1:17 with the last flourishes before the Gringotts horn fanfare and continues to the end as written. It could be speculated that the composer thought that the film take on the Diagon Alley material was not striking enough so he used the Suite movement instead which does contain a considerably slower and more developed statement of the material. 10. Harry Gets His Wand (2M5) - 2:04 (HP JWSC CD 1 track 8) Harry looks at his shopping list for his first year and the only thing remaining is a wand. Hagrid points him to Ollivander’s, the most famous wand seller in the world. As Hagrid goes off to settle some business Harry enters the Dickensian looking shop alone. He encounters the owner Mr. Ollivander (John Hurt) who proceeds to find him a suitable wand. After a few failed attempts that send things flying and shatter a vase he comes across one particular wand while rummaging between the shelves. As he states his musings out loud the music opens with a slight string tremolo. A delicate lilting celesta waltz full of magic and mystery, a close cousin to Hedwig’s theme melody, dances forth as Ollivander hands the magical artefact to Harry. When he grasps it a women’s choir rises and falls in waltz time celebrating the moment as the wand seems to accept Harry and he is surrounded for a brief moment by a nimbus of light. Ollivander seems impressed and dismayed at the same time, the celesta melody repeated by a solo cor anglais with a string backing as he starts to explain the history of the wand. As he mentions that it had a twin with a phoenix feather inside it and it was the one that gave Harry his scar, Voldemort Revealed sounds out for the first time in the low snarling brass and sinister woodwinds wedded now with the earlier celesta melody and the wicked sounding theme is repeated in the same malicious manner as the wand maker says that the owner of the twin wand, He-Who-Must-Not-Be-Named, did also great things, great but terrible, and that he expects great things from Harry as well. But the evil Voldemort Revealed melody is dispelled almost as soon as it has appeared when Harry sees Hagrid through the window holding up a cage with a white snowy owl the music lightening up with strings, flutes and triangle climbing up to end in a joyous trill when the half-giant wishes Harry a happy birthday. 11. Hagrid's Flashback (3M1) - 2:52 (HP JWSC CD 1 track 9) With the shopping finally done Harry and Hagrid sit around a table in the Leaky Cauldron and Harry braves a question about his past from Hagrid and asks how his parents died. A somber passage for flute and strings plays out as Hagrid, a bit emotional, begins his tale, Harry’s/Family theme blossoming into a gentle oboe reading, once again reminding us of his past and his longing for a family. This warmth is short lived as a solo clarinet takes the melody to a sudden reading of Voldemort Revealed on tenebrous horns, the strings and celesta playing skittering seesawing passages underneath when Hagrid reminisces how Voldemort attacked the Potters. In this flashback a hooded figure attacks Lily Potter and baby Harry and the strings and chimes rise threateningly, clarinet crying in upper register and low menacing brass and woodwinds with a sheen of synthesized choir presenting a slow reading of Voldemort’s Evil that grows stronger, now bedecked with harp and string figures. Here Williams interestingly links Voldemort to woodwinds, the often mentioned reptilian nature of the villain connected with the composer’s most common instrumental section to depict such creatures in his scores. The Voldemort material subsides for a brief moment as celesta and flutes create sympathy for Harry but soon the deep and dark orchestrations returns when Voldemort is mentioned once more, Voldemort Revealed crawling slowly to the fore again on horns and tremoloing strings when Hagrid tells Harry that he thinks Voldemort still lives. The half-giant adds that Harry by some miracle survived when his parents did not and also defeated the Dark Lord, earning himself the lightning shaped scar in the process and the name, A Boy Who Lived, the revelation eliciting a melancholic but sympathetic reading of the B phrase of Hedwig’s theme on celesta that quietly but ominously ends in low tremoloing celli and basses, adding a hint of grim mystery and magic to Harry’s past. In the Making In the film the opening of the cue with the statement of Harry’s Theme and the first appearance of Voldemort Revealed were dialed out, the music opening at 1:18 as we see Voldemort entering the Potters’ house. 12. Platform Nine and Three Quarters (3M2)- 2:38 (OST track 6 Platform Nine-and-Three-Quarters and Journey to Hogwarts 0:00-1:10. HP JWSC CD 1 track 10) Hagrid is off to see Dumbledore and leaves Harry at King’s Cross Station and hands him a ticket that says 9 ¾. As the half-giant disappears as if by magic the boy is left to fend on his own and to find the mysterious platform. Luckily he hears talk of Muggles and follows a family of red headed children in hopes of finding the right way to the train. A bouncy little march on woodwinds and brass underscores the Weasley family arriving at the magical wall where three of them disappear while Harry looks on in amazement the music catching his unbelieving blink and shaking of the head with a triangle and woodwind trill. The same good-natured little march continues as Mrs. Weasley (Julie Walters) gently directs the boy to the wall and a rising string and chime phrase underscores him approaching the brick wall with his trolley, A phrase of Hedwig’s Theme on celesta depicting magic at work. Another gradually rising woodwind and high register string phrase plunges Harry through the wall and to the other side onto a platform hidden from Muggles, the orchestra blossoming into a grand and regal horn fanfare for the shot of Hogwarts Express train as our main character marvels yet another miracle of the wizarding world. The shot of the most unusual platform number on the sign is captured by a playful off-kilter waltz figure that quickly flows into a full string and woodwind reading of Hedwig’s theme as we see the Express on its way to Hogwarts through green meadows and forests and as Ron Weasley (Rupert Grint) appears at the cabin door and the slightly awkward waltz figure returns, the music fading slowly in deep strings while Harry invites him in. 13. Escaping Frog (3M3) - 0:44 (HP JWSC CD 1 track 11 Chocolate Frog Escapes) Williams provides a short musical interlude in the train as a chocolate frog makes its sudden escape from its wrapper and jumps out of the window. High tremoloing strings, flutes and glimmer of the mark tree capture the frogs movements. Woodwind led light and humorous orchestral underscore continues as Harry notes the collectible Dumbledore card and Ron presents his pet rat Scabbers, music ending just as Hermione (Emma Watson) appears at the compartment door. 14. Arrival at Hogwarts (3M4) - 1:57(OST track 6 Platform Nine-and-Three-Quarters and Journey to Hogwarts 1:11-end. HP JWSC CD 1 track 12 The Journey to Hogwarts) The Hogwarts Express finally arrives to its destination, tolling tubular bells and triangle heralding the train’s appearance through the night to the Hogwarts’ stop, A phrase of Hedwig’s theme playing on lonely celesta over tremoloing strings that have a hint of suspense about them but the nervous excitement is dispelled by the appearance of Hagrid who is waiting for the 1st year students on the platform and hurries them along to the tune of a warm and slightly comic orchestral passage highlighting woodwinds and tuba. At this point the film opens up to a magnificent wide shot of the 1st year students in small boats floating towards the Hogwarts castle that looms above them in the night beautifully lit and Williams allows the score to blossom into a majestic and broad statement of the B phrase of Hedwig’s theme with flutes and up-and-down surging string figures building under the dramatic wordless women’s choir, the brass section eventually adding their magnificent burnished voice to the performance as the children approach the castle. Hedwig’s Theme is soon overtaken by a small festive welcoming march for the orchestra, the clear heraldic trumpets accompanied by all kinds of sparkling instrumental colours, glockenspiel, marimba, triangles and sleigh bells among them, expressing awe and giddy anticipation in equal measure, making also a subtle connection to the festive melodies of the following cues. Suddenly the atmosphere changes as we see a shot of a hand on a balustrade, the music presenting a slight red herring as a sinuous solo violin line with subtle harp trills appears when the children encounter professor McGonagall and she proceeds to instruct them in precise and no-nonsense fashion. Here Williams presents a small nod to the idea of witch’s fiddle and scores the scene through the children’s eyes who obviously think she is a bit frightening with her frowning face and sharp stare. 15. Entry Into the Great Hall (3M5)- 1:48 (HP JWSC CD 1 track 13 Through the Doors) As McGonagall proceeds into the Great Hall to prepare it for their arrival, the children are left unsupervised for a few moments. A rather vain and proud looking boy with platinum blond hair recognizes Harry and introduces himself as Draco Malfoy and without a pause goes on to belittle Ron Weasley’s poor family. He would also like to make friends with the Boy Who Lived extending his hand to our protagonist. Deep brass and strings give a musical hint that this boy is perhaps not the best company, woodwinds sounding troubled and apprehensive, descending phrases on bass clarinets joined by a warning nasal sound of cor anglais. This brief tense moment passes as McGonagall returns to interrupt the boys and deep string tones climbing slowly up into the next passage as she leads the 1st years into the Great Hall. With anticipation the orchestra bursts into a new melodic idea, part jaunty part regal festive march (naturally marked alla marcia in the score). The Theme for the Great Hall is full of pageantry, capturing the sumptuous surroundings of the ensorcelled grand hall of the school. Chimes, sleigh bells bell tree triangles and glockenspiels join the orchestra in celebration as the mischievous march ushers Harry and his friends to the back of the hall where the Sorting Ceremony is to take place. Williams continues here the warm and luminous orchestrations of the previous arrival cues, embellishing the melodies with the sparkling sounds of the above mentioned instruments to achieve a welcoming atmosphere of awe and wonderment. In the Making The opening 20 seconds have been dialed out in the film, the music coming in as Malfoy extends his hand to Harry. 16. House Selection (3M6) - 3:28 (HP JWSC CD 1 track 14) With a twirl of flutes and pensive clarinet solo the sorting ceremony starts as McGonagall raises the Sorting Hat. Strings rise tentatively to an oboe and clarinet duet presenting a brief variation of the A Phrase of Hedwig’s Theme as Hermione is sorted to Gryffindor, the choice earning a recorder and orchestral chimes and bells rendition of the Great Hall Theme. As Draco steps under the hat dark woodwind and lower string chords and gloomy horns announce his allegiance to Slytherin but also continue to underscore a dark stare between Harry and Severus Snape across the hall. Something is not quite right here. This moment of uneasiness is interrupted by a slightly comical little melody as Ron Weasley is sorted, his obvious nervousness captured by the light tremoloing upper strings that quickly flow to a relieved rendition of the Hogwarts Theme on the same recorder and chimes that just welcomed Hermione, here the theme representing Gryffindor for the first time. Now it is Harry’s turn to be sorted. Nervous yet light orchestrations usher him under the Sorting Hat when a rather reptilian clarinet solo, cold strings and harp appear out of the blue, illustrating both Harry’s fear of ending in Slytherin and the suspense of the important moment. Rising flute figures underline the magical artefact’s deliberations but it is finally swayed by Harry’s fervent wish and as it announces its verdict the joyous Hogwarts Theme again on recorder and all kinds of chimes rejoices with the Gryffindor house that they have received such a famous student into their ranks. 17. The Banquet (4M1) - 3:40 (OST track 7 Entry Into The Great Hall and The Banquet. HP JWSC CD 1 track 15 Entry Into The Great Hall and The Banquet) Professor Dumbledore announces “Let the feast begin!” and with these words a magnificent banquet appears on the tables of the Great Hall. Likewise the music bursts to life, Williams spinning another festive march which underscores the opulent scene with trumpet solos, warm brass, pizzicato strings and orchestral chimes of all description coloring the proceedings. Here the tone is much in line with the previous cues, offering a happy and light atmosphere to the scene and arrival at Hogwarts, but adding a hint of humour to the lighthearted discussion of the students. An orchestral flourish at 0:50 announces Nearly Headless Nick’s arrival through the table, scaring Ron, and an appropriately ghostly and ethereal women’s choir scores the arrival of the house ghosts of Hogwarts. Comedic light strings colour the conversation with Sir Nicholas and as Hermione innocently asks how he can be called Nearly-Headless, the ghost shows them, the flutes offering a quick ascending phrase as he, to the dismay of the girl, gives a view of his nearly severed neck. After the feast Hogwarts Theme on stalwart horns with woodwind punctuations ushers Gryffindors out of the Great Hall and into the Moving Stairs, the magical contraption earning an ethereal swell from the orchestra. Hogwarts Theme continues good natured and welcoming on strings as the students pass through the portrait gallery and finally to the Gryffindor House tower where Percy, Ron Weasley's older brother, a prefect student of Gryffindor, gives the password to the portrait of the Fat Lady and as the door opens the piece ends with a slight flourish from flutes and strings. In the Making In the film this cue appears in slightly edited form, removing a darker section at 1:31-1:54 which was to underscore Harry feeling a sudden burning sensation on his scar as Severus Snape gives him a dark look. In the cue as recorded and on soundtrack album the piece can be heard in its full form. 18. Lonely First Night (4M2) – 1:05 (Unused, HP JWSC CD 1 track 16) Next we see Harry in the night time settled on a window sill of the Gryffindor dormitory with Hedwig at his side, looking contently out of the window. Williams weaves a graceful and thoughtful clarinet and harp duet supported by delicate chimes for this calm moment that melts gently to a flute and oboe rendition of Harry’s Theme, expressing his quiet joy. For the following transitional shot of Hogwarts Castle in the morning light the composer offers a rich and noble brass and string reading of Hogwarts Theme, here further augmented by the majestic sound of tubular bells as Harry and Ron are seen hurrying to class. In the Making In the film this piece went unused, replaced by tracked music from 9M2 Leaving Hogwarts. Interestingly the film makers still used a cue that utilized Harry’s Theme for the scene although they were obviously going for a more openly emotional rendition of it than what is presented in the original cue. This material from the opening of Leaving Hogwarts is edited into the last few seconds of the original piece in the film as Harry and Ron arrive to McGonagall’s class. 19. Mail Drop (4M3) - 1:32 (HP JWSC CD 1 track 17 The Daily Prophet) The next morning as the trio of new friends is eating breakfast the mail arrives, carried by owls of every description. Trilling flutes, celesta, swirling harp and triangle accompany their descent from the windows, with muted trumpets and clarinet offering support underneath, performing Hedwig’s Theme, conjuring a light whimsical mood. The orchestrations here provide a subtle connection to the previous owl scenes in the film, the fluttering flutes especially similar in their portrayal of these avians. Strings join the proceedings as part of Hedwig’s Theme and the same light and positive orchestrations for the whole ensemble continue as Ron receives a news paper, the Daily Prophet, which Harry opens and begins to read. A solo clarinet performs a short melodic line which ends in a sudden trill as he finds out that there has been a break in at Gringotts last night. The B phrase of Hedwig’s Theme rises uneasily on muted trumpets and queasy rising and falling high strings when the trio expresses their suspicions about it. Harry mentions that he had just been there with Hagrid and a low croak of woodwinds and the final deep note of the double basses transitions to the next scene with a sense of foreboding. 20. Mr. Longbottom Flies (4M4) - 3:32 (OST track 8 Mr. Longbottom Flies. HP JWSC CD 1 track 18 Mr. Longbottom Flies) The first lesson of the day is flying under the tutelage of Madam Hooch. The pupils are just practicing the control of their broomsticks when Neville Longbottom looses control and is whisked off to the sky. The cue starts as the boy begins to rise alarmingly higher from the ground, tremoloing strings and harp subtly building tension, cor anglais, oboes and trumpets opening into an almost formal statement of the A Phrase of the Flying Theme, strings and celesta joining them as the boy takes to the air. Swirling orchestrations speed up alarmingly, muted horns, pinched and panicked trumpets and cymbal crashes follow his unfortunate flight through the training grounds, the fall from the broom and getting caught on a spear of a roof top statue and finally toppling down to the ground via a torch bracket that catches his cloak in midway and partially dampens his fall. A downward surge of violins, lower strings and harp catch this last plunge, tense timpani pounding a steady rhythm quietly adding a sense of danger to the moment. As Madam Hooch inspects the boy, a relieved but a subdued reading of Hogwarts Theme lets us know that Neville will survive, clarinets ghosted by other woodwinds, the celli and basses underscoring Hooch’s last stern instructions before she departs to escort Neville to the hospital wing. There is to be no flying before she gets back. At 1:40 a new section starts as Malfoy, who found Neville’s Remebral, a magical bauble, on the ground where he had dropped it in the commotion, steps on his broom and decides to play a cruel trick on the Gryffindor student by hiding the ball somewhere high up in the castle. Harry comes to the defense of his fellow Gryffindor and demands the sphere back. A chase ensues and rapidly tremoloing strings backed by deep trombones presage a dramatic horn reading of the A Phrase of the Flying Theme as the two boys take to the sky. The theme flows into a tension filled full orchestra reading of the B Phrase of the Flying Theme that underscores their exchange in the air, the strings swirling majestically underneath. Malfoy refuses to give in, and instead of giving the remebral to Harry, throws it away with a sneer. The tension mounts as Harry speeds after it, the surging string lines of the B Phrase, like the wind swirling around Harry, culminating in a blazing brass led reading of the A Phrase of the Flying Theme as our protagonist saves the ball just before they both hit the castle wall, right under McGonagall's window. As he descends in triumph to meet a cheering group of Gryffindors the magnificent reading of the B Phrase of the Flying Theme celebrates his success by ascending higher and higher in poignant lyricism but is suddenly silenced by the approaching dour looking McGonagall, the moment underscored by deep brass notes from tuba and horns. She bids Harry to follow her much to the amusement of the Slytherins but the musical air clears as they walk through the corridors, clarinet with woodwind and string accompaniment quoting briefly but reassuringly the Hogwarts Theme as McGonagall and Harry arrive at the door of Professor Quirrel’s class room. In the Making The Hogwarts Theme that underscored Madam Hooch inspecting Neville was dialed out of the film, the music continuing as Malfoy and Harry begin their aerial chase. Also the second rendition of Hogwarts Theme as McGonagall and Harry walk through the school was left unscored and the music ends at 3:05 in the film. This was probably done to give the audience a few moments of trepidation for Harry’s fate which the Hogwarts Theme might have dispelled with its generally optimistic tone. *** McGonagall to Harry’s relief takes him only to meet Oliver Wood who is the captain of the Gryffindor Quidditch team and announces that she has found him a Seeker. It appears Harry’s flying skills earn him the place of a Seeker, a player in the Gryffindor house team for Quidditch, a peculiar wizard ball game played while flying on broomsticks. And soon everyone knows that the Boy Who Lived will be on the team, the youngest player in a century. 21. The Moving Stairs (4M5) - 1:57 (OST track 9 Hogwarts Forever! and the Moving Stairs 1:55-end. HP JWSC CD 1 track 19) As Ron still marvels Harry’s flying skills and acceptance to the team Hermione in know-it-all fashion announces that it is in his blood and takes the pair to an old awards cabinet where on a shield stands proudly James Potter, Seeker, meaning that Harry’s father was also a Quidditch player. Harry’s proud and amazed look at the gilded award plaque earns a warm horn reading of the Hogwarts Theme with synth celestra backing, expressing both house pride and personal connection Harry feels to the school and even more importantly a connection to the past and his parents. Celli and basses transition our trio to the stairwell of the Moving Stairs, ghostly women’s choir, ascending flute phrases and harp creating an eerie magical atmosphere with a hint of danger. Suddenly our heroes realize that they are lost, stairs having deposited them in a wrong corridor which is bleak and black, the score taking a dark turn as the Philosopher’s Stone motif on flutes and edgy violins materializes to greet them, offering a quiet hint of their location. Hermione soon puzzles it out and exclaims in horror that they are on the forbidden 3rd floor and cold synthetic choir effects, tam tam scraped with metal stick and skittering strings enhance the gloomy revelation, bassoons and bass clarinets joining in and repeating the Philosopher’s Stone motif ever more ponderously. At 0:54 quick piano notes and tremoloing high strings cut the ruminations of the three friends short as Filch’s cat, Ms. Norris appears, announcing that the ill-tempered and malevolent caretaker of the castle can’t be far behind, inducing panic and as the children run through the dark hall in fear of getting caught in the forbidden area of the school rhythmic strings and muted snarling horns and trombones propel them forward as much as express their anxiety. Finally they arrive at a door which is locked, Harry trying desperately to open it to no avail but suddenly Hermione steps forward decisively and casts an opening spell and the woodwinds flow into a bell tree enhanced statement of the A Phrase of Hedwig’s Theme to comment on the magic happening on-screen. Just as the trio has closed the door behind them the A Phrase is repeated, now cold and uninviting on low brass and high whining strings as Filch arrives to inspect the now empty corridor but as he departs empty handed the piece winds down with tense brass and string chords. Soundtrack Album VS Film Cue On the soundtrack album Williams presents the whole Moving Stairs sequence but combines the cue with music from the Children’s Suite, a piece called Hogwarts Forever, scored for French horns, basically a long development of the Hogwarts Theme, which is heard on the OST in its entirety as well. This is another example of how music is moulded into the soundtrack experience the composer wants to create for the listeners. *** The encounter with the three headed dog behind the door is left unscored and the children escape at the last minute after waking the gigantic canine, shutting the door just in time before it can get out. 22 . It's Guarding Something 4M6 (Rev.) - 0:34 (Unused, HP JWSC CD 2 track 11 Neville Stiffens 0:19-end) Harry, Ron and Hermione get back to the Gryffindor tower after meeting a three headed dog behind the locked door, all three shaken by the experience but Hermione worrying more about expulsion from the school than the life danger they were just in. She also points out to Ron that the creature was obviously guarding something. Here rising and falling low string harmonies quickly flow into a woodwind and horn rendition of A Phrase of Hedwig’s Theme that is subtly ghosted by synth celesta, the music posing a question which is left ominously unanswered. In the Making This cue went completely unused in the film, Hermione’s pondering left unscored entirely. Williams apparently wrote two versions of the short cue of which there is the evidence in the sheet music as the title on cue sheet is marked Rev. (= revised). The Harry Potter: John Williams Soundtrack Collection combines this short piece with another unused cue Troll in the Dungeon! into a single piece titled Neville Stiffens, which also happens to be the scene this unused piece of music was partially tracked to in the finished film. 23. Introduction to Quidditch (4M7) - 1:29 (HP JWSC CD 1 track 20) Next Harry tries to get his bearings on Quidditch with Oliver Wood and the older boy explains the different equipment and rules involved in the game. When he releases one of the Bludgers, a small magically self propelling ball, that try to harass the players during the game, and it flies off into the air solemn horns and trombones underscore Harry’s attentive gaze. Ascending women’s voices, ethereal alto flutes, fast violin figures and celesta underscore the upward flight of the ball and the orchestration is further enhanced by busy low woodwinds and assorted brass for Harry’s succesful hit of the Bludger with a club as it hurtles back down towards him through the air. Celesta and bell tree introduce him to the Golden Snitch, a ball that Harry as the Seeker is supposed to catch, Williams creating with flutes and trilling high strings an atmosphere of light and airy marvel as the golden bauble unravels its wings in his hand and jumps into the air. 24. Hermione's Feather (5M1) - 0:40 ( HP JWSC CD 1 track 21) This short cue underscores a lesson under Professor Flitwick as Hermione succesfully levitates a feather. Williams’ music catches the movements of the feather with high register ghostly violins, mark tree twinkle and celesta as it rises into the air. As unfortunate Seamus Finnigan in his usual style makes the feather explode rueful horns, celesta and harp humorously comment on the situation and the smoldering feather. 25. Troll in the Dungeon (5M1X) - 0:22 (Unused, HP JWSC CD 2 track 11 0:00-0:18) It is time for the Halloween party and all the students have gathered in the Great Hall (the shot of the hall featuring tracked statement of Hedwig’s Theme from 3M4 Arrival at Hogwarts) when Professor Quirrel suddenly bursts in to interup the feast, shouting for help as a troll is on the loose in the dungeons. After delivering this piece of news he promptly faints. String section provides rising menacing chords underpinned by low brass and woodwind colours, the piece abruptly ending in metallic rumble of deep notes from contrabassoons and clarinets, grand piano and cong rubbed with a mallet to enchance the of meaning Quirrel’s alarming message. In the Making This piece went entirely unused in the film and might have lent the scene a bit too heavy cast if it had been used. 26. Fighting the Troll (5M2) - 3:22 (HP JWSC CD 1 track 22) Ron and Harry notice that Hermione is not in the Great Hall and soon find out that she was last seen in the girls’ toilets, where she had hidden upset as Ron had inadvertendly insulted her the previous morning. As the boys remember that the toilets are close to the dungeons, they hurry to rescue Hermione who they suspect is in danger. For their premonition tension filled contraclarinets and -bassoons, celli and double basses present a slow winding menacing melody which is joined by violins spinning a faster fateful sounding figure amidst the low end sounds, horns augmenting the suspense with determined blasts. The pair flits through the corridors to rhythmic and agitated sounds of the woodwinds and nervous strings until at 0:36 ponderous chords blast from tuba, trombones and horns, scraped tam-tam adding its sizzling voice to this texture while violins and violas buzz in higher register and celli and basses augment the brass with sul ponticello effects, all underscoring the troll arriving to the toilets where Hermione is hiding. Now timpani and bass drum echo the brass blasts that capture the heavy set movement and terror of the creature and after a couple moments of tense near silence of subtly tremoloing strings the monster notices the girl who has hidden in one of the stalls. The club wielding mountain troll swings his weapon and the heavy plodding writing continues. Harry and Ron arrive at the scene and see Hermione scurrying for cover under the waterfountains as Williams’ sizzling music topples the toilet stalls in rhythmic bursts from different sections of the orchestra. At 1:30 a new melodic action motif begins as Harry and Ron try to attract the attention of the enormous creature so that Hermione could get away. Despite its brassy orchestrations this motif is reminiscent of Williams Home Alone scores in its balletic dance-like charm. Brass section continues to perform this frantic and busy musical idea, containing a hint of Voldemort's Evil in its contours and thus subtly revealing the true source of the evil behind the scenes, as the boys do battle, all orchestral layers contributing to the mayhem, timpani setting a relentless drive. Williams gradually injects heroic brass into this rhythm, trumpets singing victoriously with crashing cymbals as Harry finally ends up on top of the creature and it tries to shake him off. Harp, chimes and celesta underscore with tense and luminous strings the moment when Ron succeeds in his levitation spell and saves Harry in the nick of time from ending up squashed by the troll’s club, sending the weapon floating into the air. Mark tree, high tremolo strings and solo piccolo color this moment of weightlessness, the A Phrase of Hedwig’s Theme on celesta celebrating a succesful magical feat but soon the ungainly and frantic string figures drop the club on the head of the troll and the same dramatic brass blasts that announced its arrival now topple the monstrosity and send it out cold on the floor, string figures and clarinets taking their lurching notes from the brass and slowly fade into a relieved silence. 27. Nimbus 2000 (5M3) - 1:13 (HP JWSC CD 1 track 23 Owl Delivers Nimbus 2000) It has come time for the first Quidditch match of the season and Harry sits with his friends at the breakfeast table feeling anxious and with lost appetite. Severus Snape the potions teacher who seems to hated Harry for some reason from day one passes by to offer a few scathing remarks, limping away oddly. Harry notices this and deduces that Snape set the troll loose in the dungeons as a diversion to get to the trap door guarded by the three headed dog and got bitten. His suspicions are enhanced by the fateful and menace of Philosopher’s Stone motif which is heard on eerie flutes, celli, violins and ghost-like synthesized voices as the trio ponders the meaning of these events. But they don’t have time to concentrate on this puzzle because an owl appears carrying a parcel and drops it in Harry’s hand, Hedwig’s Theme sounding in its most traditional guise on celesta and strings, their seesawing michievousness intact. Our young hero is a bit perplexed as he never receives mail and when the three friends quickly unwrap the package it reveals a broomstick. Williams spins a new playful coda to Hedwig’s Theme extending the melodic line, mark tree sparkle and woodwinds leading to a brief but graceful oboe solo underscoring the revelation of broomstick’s name, Nimbus 2000, before elated string chords close the piece on a positive note, catching McGonagall’s reassuring smile to Harry from the teacher’s table, suggesting she must have a hand in supplying Harry with his broom. This leads immediately to 28. The Quidditch Match (5M4 Parts I-IV) (OST track 11 The Quidditch Match. HP JWSC CD 1 track 24) This elaborate action sequence in the middle of the film runs for exciting and fast paced 8 and half minutes which is all punctuated by Williams colorful and energetic music. As per usual film scoring practice the whole scene was divided by Williams into smaller sections and recorded as separate cues at the recording sessions and then assembled editorially later into a full finished piece, which can be heard on the OST album as one unbroken track. This is common way to deal with long, complex and fast paced pieces of music which have to be recorded by the orchestra with very little preparation and rehearsal time. This is done to minimize the effects of possible mistakes and flubs made during the recording and this way a few imperfections in the performance do not mar the whole long sequence that would have been otherwise perfectly played. This recording practice also facilitates the whole process for the scoring crew in general. Williams divided the Quidditch Match into four consecutive sections which will be analyzed separately here: a) Let the Games Begin (5M4 (Pt I)) – 2:12 A march on double basses and celli accompanied by a field drum evokes an atmosphere of determination, excitement and ceremony in almost military fashion as it ushers the Gryffindor team into their stall before the match. A woodwind led melody of equally militaristic nature colours Harry’s and Oliver Wood’s brief exchange before the gates are opened and the teams, Gryffindor and Slytherin, fly into the arena accompanied by glorious burst of pomp and circumstance, a bright and regal Quidditch Fanfare sounding on heraldic brass, trumpets first and foremost displaying their burnished splendour, all kinds of orchestral chimes, tambourine and cymbals creating a feel of grand spectacle. The rest of the orchestra joins in as the fanfare is taken over by the Hogwarts Theme, now triumphant and noble, dazzling with the Quidditch Fanfare’s orchestrations, Williams adding tremoloing strings and trilling woodwinds to inject the music with anticipation as the match is about to begin. Deep lean chords from celli and basses sound expectant as Madam Hooch throws the Quaffle into the air, the aforementioned woodwinds and strings rising to catch the movement of the Golden Snitch flying off into the air, the orchestra gathering strength and with a cymbal crash the game starts. b) The Scoring Begins (5M4 (Pt II)) - 1:37 The match kicks open with a determined and energetic rendition of the A Phrase of the Flying Theme, strings performing similar figures that are found in the B Phrase of the theme underneath, cymbals crashing and woodwinds bubbling to support the action. Muscular and rhythmic brass section drives the daring flight and aerial exploits, complemented by the A Phrase of the Flying Theme that captures the wickedly fast game as opponents circle each other and fight for the ball, trying to score goals. Soon the score celebrates as the Gryffindor scores the first goal of the game, the Hogwarts Theme again performing its double duty as the Gryffindor Theme here, returning to the triumphant tones of the opening of the sequence as Angelina Johnson lands a goal. But soon the intense strings and brass drive the game forward and another cymbal crash transports the music to the third phase of the game. c) Slytherin Scores (5M4 (Pt III)) - 2:26 Trumpets, crashing of cymbals and swirling harp glissandi continue fast and furious, steady string and brass rhythms propelling the teams, the Slytherin now gaining the upper hand, woodwinds adding panicky tones to the happenings. The pace of the music turns relentless as desperate Harry witnesses how his team mates are mauled one by one by the ruthless opponents, Williams’ orchestrations favouring high register woodwinds and strings in dazzlingly swirling and kinetic series of runs as brass and gradually growing percussion add constant weight and drive to the furious match taking place in mid-air. Harry spots the Golden Snitch and begins to pursue it but suddenly shaky, sharp and nervous strings and percussion intervene, his broomstick getting suddenly out of control, shrill woodwinds, manic harp glissandi and alarmed horns all describing panic and trouble as Harry hangs on to his broom for dear life, the orchestra accenting the queasy movements of Nimbus 2000. Hermione with her binoculars spots Snape on the other side of the arena, obviously casting a spell and keeping his eyes on Harry. She acts without delay and hurries to stop him before Harry gets hurt. Here from the erratic movement of the shrieking woodwinds, strings, harp and horns emerges suddenly a chilling musical motif, the theme of Voldemort’s Evil, which is performed by imperious brass, followed by flutes and clarinets over rhythmic pattern of double basses and eerily rising women’s choir, cymbals adding further weight and drama to the rendition. The composer hints at the true source of Harry’s troubles even though the Dark Lord is nowhere to be seen and at the same time the score offers a red herring about Snape and his allegiance. The theme is repeated twice while nervous and fast string figures speed Hermione to the spectator stand where Snape is apparently jinxing the broom, woodwinds performing a subtle variation of B Phrase of Hedwig’s Theme as she casts a fire charm on his cloak and sets in ablaze. d) Harry's Great Victory (5M4 (Pt IV)) - 2:24 Trilling piccolos, alarmed brass and tubular bells evoke the panic that is started by the fire in the stand, Snape toppling a good number of people, Professor Quirrel among them, as he tries to stamp the fire out. Rising brass harmonies announce that Harry has gotten the control of his broom back and as he continues to battle the Slytherin Seeker and his pursuit of the Golden Snitch, the Quidditch Fanfare sounds heroically on trumpets again, fast paced string runs, forward hurtling brass fanfares and intensifying percussion add tension and momentum to his flight as he tries to outfly the Slytherin boy. As Harry in his final attempt rises to stand on his broom the trumpets supported by the rest of the brass reach a gloriously triumphant yet tense climax and with cymbal crash he topples off his broomstick and leaps towards the Snitch, the music coming to a sudden halt at this point, the flutes giving out a surprised yelp. A quick searching and curious phrase from the celli as if asking a question rises up to a flick of a triangle as our hero rises up and seems to be feeling ill, holding his stomach and with a swirling flute gesture spits the Golden Snitch from his mouth into his hands, the bauble depicted by a the glittering sounds of the mark tree and ethereal flute rendition of the B Phrase of Hedwig’s Theme. Madam Hooch announces the Gryffindor as the winner and the orchestra erupts into an elated variation on the Quidditch Fanfare when Gryffindors celebrate their victory. As camera circles happily grinning Harry we hear for the first time Harry’s Wondrous World Theme on warm sweeping strings, the Boy Who Lived feeling pride and sense of fullfilment for the first time, the character coming to his own, trumpets and swirling chimes performing the optimistic and childlike Harry’s Secondary Motif in support,bringing the exciting action sequence to a satisfying,jubilant conclusion. 29. Hagrid's Christmas Tree (6M1) - 0:55 (OST track 12 Christmas at Hogwarts, 0:00-0:22. HP JWSC CD 2 track 1) Hagrid and our three heroes are walking outside the castle and the children confide their suspicions about Snape to the half-giant. Deliberately ponderous statement of the Philosopher’s Stone motif rises on horns, woodwinds and lower strings to announce mystery, hint at the artefact as the three headed dog, Fluffy, is mentioned and illustrating the children’s concern. Hagrid lets slip that a person called Nicholas Flamel is also somehow tangled up in this strange business, the score giving a clear clue to his connection to the magical substance as well. A quick cut takes us to Christmas time and as sleighbells ring flutes with orchestral backing sing out a happy festive jule tide melody as Hagrid is seen pulling a large Christmas tree through the snow covered castle grounds. 30. Christmas Music Box (6M1A) – 1:06 (HP JWSC CD 2 track 2 Cast A Christmas Spell 1:28-end) For the subsequent Christmas scenes when we see Hermione leaving for holidays and Harry and Ron playing wizard’s chess in the school hall and spending their holidays at Hogwarts Williams composed two alternate pices of music. The first take on the scene is a Christmassy melody on music box, performed on synths (marked in sound and style as 19th century music box in the sheet music) which creates warm background music for holiday season of Hogwarts. Cast a Christmas Spell (6M1A Alt.) 1:18 (OST track 12 Christmas at Hogwarts, 0:22-1:33. HP JWSC CD 2 track 2 Cast A Christmas Spell 0:00-1:27) This alternate take on the same scene is a piece of ghostly diegetic music, a Christmas carol sung by the group of Hogwarts ghost carolers floating around in the corridors. The melody is the same as for the music box music but this time Williams himself penned lyrics for it as he told to Richard Dyer in a Boston Globe Interview in 2001 as a result of being unsatisfied by the original idea of using Deck the Halls as source music for the Christmas scene, wanting to give the world of Harry Potter authentic holiday ambience of its own (WILLIAMS CASTS SPELL FOR ‘POTTER’ SCORE By Richard Dyer – The Boston Globe, published November 15, 2001). The music is written for alto, baritone and bass singer, ghosts each performing a brief solo section. This music was originally written unaccompanied but the eerie electronic sheen (similar to that of the Invisibility Cloak) was later added and the voices of the singers, who are already singing in a spooky ghostly fashion, were manipulated achieving a suitably ethereal effect. This version ended up used in the film and on the original soundtrack album. Cast a Christmas Spell Merry Christmas, merry Christmas, ring the Hogwarts bell, Merry Christmas, merry Christmas, cast a Christmas spell. Have a Wondrous Wizard Christmas, have a Merry Christmas day, Move around the sparkling fire, have a Merry Christmas day. Find a broomstick in your stocking, see the magic on display, Join the owls joyous flocking on this Merry Christmas day. Ding dong, ding dong, ring the Hogwarts bell, ding dong, ding dong, cast a Christmas spell. Ding dong, ding dong, make the Christmas morning bright, Fly high across the sky, light the Christmas night. Merry Christmas, merry Christmas, ring the Hogwarts bell, Merry Christmas, merry Christmas, cast a Christmas spell. It is unclear whether it was the original intention of the film makers to use both or just one of the pieces in the scene but in the end both versions of this Christmas music were used in the film, the ghost carolers heard briefly in the corridor and the music box music playing shortly after in an equally short statement as Hermione steps into the Great Hall to say goodbye to Harry and Ron before leaving for the holidays. On the Harry Potter: John Williams Soundtrack Collection both version of this piece are combined into a single track titled Cast A Christmas Spell which begins with the caroling ghosts followed by the music box material. 31. Christmas Morning (6M2) 2:08 (OST track 12 Christmas at Hogwarts 1:27-end. HP JWSC CD 2 track 3 Christmas Morning and The Invisibility Cloak 0:00-2:08) Glittering piano and all kinds of chimes and sleighbells along with string section opens to a musical depiction of giddy surprise as on Christmas morning Harry to his delight finds that he too has gotten presents, a merry and excited melody soon joined by the woodwinds as the boys open their packages. Strings perform long expectant chords as Harry pulls out a cape from one of the parcels but also a note that came with it, the mood quickly turning suspenseful and over tremoloing high strings oboe and harp appear to perform a question of their own as Harry dons the cape. All of a sudden these organic musical devices fall silent (at 1:23) as ethereal and cold sounding synthesizer effects take hold, wafting through the soundscape mysteriously (the synthesizer effects marked on the score as like a hovering presence and ghostly wind effect and their performance direction airy) creating a musical depiction for the Invisibility Cloak as Ron recognizes the artefact and Harry disappears under the garment except for his head, which floats comically through the air. Williams makes here a clever departure from highly melodic style of his leitmotifs for Harry Potter and presents one of pure sound design which is no less effective in portraying in its hollow, unsettling tones the magical artefact Harry has received as a present from an anonymous benefactor. Now the heroes have their means of entering the Restricted Section of the library where Hermione hinted they might find more information on Nicholas Flamel. As we cut to the library soft high strings and harp return to the score, double bass figure taking us without a pause to the next cue. Soundtrack Album VS Film cue Williams combines the Christmas music from the film into a suite on the OST. This consists of the Christmassy music of 6M1 Hagrid’s Christmas Tree (0:33-end), 6M1A Cast a Christmas Spell and edited down version of the 6M2 Christmas Morning which omits the Invisibility Cloak music (the music running from 0:00 to 1:22 of the film cue)and contains different ending chords, editorially inserted to finish the piece on a resolved note. 32. The Library Scene (6M2A) - 5:15 (OST track 13 Invisibility Cloak and the Library Scene, edited and truncated. HP JWSC CD 2 track 3 Christmas Morning and The Invisibility Cloak 2:08-end) Harry sneaks to the Restricted Section of the library to search for information on Nicholas Flamel and so the music for the Invisibility Cloak continues, floating eerily in the darkness, the score enhancing both Harry’s invisibility and the suspense of the moment. Harry proceeds to read the names of the volumes on the shelves and subtle flutes, cold sliding violins and harp intone the Philosopher’s Stone motif, again indicating indirectly that Nicholas Flamel is clearly connected to the magical stone. A silvery shimmer of mark tree underscores Harry flicking the cape off his back to more easily peruse a book, the Philosopher’s Stone motif sounds once more on flutes coloured now with a hint of danger by the muted horns. As an ensorcerelled book suddenly lets out a scream rattling percussion rings out alarmingly and Harry drops his lantern. Argus Filch appears to the sound of sharp orchestral jab and and the music reverts back to the hollow toned whispering Invisibility Cloak motif as Filch walks through the library and Harry hides under his magical vestment, a brief quote of the A Phrase of Hedwig’s Theme appearing on celesta to inform him that the coast is clear and Filch gone for the moment. But soon the gradually quickening pace of celesta, vibraphone and strings illustrates Harry’s escape from Ms. Norris when he encounters the cat in the corridor and quickly backs away and the slight crescendo on suspended cymbal indicates his sudden and accidental brush with the teachers. The music halts here for a moment as Harry witnesses a brief tense exchange of Professor Quirrel and Snape in the nightime corridor, the latter threatening the former. Filch arrives to announce that someone is running about in the Restricted Section at night, sending both teachers to investigate. Meanwhile Harry slips through a door and down a corridor and the music resumes, the Invisibility Cloak’s eerie accompaniment following his steps and at the other side of the door he arrives to a deserted hall. Mysterious expectantly alluring strains of B phrase of Hedwig’s Theme on strings with mark tree dazzling in the background appear to greet him and with celesta and harp performance of the A Phrase of Hedwig’s Theme the Mirror of Erised is revealed. When Harry gazes into the mirror, glint of sorrowful harp and forlorn women’s choir, heartbreakingly lonely and echoing oboe and clarinet phrases express the boy’s longing as he sees himself surrounded by his parents in the silvery surface. Wistful and warm harp, celesta and chimes reading of Harry’s/Family Theme above string harmonies dances forth in gentle waltz time, a musical portrait of nostalgic yearning the boy feels for his family in this moment. But sudden jolt of rhythmic scurrying figures from the whole string section lead us back with Harry to the Gryffindor common room where he tells of his find to Ron, the nervous music capturing his excitement as he drags Ron in front of the magical mirror. In the Making In the film the quick vibraphone, celesta and string motif after Harry has evaded Ms. Norris (at 2:35 of the cue) is followed by rumbling ominous basses, celli and brass, which is tracked from elsewhere in the score as sneaking invisible Harry witnesses the exchange of professors Quirrel and Snape. This celesta, vibraphone and string idea that underscored the previous ethereal escape appears again when Snape senses something intruding on his discussion and makes a suspicious grope in the dark but the rendition is tracked from that previous section of this same cue. More tracked music follows (among it dramatic tubular bells from 8M1 The Chess Board) as Filch appears to alert the teachers and they go off to find the student in the library. The cue as written would have proceeded with the ghostly synthesized music for the Invisibility Cloak at 2:35 after the teachers and Filch left. Harry's/Family Theme in front of the Mirror of Erised is also shortened slightly in the film to conform to the cut. Soundtrack Album VS Film cue On the soundtrack album Williams has truncated this cue considerably. This version omits the opening renditions of the Invisibility Cloak and Philosopher’s Stone motifs and begins at 1:19 into the cue. There is a small edit in the middle section which cuts out the brief Hedwig’s Theme rendition of celesta and the choral interlude for the Mirror of Erised is edited out as well (3:39-4:15 of the cue), the music returning with the Harry’s/Family Theme and plays to the end as written. 33. Dumbledore's Advice (6M3) - 2:28 (HP JWSC CD 2 track 4 Mirror of Erised and A Change of Season 0:00-2:23) Harry takes Ron to the mirror in which he sees a great future for himself. As he hopefully asks if the mirror is showing the future a small snippet of Hedwig’s Theme on oboe and a harp flourish seem to evoke optimism the red haired boy feels but a darker melancholy turn in the melody underscores Harry’s mournfully doubtful answer. The mirror can’t be showing the future since his parents are dead. Next Harry is seen sitting in front of the mirror alone, staring into its depths, delicate and yearning harp and chimes singing out his longing for his mother and father. A gentle harp trill and flute gesture reveals Dumbledore who has been watching the boy and proceeds now to tell him of the mirror’s powers and a luminous oboe and string passage flows from the orchestra, lyrically supporting the wisdom the old wizard imparts, Hedwig’s Theme once again appearing fleetingly, a comforting musical message. And finally as he warns Harry of the mirror's empty promises, grim deep chords in string and brass sections underline the importance of his message. In the Making The opening seconds with the subtle quote of the first notes of Hedwig's Theme on oboe for Ron's amazed question and the following brief grim passage for Harry's sorrow are dialed out of the film, the music coming in as we see Harry in front of Mirror of Erised again. 34. Owl's Flight (6M4)- 1:10 (Unused, HP JWSC CD 3 track 16 Owl's Flight) Next Harry is seen in the wintery castle courtyard holding Hedwig on his arm and releasing her into the sky. Tubular bells ghosted trumpet melody with harp interjections provides a gentle yet slightly sad tone as he walks through the snow before flutes carry the melody into a full rendition of the A Phrase of the Flying Theme on solo celesta as we see the owl take wing, strings picking up the theme nimbly and weaving a quick variation on it before the piece closes with a single glint of triangle, transitioning us from winter to spring. This version of the music was never used for the scene and Williams wrote a new version with different approach. Hedwig's Time Transition (6M4 Alt.) - 1:13 (OST track 10 The Norwegian Ridgeback and The Change of Season 1:35-end. HP JWSC CD 2 track 4 Mirror of Erised and A Change of Season 2:23-end) This is Williams’ second take on the scene and the one used in the film and the version that ended up on the OST album as well. It begins straightaway with Harry’s Wondrous World Theme and Harry’s Secondary Theme sprightly accompanying it and finally rising to a gradually building flowing rendition of Harry’s/Family Theme as Hedwig rises to the sky, the theme developing to its grandest reading yet as winter turns to spring. The piece has a sort of romantic yearning quality that suggests melancholy but also contentment, perhaps telling that Harry is gradually finding his place and identity in this wondrous world of his. In the Making It can be deduced that the first version of the music for the scene might have been considered too lively and whimsical by the film makers, the A Phrase of the Flying Theme indeed quite suitable to underscore Hedwig’s flight but somewhat too light and playful for the tone of the scene. Williams’ second version captures the heart and emotion, the warmth and sense of lyricism inherent in the images on screen, focusing purely on Harry’s character and emotional content rather than the magic and whimsy. 35. Hermione's Reading (6M5 (rev 2)) - 1:06 (HP JWSC CD 2 track 5) Hermione has finally found the answer to the question of Nicholas Flamel’s identity when she was doing a bit of “light” reading, producing a hefty tome eliciting Ron’s bafflement at her definition of “light”. Flamel is the only known maker of the Philosopher’s Stone and as the girl begins her explanation Williams produces a gloomy reading of the said Stone’s motif on woodwinds ghosted by synthesizers and harp and accompanied by cold strings and as the trio hurries to Hagrid’s hut to warn him, a bit of repurposed music from the Prologue, a whimsical melodic line and up and down rising and falling string figures (1M1 Prologue 0:19-0:30) usher them to his door and are greeted by bassclarinets as the half-giant reluctantly lets them in only when they reveal they know all about the Philosopher’s Stone. In the Making Williams’ original intention is unknown since the sheet music is unavailable but the sheet music for the revisions indicate that he has written at least two further versions of this cue after the original, the film version being the 2nd rewrite. The latter half of the revised cue is quite clearly repurposed almost directly from the Prologue so most likely Williams replaced the ending with this material but the opening with the Philosopher’s Stone motif might be the one he originally conceived for the scene. 36. The Norwegian Ridgeback (6M6)- 1:37 (OST track The Norwegian Ridgeback and The Change of Season 0:00-1:35. HP JWSC CD 2 track 6) Bubbling bassclarinet solo and resounding thump of pizzicato violins opens the piece as Hagrid’s secret, a dragon egg, is about to hatch and a small dragon stumbles out of the shell, the score capturing the comical uncertainty of the creature’s movements with a solo melody for cor anglais accompanied by jaunty bassclarinets and bassoons. Rhythmic tug of string section further enhances the clumsiness of the tiny creature whom the enamoured Hagrid quickly names Norbert before it sets his beard on fire, triangle and horns accenting the event. But quickly the mood turns ominous as someone is seen in the window, the children briefly spotting Draco Malfoy before he disappears and the music presages trouble in worried high and low string harmonies. As the trio returns to the school they are apprehended in the hall by Ms. McGonagall and smirking Draco who obviously is glad to see them in trouble and deep woodwinds colour his moment of triumph and victorious expression with malice. 37. Filch's Fond Remembrance (7M1) - 1:30 (HP JWSC CD 2 track 7) McGonagall reprimands the three Gryffindors for being out of bed at night time, takes 150 points from their house and sends them to detention. To his dismay Draco is also punished and sent with them. Celli perform deep and ominous chords as McGonagall announces her verdict and with alto flute and bassoon bubbling underneath we transition outside Hogwarts where Filch is accompanying the four children in the night on their way to Hagrid’s hut where they are to serve their detention. Williams provides travelling music and atmosphere as a faux medieval sounding melody on harp, synth instruments (marked antique plucked sound and cymbalom on the sheet music) plays when Filch reminisces the good old days, recorders duetting briefly and the rhythm of the medieval melody continues underneath until they arrive at the hut and discuss Norbert's fate with Hagrid. In the Making The duet of the recorders has been removed from the film, the cue edited so that it cuts just before the solo starts and jumps right to the ending. 38. The Blue Forest (7M2)- 5:14 (HP JWSC CD 2 track 8 The Dark Forest) Hagrid takes the four children with his guard dog Fang into the Dark Forest (Williams’ cue name is either a slip up on his part or he might have intuitively named the forest blue because of the bluish lighting of the scene) to look for something. A searching, mysterious and eerie melody for the Dark Forest in lower strings and woodwinds wafts slowly forward, the group making their way deeper into the woods full of shadows. At 0:36 woodwinds and glistening sounds of a bell tree underscore Hagrid’s discovery of unicorn blood, silvery substance with magical powers. He explains that someone has wounded a unicorn in the forest and that they are there to find it and the Dark Forest motif continues to develop but subtly a rendition of Voldemort’s Evil on bassoons and bassclarinets with a sheen of whining high strings slithers forward, informing us of the horror of wounding a unicorn and heralding the menace which is to be revealed in the following scene. Hagrid continues his explanation which prompts the appearance of a sad waltz melody, somewhere between the Dark Forest material and Voldemort’s music that grows to a deep horn statement as the half-giant splits the group to search a wider area, Hagrid, Hermione and Ron forming the other group, Draco, Harry and Fang taking another path. Shimmering harp follows the transitional shot as we now follow Harry, Draco and the dog, the ebbing and flowing musical depiction of the Dark Forest receiving more pronounced variations, high and low strings performing counterlines, harp and woodwinds bubbling below them. After a while the trio spots something moving amidst the tree roots in the pitch black bowels of the forest. Malfoy and Harry, whose scar suddenly starts to hurt intensely, are almost transfixed by an eerie sight of a dark figure in a hooded cloak bending over a dead unicorn, silvery blood of the creature colouring its mouth as it turns to face them. Orchestra bursts gradually to a relentless crescendo, brass screaming, flutes chirping in terror, clarinets keening in high register, timpani pounding aggressively while Draco and Fang flee in panic and as the terrible creature faces the boys Voldemort Revealed growls forth with thunderous might, ascending voices of wordless women’s choir augmenting the terse brass and blood curdling cold strings. Harry stumbles on tree roots as he backs away while the cloaked figure approaches, the trumpets belting out an operatic and majestically cruel variation of Voldemort’s Evil in the midst of an ever ascending choral wail as the Boy Who Lived comes face to face with his nemesis for the first time. But in the midst of the thematic phrase the progression is suddenly cut short, heroically blazing and determined brass fanfares deposing of the cruel instrumental tones as a centaur comes to Harry’s defense and drives the dark figure into the shadows. The valiant creature, Firenze, explains to Harry that he is in danger in the forest and should go but as he describes how terrible crime it is to kill a unicorn and how its blood will prolong and sustain life an ennobling string elegy appears capturing both the mythical creature’s wisdom and sanctity of the unicorns in its soothing, beatific notes. As the centaur asks, does the boy know who would want to use unicorn’s blood for evil purposes, Voldemort’s Evil returns ominously on tenebrous tuba underpinned by cold strings and ghostly thrumming of a suspended gong to answer the question and it is repeated again on croaking lower woodwinds as Firenze hints that Voldemort wants the Philosopher’s Stone for himself. Lighter and relieved string chords rise as Hagrid and the rest of the group arrives and as Firenze departs and the camera shifts to a close up of the dead unicorn gloomy orchestral strains fade to an uncomfortable silence with a shimmer of a mark tree. In the Making In the film a section of the Dark Forest search music and the first rendition of Voldemort’s Evil are dialed out as Hagrid discovers the unicorn blood (0:43-1:40). The music continues as written when the scene transitions to follow Harry and Draco through the blue tinted forest and continues throughout the rest of the sequence. Perhaps Voldemort’s Evil was thought to come in too early with the first rendtion, the film makers wanting to save the appearance of the theme for the actual encounter and not giving away the following scene in the music. 39. Three Note Loop (7M3) - 3:39 (HP JWSC CD 2 track 9 The Stone) Back in the Gryffindor dormitory the trio of friends discusses the meaning of the events in the Dark Forest, Harry quite certain now that Voldemort is alive and was feeding on the unicorn blood and is trying to steal the Philosopher’s Stone through Snape. The children decide that they have to warn the teachers and Hagrid. The music continues as next morning the heroes walk through the school, Harry’s scar again hurting strangely. Suddenly the boy realizes how Voldemort might get into the school. The children rush without delay to Hagrid’s hut to warn him. Williams spins an extended variation on the Philosopher’s Stone motif (to which the title of the cue Three Note Loop refers to) passing the entire melodic line through different sections of the orchestra augmenting it with both women’s and synthetic choir, the theme growing steadily into a cruel and dramatic crescendo around 2 minute mark after which more hushed variations on the motif slink slowly to silence of dark and doom-laden double bass chords. In the Making The music starts at the end of the discussion between Harry, Ron and Hermione in the Gryffindor tower (2:27 into the cue) and continues up until they are seen outside the castle next day and as Harry realizes that the half-giant might have accidentally given their enemy information they race towards Hagrid’s hut. Interesting detail here is that the cue is much longer than the scene itself and the tone of the ever expanding orchestration and building melodramatic rendition of the Philosopher’s Stone motif is far too powerful to underscore these moments of dialogue. Could be that Williams composed this concert version styled piece so that any passage could be used for this particular scene (or possibly other scenes) as needed, the piece containing enough variants for nearly every level of dynamics. In the end the passage approximately from 2:27 until the end of the piece was used (but again with some editing and truncation involved), leaving a lion’s share of the cue unused. 40. Hagrid Plays the Flute (7M3A) - 0:41 (HP JWSC CD 3 track Hagrid's Flute) Another piece of diegetic music plays as the children approach Hagrid’s hut, the half-giant sitting on the steps and playing a recorder, performing Hedwig’s Theme which abruptly cuts off when the trio arrives and asks Hagrid, what did he know about the mysterious stranger who sold him the dragon egg. Williams again refrains from the more common practice of recording diegetic music and has the recorder player actually cut his performance abruptly in the middle of the theme instead of recording a complete piece and then editing it afterwards as need be, which would be a more common way to deal with source music. This way the music retains a more natural and realistic feel in the performance and on-screen. The version released on the Harry Potter: John Williams Soundtrack Collection is a slightly different take that is both a longer and a complete reading of the Hedwig's theme melody (running 0:55) without the abrupt ending and has been recorded with noticeably more reverb that gives the performance a clearly echoing spacious sound. 41. Running to McGonagall (7M4) - 2:12 (HP JWSC CD 2 track 10 As Hagrid lets slip that music can calm Fluffy the children run off to warn Dumbledore, running to McGonagall’s class room and ask to see the headmaster. The foreboding realization at Hagrid’s hut is score with horns and bassoons voicing concern before agitated, rhythmic strings hasten the children to McGonagall. As she informs that Dumbledore has been called off to London to the Ministry of Magic clarinets and other woodwinds colour the children’s frustration and the feeling of danger. When Harry reveals that they know about the Philosopher’s Stone, a clarinet reading of the Philosopher’s Stone motif ghosted by cor anglais in a bed of icy cold strings speak of McGonagall’s surprised alarm and underlying fear when she assures that Snape nor anyone else is going to steal the stone nor is it in any danger, being under strong guard. The trio walks away thwarted, celli first annoucing their momentary defeat in a dour little melody, a variation of the Philsopher’s Stone motif appearing again as they bump into Snape in the hall, dark and throaty woodwinds colouring the rest of their encounter, the teacher suspecting that the children are up to something. These darker orchestral musings spring suddenly forward to a transitional shot of the Hogwart’s castle when Harry announces that they return to the trap door that night, the B Phrase of Hedwig’s Theme on majestic horns providing dramatic momentum, celli and bass lines taking us to the Gryffindor tower rooms where our heroes are preparing to go out and stop Snape’s and Voldemort’s plans. 42. Petrified Neville - 0:38 (Tracked music. HP JWSC CD 2 track 11 Neville Stiffens) As the trio is sneaking out of the dormitory to stop Snape from stealing the stone Neville Longbottom tries to stop them so they do not get the Gryffindor house into more trouble or make them lose more points. As a last resort Hermione uses a petrification charm and Neville freezes in place and hits the floor with a bump. An orchestral thump and somewhat grim reading of the A Phrase of Hedwig’s Theme is heard underscoring this moment as our heroes reluctantly subdue their friend. No sheet music available indicate if original music was ever intended for this scene. In the final film the music has been tracked with most of the material taken from 4M6 (Rev.) It’s Guarding Something and Troll in the Dungeon which went unused in the film for the scenes they were supposed to underscore. So this way a piece of unused music found its way back to the film through another scene. 43. Fluffy’s Harp (7M6) - 2:29 (HP JWSC CD 2 track 12 Fluffy's Harp Lullaby) The heroes arrive to the 3rd floor corridor at night and hear peculiar ethereal and soothing music wafting through the air. When they come to the trap door they find Fluffy dozing off to the sweet sounds of an enchanted harp, standing in the corner playing all by itself a delicate and peaceful lullaby to keep the dog docile. Someone has obviously been here before them and has passed the guardian dog. When the group ponders this and tries to move the dog’s gigantic paw from the trap door, they suddenly become aware that the harp has stopped playing. Williams composed a self contained piece for solo harp as source music for this moment. Unlike other source music this piece was recorded in full. In the film only a portion of it was used and then subtly faded away. The same piece worked as a template for Fluffy and His Harp, a movement in the Children’s Suite. *** Here begins the last segment of the film where Williams provides varied, inventive and colorful underscore for each of the trials the children have to go through to reach the Philosopher’s Stone. The composer creates unique set piece themes and motifs for each challenge and ties them together with the main thematic material as opportunities to highlight magic and heroism present themselves. 44. In the Vinesnakes (7M7) - 2:29 (OST track 15 In the Devil's Snare and The Flying Keys 0:00-0:56. HP JWSC CD 2 track 13 In the Devil's Snare) At that instant the three headed hound awakens, contrabassoons and bassclarinets along with dire growling low brass announce trouble. Alarmed jittery ascending strings and brass moans prompt the trio to a head long jump through the trap door and into the darkness below and they land in a bed of thick vines. Ron is glad of the dampening effect but as soon as they start to move the wriggling roots begin to wind around them tighter and tighter. Hermione realizes that the plant is called Devil’s Snare (Williams calling the obstacle vinesnakes in the sheet music, an equally apt description) and will only strangle you faster if you move. A new motif for Devil’s Snare takes hold of the score as the vines start to animate further, stopped horns and muted trombones and trumpets performing cyclical snarling motifs on top of each other, whining repeating string figures wrapping the protagonists further into the dark folds of the deadly plant. Hermione offers the survival advice to the boys just before she herself drops out of sight, released by the carnivorous plant. Harry controls himself as well, stops moving and soon falls under the plant roof but Ron panics in his nervousness and gets more and more enfolded in the vines, the music continuing threatening, repetetive and suffocatingly obsessive. Hermione tries desperately to remember how to defeat the writhing monstrosity. Equally desperate and nervous oboe solo in a bed of criss crossing low string figures accentuates the perilous moment until she remembers that the plant is afraid of light and quickly sends a light spell from her wand, sparkling orchestrations surrounding a brass exclamation, freeing Ron from the predicament, a relieved flute solo and tentative strings bringing the cue to its conclusion as the trio heads toward another challenge. In the Making The cue runs as written up until 1:56 after which the relieved flute solo for Ron’s rescue and his comical boast of not panicking is dialed out along with the rest of the cue. 45. The Flying Keys (7M8) - 1:57 (OST track 15 In the Devil's Snare and The Flying Keys 0:56-end. HP JWSC CD 2 track 14) Harry and company approach a lofty hall where a flock of odd looking winged creatures float languidly through the air. Hermione wonders at the strange looking birds to which Harry answers that they are not avians but keys with wings, ensorcerelled to fly. As the children step into the open space they find a broomstick standing in mid-air, the magical atmosphere earning the sounds of fluttering strings, harp and a wordless treble female choir expressing airy wonder. Harry figures out that they have to catch the key fitting on the lock in the door on the other side of the room. Suspenseful woodwinds and strings weave slow apprehensive and doubtful phrases, piccolo and string trills catching Harry’s observation of a key with slightly bent wings, the boy guessing that to be their mark. Bassclarinet, contrabassoons and brass finally underline his resolve as he jumps on the broomstick and flies to catch the key. At this moment the orchestra bursts into chaotic chase, the keys starting to swerve and whirl and flock around Harry, sizzling string figures, glinting percussive hits, mark tree sparkles and sharp brass battling to catch him while he approaches the key. Ever quickening pace and busy buzz of the lofty orchestrations follow the boy as he first tosses the key to Hermione and then flies like the wind to lead the pursuing keys away and then himself flits through the door, just in time for his friends slam it shut before the keys reach them, the score catching the winding twists and turns with music similar to the most frenetic passages of the Quidditch match to illustrate this feat of masterful and exciting flight. Soundtrack Album VS Film Cue Williams combines music from In the Vinesnakes and The Flying Keys on OST track In the Devil's Snare and The Flying Keys but both cues are presented in highly edited form on the album, omitting about half of each cue. *** What follows is the last challenge, the friends coming upon a giant chessboard. Williams scores this long scene with one continuous piece of music but it is written in three parts and recorded separately but again assembled for the film into one long musical sequence. 46. The Chess Board (8M1) – 1:58 (HP JWSC CD 2 track 15 The Chess Game (Extended Version) 0:00-1:58) This cue is full of earthy, dusky and atmospheric orchestral tones as the young heroes face the final challenge. Rumbling and churning low brass, grand piano, double basses and celli usher the children to another dark cavernous hall, Williams subtly introducing squirming, jittery solo woodwinds above the dark timbres and higher string tones emerge from the gloom as light increases and the group proceeds through the eerie funereal atmosphere where towering figures, gigantic chess pieces, slowly appear from the darkness. Ron’s realization that this chamber is a giant chess board elicits a clangorous brass fanfare bolstered by fateful knell of orchestral chimes. Nervous orchestral writing continues when Ron, Harry and Hermione all wonder what they should do and try to cross the board only to be barred by the line of soldier pawns statues, whose scimitars appear from their sheaths to bar their way, low tam-tam burst, rising staccato trumpets and orchestral bells catching the moment but also the implied danger of continuing across the chess board. There appears to be no other option but to play wizard’s chess. Ron devices a strategy and deep strings and brass, rumble from timpani with determined, paced clarinet solo underscore the preparations, anticipatory subtly heroic brass phrases and steady double bass rhythm accompanied by counterpoint of tense high strings announce that 47. The Game Begins (8M2) - 3:45 (OST track 16 The Chess Game. HP JWSC CD 2 track 15 The Chess Game (Extended Version) 1:59-5:29) Williams fashions brutal sounding and mechanically paced musical battle of wits and brawn on the chess board where the gigantic metallic chess pieces go at each other. Steady snare drum beat opens the chess montage, snarling, threatening low horns and high militaristic trumpets exchanging phrases as the game begins and battle is joined. Slowly rising tense high strings lead to rhythmic motif for bassoons interspersed with low thumping from grand piano, snare drums and brass returning ever more aggressive to highten the excitement. Rhythm from the percussion of all description, among them xylophones, bass drum, antique drums, anvils and snares and the brass section exchanging militaristic phrases push the piece forward with relentless drive as the game progresses and we see various pieces from both sides destroyed brutally by the enchanted statues, barrages from the percussion underscoring the heated confrontation. At 1:38 suspenseful sustained high strings lead to a ghostly and ominous flute solo. As the game is almost at an end with few moves left, various woodwinds, violins and violas lend an air of tragedy to the moment when Ron announces, against the protests of his friends, that he has to sacrifice himself so that Harry can checkmate the opponent’s king. Horns and trombones rise nobly and full of emotion, trumpets, supported by strings finally emerging on top of them, their heroic timbres honoring his decision to selflessly aid his friends. A fateful staccato march rhythm on strings and snare drum takes over as Ron makes his final move, the chess piece gliding silently across the board to the music, muted horns performing a grim and determined variation on the A Phrase of Hedwig’s Theme. The rhythm keeps intensifying,racheting up the tension, as gradually the woodwinds and the brass section join in the performance with high, pinched trumpet sounds climbing atop of the soundscape as the march reaches in a climax of suspended cymbal and bass drum rumble. Out of this crescendo blooms a brief intense double bass and celli tremolo as the chess piece stops in front the the enemy queen. As it suddenly lifts its weapon and mercilessly plunges it into the horse on which Ron was sitting and topples him down on the chess board apparently unconscious, a sharp, fateful trumpet led brass blast fades to an ominous grim cadence on horns. 48. Checkmate (8M3) – 1:58 (HP JWSC CD 2 track 15 The Chess Game (Extended Version) 5:29-end) Worried Hermione is about to run to Ron’s aid but Harry reminds her that the game is not over yet and proceeds to make his move to checkmate the king. Suspended cymbal rumble and intense, pained brass blasts flow into the staccato rhythm of the previous cue as Harry approaches the king, the relentless grave brass and string orchestration now bedecked with ethereal women’s choir as a moment of decision is reached. Expectant high violins and violas give away to a resigned fanfare as Harry announces “Checkmate” to the king, horns, sharp flute figures, aggressive brass and choir underscoring the falling of the sword from the chess piece’s hands, a moment of bittersweet victory. Rhythmic celli figures underscore Hermione’s concern as she and Harry rush to Ron to see if he is alright. As she says that she will take care of Ron but Harry has to continue alone as he is the one meant to stop Snape, a lovely, warm and tender reading of Harry’s/Family Theme plays first on flutes and is then passed to oboe and strings, the music illustrating both the bonds of close friendship that Harry has formed with Ron and Hermione and also celebrating the simple courage and determination which makes him the unlikely hero. The theme gives way to a suspenseful probing and rhythmic clarinet, celli and bass strings motif as Harry is now seen descending a shadowy flight of stairs, towards the resting place of the Philosopher’s Stone. Slight harp flourish reveals the Mirror of Erised, accenting Harry's surprise when he sees Professor Quirrel in front of it. 49. The Mirror Scene (8M4) – 6:11 (OST track 17 The Face of Voldemort. HP JWSC CD 2 track 16 The Face of Voldemort) A short moment of dialogue follows, Harry puzzling out Quirrel’s involvement in all the strange events during the school year. But as the professor with pained expressions announces that he is never truly alone a quick flourish on piano, tremoloing strings and stopped horns flows to cool tones of oboe, cor anglais and flute lines as he faces the mirror giving a hint of revelation to come, synth voices, harp and flutes intoning the Philosopher’s Stone motif in ethereal, cold tones, the 3- and 4-note variations alternating. Double bass rumble as Voldemort’s ghostly voice is heard leads to the Philosopher’s Stone motif repeated more forcefully on horns, swirling oboe and cor anglais lines, vibraphone and chimes, Quirrel commanding Harry to approach the mirror. As he gazes into the steely grey surface glinting of harp, piano, bell tree and orchestral bells spell out paced version of the Stone motif, almost half way becoming a variation on Voldemort’s music but is interrupted by A Phrase of Hedwig’s Theme on the signature instrument, celesta, when Harry sees his mirror counterpart producing the Philosopher’s Stone from his pocket and then placing it back there with a wink, slight crescendo of woodwinds underscoring Harry’s realization that it is now actually in his pocket as the music comes to a brief halt. Throaty, slow and ominous reading of the Philosopher’s Stone motif by the whole woodwind section underscores Harry’s lie as Quirrel demands to know what he saw in the mirror but the whispered advice from Voldemort’s immaterial voice earns an appearance of Voldemort Revealed on dark horns which is repeated more elaborately as Quirrel peels away his turban, the revelation of Voldemort’s face at the back of his head eliciting a cruel imperious fanfare from the whole brass section based on the first phrase of the theme. As the dark lord has been revealed Voldemort’s Evil slithers to the fore on languid and evil brass, exuding malice and imperious confidence, the strings in counterpoint, the theme winding up and down as the villain pontificates. As he suddenly demands the Philosopher’s Stone which Harry has in his pocket the boy tries to run but a nervous burst of strings and brass evokes magical flames that spring in front of him, blocking his way out. Funereal arrangement of the Philosopher’s Stone motif on fateful brass, ethereal women’s choir and tolling tubular bells underscores Voldemort’s attempt to threaten and beguile Harry to his side, Williams weaving the focusedly repeated Philosopher’s Stone motif together with Voldemort’s Evil which winds up and down snake like on solo clarinet, seductive and evil. As he promises to bring Harry’s parents back from the dead in exchange for the Philospher’s Stone, a lost and lonely sounding variation on Harry’s/Family Theme appears amidst of tremoloing string layers, colouring this moment of hesitation while Voldemort’s Evil on reptilian clarinet continues its seduction, cold strings adding even firmer sense of falsehood to these empty promises. Rising, hesitant string chords underscore Harry’s refusal which explodes into a blazing inferno of panicky woodwinds, raging harp glissandi and brass growls as Voldemort commands Quirrel to kill the boy and take the artefact, the Philosopher’s Stone motif achieving supremely oppressive and obsessive force, the whole orchestra and choir joining in performing variations on it as the mad wizard leaps on Harry in rage. Thunderous orchestral battle ensues, Williams depicting the conflict in the brass, timpani and operatic strings as Harry finds out that Quirrel can’t abide his touch, his hand first crumbling to dust as he tries to assault the boy. Intensifying momentum of the orchestra and chorus illustrates both the horror of the events on-screen and Voldemort’s obsession and desperation to get his hand on the Philosopher’s Stone as he again commands Quirrel to get the stone, quick and subtle variations on Voldemort’s Evil appearing fleetingly in the middle of the performances of the Philospher’s Stone motif. Harry steps between Quirrel and the magical stone and lifts his hand on Quirrel’s face causing it to burn and crumble, the repetition of Philosopher’s Stone motif ending in mounting brass and string phrases that reach a tumultuous and operatic conclusion as Quirrel disintegrates and falls to dust, downward swirling orchestral gestures following his demise, the final shot of the empty robes and ashes underscored by fateful and ominous rendition of Voldemort Revealed. The villain is vanquished. Harry then looks for the Philosopher’s Stone, the close-up of the artefact accented by the A Phrase of Hedwig’s Theme on celesta, the delicate magical sound of the instrument reaffirming after such an ordeal. First strings and then the rest of the orchestral sections begin a sudden climbing phrase, celli and double bass arpeggios leading to a violent and swirling moment of horror as we see the ashes behind Harry rising into the air and coalescing, a choir backed but suitably incomplete rendition of Voldemort’s Evil on brass howling his rage as his spirit flees the dungeons, knocking Harry over in the process as it passes through him, another downward slanting string run following the boy's fall. As we see him lying unconscious next to the Philosopher’s Stone the A Phrase of Hedwig’s Theme on sympathetic woodwinds is heard to confirm his success but the final word is left for the Philosopher’s Stone motif, a 3-note variation on synth celesta and orchestral bells with triangle accents repeating 3 times, full of closure but also eternal foreboding inherent in the musical idea. 50. Love, Harry (8M5) – 1:41 (HP JWSC CD 2 track 17) Harry wakes up in the hospital wing of Hogwarts and Professor Dumbledore is there to greet him and assures him that the Philosopher’s Stone is safely destroyed. When the headmaster informs the boy that even though the artefact was destroyed Voldemort might find ways to return the B Phrase of Hedwig’s Theme on gentle solo oboe appears, the professor proceeding to explain that the reason Quirrel could not bear to touch the boy was because of Harry’s mother had sacrificed herself to protect him. This is the greatest magic, love, he says and warm and comforting strains of Harry’s/Family Theme on flutes further affirm this notion before a comical and befuddled recorder melody underscores Dumbledore’s bad luck with Bertie Bott’s Every Flavor Beans. Later when the Boy Who Lived is released from the infirmary and he meets Ron and Hermione in the stairs, the reunion of friends is scored by a reassuring and glowing reading of Harry's Wondrous World Theme, their friendship reaffirmed. 51. Gryffindor Wins (9M1) – 2:38 (HP JWSC CD 2 track 18 Gryffindor Wins the House Cup) During the end of term feast the House Cup is awarded and the Gryffindors listen sullen and disappointed as Dumbledore tallies the score, their house coming last, Slytherin earning the highest points. But the headmaster to everybody’s surprise starts awarding extra points, celesta singing out an expectant new melody when Hermione earns more points for Gryffindor, the tone of the music now turning positive and excited. Oboe solo and lilting, playful celesta celebrate Ron’s success and when Harry is mentioned flutes support the oboes in a warm and gentle reading of Harry’s Wondrous World Theme, honoring his deeds and heroism. Here Williams refrains from using the obvious Hogwarts Theme that such a scholarly and formal situation might beg for but instead focuses entirely on the emotional content and meaning of the scene as rising, poignant and lyrical string phrases grow as Neville is awarded enough points for the Gryffindors to win the House Cup and as the headmaster with a clap of his hand changes the decorations of the Great Hall the noble string harmonies swell, trumpet led joyous reading of Harry’s Wondrous World Theme bursting forth glowing, heroic and noble, celebrating the triumph of Gryffindors but most of all of our hero, Harry’s Secondary motif accompanying the look of happiness and joy as the boy exchanges glance with smiling Hagrid, bringing the cue to a content and happy conclusion. 52. Leaving Hogwarts (9M2)- 2:14 (OST track 18 Leaving Hogwarts. HP JWSC CD 2 track 19) Tentative harp and warm strings open the final cue as Harry is on the train platform on Hogwarts station saying goodbye to Hagrid. As the two say emotional farewell Family Theme plays full of inherent nostalgia and yearning as the half-giant presents Harry with a gift, a family album with a picture the baby Harry with his parents, the music expressing deepest affection, woodwinds giving away to poignant strings and flutes eventually take the lead, singing a gently humorous version of Hedwig’s Theme with airy strings accompanying them as Hagrid gives some advice for dealing with Dursleys if they give trouble during the summer. After the pair says goodbye and Harry walks to the train door, Hermione remarks how strange it feels to leave, to which he replies gently that he is not truly leaving, Harry’s/Family Theme rising to a final heartwarming, noble and wistful statement on the whole orchestra, the music saying that part of him will now forever stay in this wondrous world, magically sparkling Hedwig’s Theme promising that Harry will return some day and drawing this score to an emotional close. 53. End Credits Pt. 1 - 5:26 (OST track 2 Harry’s Wondrous World. HP JWSC CD 2 track 20 Harry's Wondrous World (Extended Version)) For End Credits Williams composed one of his prototypical suites which draws together most of the positive central themes of the film, providing lengthy development and unique variation on the material. Making appearances through the suite are Hedwig’s Theme, Harry’s Wondrous World Theme, Harry’s Secondary Motif, Harry’s/Family Theme, The Quidditch Fanfare and Hogwarts Theme. This piece also forms the finale of the Children’s Suite so I will analyze it in further detail below. 54. End Credits Pt. 2 – Hedwig’s Theme (with Inserts) – 5:10 (OST track 19 Hedwig’s Theme. HP JWSC CD 2 track 21 Hedwig's Theme) The second part of the credits sequence is the concert arrangement of Hedwig’s Theme in which Williams provides the most complete and fully formed version of this musical motif but weds it with the Flying Theme (Nimbus 2000) to form an extended suite of material. The music opens with a formal introduction of Hedwig’s Theme, both A and B phrases of the melody repeated, orchestrations familiar from the score itself, celestra, woodwinds and strings all propelling the thematic idea to flight but the renditions soon expand to encompass the full orchestra. The Flying Theme grows out of Hedwig’s Theme, its A Phrase first bubbling on woodwinds and brass, shortly after performed on celesta and strings, again performed in waltz time by the full ensemble and quickly climbing to the dangerous and thrilling B Phrase of the theme, surging ever higher and higher on strings and exhilarating brass. After quieting down for a moment the music gathers speed anew and comes to a dazzling finale with some energetic and inventive variations on Hedwig’s Theme, electrifying brass phrases and glorious full ensemble crescendo, sustained string figures finally bursting to brassy finishing chords and bring the magical score of Harry Potter and Philosopher’s Stone to a breathtaking and satisfying conclusion. An interesting detail about this piece is that it contains a unique finale for Hedwig’s Theme, material which did infact make its debut already in the first teaser trailer but appears nowhere in the score proper. Harry Potter and the Sorcerer’s Stone – Children’s Suite for Orchestra As mentioned at the start of the analysis Williams created 8 musical miniatures that each represent one or more of the thematic ideas from the score and orchestrated them for a unique mixtures of instruments and created the 9th piece, Harry’s Wondrous World, to round out the suite and draw various thematic threads together. This analysis relates only to the versions of the miniatures recorded at the sessions and does not delve into the later changes made to the music for the concert suite published by Hal Leonard corporation. Here is a brief analysis of the Children’s Suite with commentary on the themes and how do these pieces relate to the soundtrack album since Williams included some pieces of the suite on the OST CD. And since November 2018 the entirety of the suite in the form it was recorded at the original recording sessions has been made available as part of the La-la Land Records' Harry Potter: The John Williams Soundtrack Collection. I Hedwig’s Flight – 2:12 (OST track 1 Prologue. HP JWSC CD 3 track 1 Prologue) Originally titled in sheet music as Hedwig’s Theme (Children’s Suite). A solo celesta, woodwinds and string section exhibit their magical flying prowess in this development of both Hedwig’s Theme and A Phrase of the Flying Theme with the nimble and quick celesta solos taking center stage. Williams describes the piece in following words: Hedwig, the beautiful owl who magically and mysteriously delivers mail to Harry Potter at Hogwarts School, is musically portrayed in the first miniature by the celesta, a luminous little instrument which is capable of producing pearly, crystalline tones at dazzling speeds.[25] This piece is included on the OST album but retitled Prologue for some reason and it opens the soundtrack, working as a kind of overture, introducing Hedwig’s Theme in formal fashion at the start of the album. II Hogwarts Forever – 1:53 (OST track 9 Hogwarts Forever! and The Moving Stairs 0:00-1:53. HP JWSC CD 3 track 2 Hogwarts Forever) French horn section is spotlighted in this movement, composer developing Hogwarts’ good natured scholarly theme further, the slightly humorous but noble and dignified sounds of the horns ideally suited for such a task, lending an air of refinement to the proceedings. As Williams says: No other instrument seems so perfectly suited to capturing the scholarly atmosphere of Hogwarts than the noble and stately french horn.[26] As mentioned in the analysis of the score itself the composer paired this piece with music from the 4M5 The Moving Stairs on the OST album. III Voldemort – 2:18 (HP JWSC CD 3 track 3 Voldemort) In this movement Williams introduces to the listener a trio of bassoons which perform the “evil” themes of the score, The Philosopher’s Stone motif and the two musical ideas associated with Voldemort. Again he weds the material seamlessly together and explores new avenues with the melodies, counterpoints and combinations, the earthy timbres of the bassoon quite ideally suited for this character study, giving the music a bit less threatning edge yet retaining somewhat gloomy disposition of the themes intact. IV Nimbus 2000 – 2:25 (HP JWSC CD 3 track 4 Nimbus 2000) The woodwind section, oboes, clarinets, flutes and bassoons, offers a dexterous, quick and sprightly reading of the Flying Theme material in this miniature, Williams associating their agility and skill with Harry’s magical broomstick and flying exploits as he often does in the film. There is a delightful sense of glee and mischievousness in the music as the composer colours and decorates the melodic line as the theme is passed quickly from one instrument to the next, leaping deftly about the ensemble. V Fluffy and his Harp – 2:41 (OST track 14 Fluffy’s Harp. HP JWSC CD 3 track 5 Fluffy's Harp) The magical and ethereal harp solo which sent Fluffy, the three headed dog, to sleep in the film is coupled here with contrabassoon’s deep and drowsy sounds, the duo of instruments painting a vivid and humorous picture of snoring canine under the spell of music. The harp material is exactly the same as on the source music track from the film but the contrabassoon line has been written in, flitting in and out of the main melody to comical effect. This piece ended up on the soundtrack album, Williams obviously feeling that the contrabassoon part would better contrast with the harp and bring the scene musically to life as a fully formed piece in its own right. VI Quidditch – 1:48 (HP JWSC CD 3 track 6 Quidditch) Quidditch Fanfare and Hogwarts Theme alternate through the entire brass section in this fast paced and celebratory portrait of the wizards’ favourite sport. Athletic bright brass exchange phrases of the themes full of pomp and circumstance here, a depiction of the excitement and splendour of the Quidditch match, each brass instrument group passing the the ideas through them and finishing in a triumphant trumpet flourish. VII Family Portrait – 3:23 (HP JWSC CD 3 track 7 Family Portrait) Gentle, autumnal and wistful sounds of solo clarinet accompanied by the sonorous singing of the celli forms a lovely meditation on both the sweeping lyricism of Harry Wondrous World Theme and yearning innocence of Harry’s/Family Theme showing both sides of Harry Potter’s world and personality in warm and nostalgic tones. Not only does this suite show the close connection of the two ideas, almost like two phrases of the same but also embellishes both ideas, the solo clarinet taking new and unique paths through the melodic ideas. The movement also highlights the instrumental combination of clarinet and celli, exhibiting Williams’ skill in combining sounds that complement each other truly well. VIII Diagon Alley – 2:52 (OST track 5 Diagon Alley and The Gringotts Vault 0:00-1:15. HP JWSC CD 3 track 8 Diagon Alley) The orchestrations of this festive march theme for the Diagon Alley consist of strings, assorted percussion and recorders performing the musical depiction of the unique atmosphere of the wizards' shopping center with quirky glee. Violin is cast in the role of a witch’s fiddle, scratching its way through a sparkling string and percussion landscape accompanied by recorders, the melody of the theme both curious, playful and slightly Baroque/faux Medieval. Once again every instrumental grouping is allowed a moment to shine. This music ended partially on the OST album (0:00-1:15) as Williams curiously replaced the original film cue of the theme, which ran at much faster pace, with the opening of the miniature, editing it together with the film cue as it is mentioned in the analysis above. Almost half of the piece is left unheard on the album, including further development of the thematic idea, a glittering percussion interlude and the wickedly humorous finale for strings and recorders. IX Harry’s Wondrous World - 5:06 (OST track 2 Harry’s Wondrous World. HP JWSC CD 3 track 9 Harry's Wonderous World) In this grand finale Williams allows many of the previously heard themes to shine in full orchestra guise, bringing finally the entire ensemble together to celebrate Harry’s Wondrous World. A sweeping string quote of Hedwig’s Theme (B Phrase) opens the music in wistful manner, Harry’s Wondrous World melody following in the same style, brass and woodwinds performing the Harry’s Secondary Motif which usually follows the theme. A new extension of the Wondrous World Theme interspersed with subtle flute quotes of Hedwig’s Theme passes through the orchestra, lyrical, positive and joyous, burnished, triumphant brass colours rising again to the Harry’s Secondary motif in celebratory crescendo. Then a new musical idea, descending flute figures, takes hold as Harry’s/Family Theme on strings is presented, the melody expanding and dancing in the orchestra in the grandest reading of the material in the score until the triumphant and thrilling Quidditch Fanfares burst through the string colours on splendid brass, quickly transitioning to Hogwarts Theme, reminiscent of the orchestrations of the Quidditch match in the film. And to draw the piece of a close Williams brings the Wondrous World Theme back on full orchestra accompanied by Harry’s Secondary Motif, sweeping and joyous, climbing to a gradual crescendo after which the gently lilting strains of Harry’s Secondary Motif, passed through the woodwinds finally takes us to a calm finish with feeling of accomplishment. *** The Children’s Suite is another example of Williams’ ability to see wider musical and artistic possibilities in film music. He obviously understands that in film there is a chance for true musical creativity despite what nay-sayers and critics might claim and has often spoken of the wide global reach the film medium. The music will be heard by millions and as part of the phenomenon carries a large responsibility to be the best it can be. The Children’s Suite transports this music into the concert hall where new generations of young movie and concert going audience will experience the symphony orchestra perhaps for the first time since they are interested to hear the music from the well loved movie based on a universally adored novel. In part Williams’ music helps to keep the modern audience interested in classical orchestral tradition and at the same time winning over great number of new fans. This of course is a part of Williams continuing avid promotion of film music as a serious art form which could be said to be the unspoken agenda he has worked on ever since he was chosen as the conductor of Boston Pops Orchestra and continues strong today. *** The score of Harry Potter and the Philosopher’s Stone is in all a magnificent feat of film scoring but also of art and artistry, one that I hope my analysis has illuminated to the readers. It has been truly fascinating to take an intense and careful look at the music which has only increased my respect for it and again it is my hope that this essay would do so for others as well. I would like to express my thanks to the fine people of JWFan who have contributed to this analysis either directly or indirectly with their discussion. Special thanks to Jason LeBlanc (@Jay), GoodMusician and Datameister and all the people in the Harry Potter and the Sorcerer's Stone (Philosopher's Stone) thread on the JWFan.com messageboard. As always for your meticulous work in parsing this music has been an invaluable aid. Thank you. © Mikko Ojala Notes [1] http://en.wikipedia....tone_%28film%29 [2] http://en.wikipedia....tone_%28film%29 [3] http://en.wikipedia....ne#Translations [4] http://en.wikipedia....the_Philosopher % 27s_Stone_%28film%29 [5] Williams adds musical magic to 'Harry Potter' By Andy Seiler USA TODAY 11/13/2001 http://www.usatoday....hn-williams.htm [6] http://www.angelfire...a/williams.html [7] http://uk.movies.ign...4/034115p1.html [8] Scoring log would indicate that the music for the teaser trailer was recorded on the 18th of November 2000. [9] Again scoring log indicates the date 11th of June 2001 for the recording session for the full length trailer. [10] http://www.johnwilli...arrypotter.html [11] http://www.johnwilli...arrypotter.html [12] Williams adds musical magic to 'Harry Potter' By Andy Seiler USA TODAY 11/13/2001 [13] http://en.wikipedia....The_Nutcracker: Tchaikovsky's Sources and Influences. In Tchaikovsky’s time celesta was a new invention and the story goes that the instrument was actually brought from France in secrecy to the premiere of the ballet so its novelty would remain a surprise to the audience and no other composer could use it before him. [14] John Williams, Harry Potter and the Sorceror’s Stone – Children’s Suite for Orchestra, (Hal Leonard Corporation®). [15] Andy Seiler, Williams adds musical magic to 'Harry Potter', USA TODAY 11/13/2001. [16] Frank Lehman, Harry Potter and the Sorcerer's Stone/Chamber of Secrets - Thematic Analysis (2003) [17] Frank Lehman, Harry Potter and the Sorcerer's Stone/Chamber of Secrets - Thematic Analysis (2003) [18] Frank Lehman, Harry Potter and the Sorcerer's Stone/Chamber of Secrets - Thematic Analysis (2003) [19] Frank Lehman, Harry Potter and the Sorcerer's Stone/Chamber of Secrets - Thematic Analysis (2003) [20] This connection seems to be in Williams’ mind so strong that the motif gains a secondary purpose as a general villain and mystery theme. It will infact become the theme’s primary usage in the sequel film Harry Potter and the Chamber of Secrets. [21] Frank Lehman, Harry Potter and the Sorcerer's Stone/Chamber of Secrets - Thematic Analysis (2003) [22] Frank Lehman, Harry Potter and the Sorcerer's Stone/Chamber of Secrets - Thematic Analysis (2003): ...in a minor scale, melodically, it climbs thusly: 5-#4-1-3-#4-5-b6…etc.; rhythmically, it has a similar structure to the second theme in its construction by dotted eighth to sixteenth note figures; and harmonically, its pretty simple, little more than i all the way through, with a bass line shifting between i and V. [23] This musical idea makes a brief return in the second film so it certainly in his interpretation was meant to be a recurring theme of its own. [24] Bill Wrobel mentions in his analysis Harry Potter Music by John Williams (found at http://www.filmscorerundowns.net/williams/harrypotter.pdf) that the instrumentation consists of mandolin, accordion and 2 percussion instruments. Unfortunately no sheet music for this piece has been made available. [25] John Williams, Harry Potter and the Sorceror’s Stone – Children’s Suite for Orchestra, (Hal Leonard Corporation®). [26] John Williams, Harry Potter and the Sorceror’s Stone – Children’s Suite for Orchestra, (Hal Leonard Corporation®).
  5. Here is a revised version of the analysis I wrote, gosh, nearly 10 years ago. Again feedback and comments are more than welcome, especially on the technical side. ANALYSIS UPDATED IN 2016 to take into account the LaLa-Land Records complete release of the score. A.I. - Artificial Intelligence A Complete Score Analysis by Mikko Ojala http://www.jw-collection.de/images/ai.jpg Introduction A.I. Artificial Intelligence was a project long nurtured (the idea was produced as early as 1980's) by the late director Stanley Kubrick but eventually he chose only to produce the film as he was busy with other projects and let his friend and fellow film maker Steven Spielberg step in the director's seat. The two further developed the material in collaboration over several years until the sudden demise of the great auteuristic director in 1999, certainly a setback for the production, but with Spielberg firmly at the helm the film went into production in spite of it. Before this film was a close collaboration but now it became a dedication of respect and in part an homage from Spielberg to Kubrick (it is indeed dedicated to Kubrick's memory). The origin of A.I. - Artificial Intelligence lies with two short stories by a British author Brian Aldiss (especially the other, Supertoys Last All Summer Long), whom Kubrick encouraged to expand his ideas but subsequently they were adapted by Ian Watson into a screen story and finally by Spielberg and Kubrick into script form. It is a tale of a robot boy named David, who was the first of its kind, built to feel affection and love for his owners, and his odyssey to try to become human and thus earn the acceptance and love of his human mother. Although set in the future, the film is essentially a fairy story with clear parallels to the classic tale of Pinocchio written by Carlo Collodi as the protagonist of that children's story also strove to become a real boy to win his father's love. The film follows the book’s plot only in the broadest sense however as both include a fantastical quest through various adventures and hardships . The moulding of the final story was a gradual process during the 1990’s when Spielberg and Kubrick presented ideas to each other via fax and phone and the outline and script for the film evolved over the period of several years. Kubrick had also had the screen story partially story boarded so the world of the film was quite extensively visually defined well in advance of the shooting, which meant that even after the director's death, Spielberg was left with a clear idea of what Kubrick had wanted to achieve visually with the piece. By November 1999, Spielberg was writing the screenplay based on Watson's original 90-page story treatment, which made it his first solo screenplay credit since Close Encounters of the Third Kind. The movie began shooting in August 2000 and finished post production in the spring of 2001 ready to open in the United States on June 29, 2001. Upon its initial release the film garnered generally positive reviews from critics and grossed approximately $235 million worldwide during its theatrical run, which made it a modest hit. But perhaps most importantly it yielded one of the most significant scores of the year (and could be said of the decade) that was composed by John Williams. A.I. - Artificial Intelligence is the 17th collaboration between director Steven Spielberg and composer John Williams. Their working relationship is nowadays very mature one and Spielberg has perhaps served Williams music over the years better than any other filmmaker and inspired the composer to write some of the most memorable and iconic film music in the history of cinema. As Williams himself puts it, Steven Spielberg loves music and likes to use as much as possible of it in his movies. The composer has remarked on several occasions that the director always feels that music adds something to a film instead of taking away from the experience and his films seem to lend themselves very easily to and embrace and accommodate the use of music and it often becomes an important storytelling element, almost like another character. Spielberg, who unlike many directors is in very close contact with Williams throughout the whole period of the compositional process, likes to hear the musical ideas early on and have constant dialogue about the music with the composer. Spielberg is described by Williams as a very supportive and musically knowledgeable director, who allows him a lot of creative freedom. The composer has often remarked how Spielberg discusses mainly about the pacing of the scenes, the rhythmic and kinetic aspects of the music, leaving the thematic material, ambience and emotion to Williams' expertise. This working method and their close friendship and camaraderie has yielded many memorable and intricate film scores in the past and their working relationship seems to grow stronger with each new score. This music is no different and shows the composer's understanding of the film and its message and how the music can aid in bring out the various subtexts of the story. There is of course a flipside to this coin, this love of music. Because Steven Spielberg loves film music so much and directs movies almost with the composer and his dramatic input in mind, Williams is often called upon to write large amounts of music for his films. A.I. contains by the composer's own estimate well over two hours of score that went through a very extensive period of development evinced by the amount of alternate and revised material. While it is part and parcel of a film composer's job this is an admirable feat considering that Williams had another big project slated in 2001, the franchise starting fantasy film Harry Potter and the Philosopher Stone based on the immensely succesful fantasy novel by J.K. Rowling. For Harry Potter he wrote also over a 2 hour score, not taking into account the Harry Potter and Philosopher Stone Children’s Suite for Orchestra which is an “Introduction to the Orchestra for Young People”-styled 9-movement suite based on the themes of Harry Potter, which was also recorded during the recording sessions of the film. And this hard work earned him 2 Academy Award nominations in 2002, for both of these scores but they lost to Howard Shore's The Lord of the Rings - The Fellowship of the Ring, which inarguably was a worthy contender alongside Williams' modern magna opera. The film was certainly to some extent a departure from the usual Spielberg style, perhaps Kubrick's influence still hovering over the project after all, which might have contributed to the wide range of musical styles explored in the music. Williams' score orchestrated by Miriam A. Mayer, John Neufeld and Conrad Pope uses quite extensively the 20th century art music styles and techniques like minimalism in the spirit of Steve Reich and John Adams and atonalism and avant garde techniques of the Hungarian composer György Ligeti and his school, especially in the choral writing. The score was performed by the Los Angeles Recording Arts Orchestra, which is in its majority made up of the film scoring musicians of the L.A. area. The composer has recorded several other projects with this ensemble since, including selections for the 2002 Call of the Champions Olympics album and the Yo-Yo Ma Plays the Music of John Williams disc featuring Williams' concert works. The L.A. Master Chorale under the direction of Paul Salamunovich provided the varied choral work for the score and the composer sought out the operatic soprano Barbara Bonney to lend her considerable vocal talent to the project. The score was recorded by Shawn Murphy at Sony Pictures Scoring Stage, Culver City, CA and at UCLA's Royce Hall in February 12, 13, 15, 16 and March 6, 7 and 15, 2001. The music also quite surprisingly flirts with modern popular music with integrated techno beats and synthesizers at some instances, a rare occurrence in Spielberg/Williams scores in the past. Here the composer readily admitted that he leaned on the expertise of his son Joseph, who is an accomplished musician, singer and a music producer in his own right (having been e.g. the lead singer in Toto) with whom the composer has collaborated on several projects over his career including e.g. The Fury (1978), Return of the Jedi (1983) and most recently on the first two Star Wars Prequels Episode I The Phantom Menace (1999) and Episode II The Attack of the Clones (2002). Joseph Williams' job in all these instances was to provide pieces of diegetic music for these films, i.e. music heard from an on-screen sound source such as songs heard on the radio, played by on-screen musicians or from other sound sources. For A.I. Artificial Intelligence he composed several source pieces that range from funky saxophone passages to propulsive techno-beats for the Rouge City locale and most importantly he contributed a techno-industrial action music woven into his father's score for a Mecha hunting sequence in the second act of the film. Despite the eclectic collection of stylistic influences at the heart of the score is the melodic and symphonic ingenuity of John Williams as he creates the varied soundscapes for the world of the film and captures the spirit, heart and subtextual meanings of the story with his central thematic ideas and orchestral moods. The composer has said that in his mind this score stands apart from his other works with perhaps the exception of Close Encounters of the Third Kind in it's timbral qualities and this is certainly true. In creating the often unsettling and haunting soundscapes he taps into not only the same avant garde but also the same human warmth as he did with the Close Encounters when expressing the slow transformation of fear into awe and wonder and tried to capture something profoundly spiritual about David's journey to gain his mother's love and so to attain some measure of humanity. The Themes of A.I. - Artificial Intelligence Several major themes and accompanying motifs capture the world and characters of A.I. and illustrate the journey, both physical and spiritual, that David the robot boy goes through in his search for his humanity. While Monica's Theme is the most significant of the major thematic ideas, it is noteworthy that the composer never assigns an overarching theme for the whole story but rather treats his musical ideas as an ensemble where each comes to the fore and receives development in different acts of the film. Most of the themes also relate to the main character of David in one way or the other, either by clearly attaching to him or being themes related to him through other characters in some way. This makes them less leitmotific as they do not seem to be connected to specific people, objects or places but rather to abstractions and are thus often more psychological in nature. David David's Theme David, the main protagonist of the film, has two thematic identifications to describe his dual nature. The first theme is used to describe the more human side of him and his wish to be and become human. It is a wistful, playful melody full of tender innocence and it is in close connection with Monica's theme but also illustrates certain childish simplicity and wonder in its progression, linking mother and child. Williams uses it sparingly but effectively through the movie and it receives its final full rendition in the last scene of the film coupled with Monica’s theme, finally weaving together the two melodies as the characters are finally reunited. NOTE: Jeff Bond calls this musical idea "The Parenting Theme" on the LLL set liner notes. While it does apply to some of the scenes where the theme appears, it usually has a much more direct connection to David himself, his journey and inner self than purely to his interaction with his parents and Dr. Hobby although it appears in scenes with both. The Mecha Motif The second theme/motif associated with David is a simple and clear 7-note synthesized piano motif to represent his robotic side, which cleverly resembles the first phrase of David’s Theme. It is stated often when David's Mecha origin is implied and creates a sort of minimalistic repeating inorganic robotic effect to remind the audience he is originally a machine, further enhanced by its use of synthesizers. This is the theme that is heard underscoring his first appearance and it creates a sense of curious wonder of the robotic child as it has a repeating searching quality to it, restated in an almost mechanic fashion over and over as David studies his parents and the world. A Child Lost Theme: Theme for both Monica's and Professor Hobby's longing for a lost child, in Monica's instance for Martin and in Professor Hobby's David (his dead son who was the model for this first Mecha child). This is a nostalgic melancholy melody most often voiced by a piano and appears throughout the first and second acts of the movie, tied dramatically firmly to the two aforementioned characters. The style of the theme is always wistful and slightly pensive, a delicate and warm reminder of a lost child with shades of loss colouring its contour. In addition this melodic idea seem to represent an idealised and nostalgic image of a lost child and changes very little in mood as the emotion it illustrates is always the same. The musical theme drifts off into silence in the second act of the story as the character of Monica leaves the film until the finale and Dr. Hobby's longing for his child is not emphasized. Although we see him later in the film as he is actively trying to use the little robot boy for his own scientific and commercial ends, as good as they might seem, that are from the point of view of the boy highly questionable. A Child Lost Theme is also the only major theme to be left out of the original soundtrack album but can now be heard on the La-La Land Record's complete release in all its haunting delicate beauty. NOTE: Jeff Bond on the La-La Land Records release liner notes identifies this actually to be David's Theme. While it does represent the boy to Monica and professor Hobby especially, I would argue that the music is almost in all instances more linked to the longing and memory of a child than the actual character of David as the robot boy evokes various feeling in these two characters that relate to their flesh and blood children, not always the Mecha David. Monica's Theme: This melody is associated with Monica and David, David's love for his mother and Monica's feelings toward David. A warm tenderly lilting theme with a touch of lullaby to it is the real centerpiece of the score and the thematic core (alongside with the Blue Fairy's theme) of the last third of the movie. Williams and Spielberg mention in a DVD documentary interview how they searched a long time for the correct melody for the last scene with Monica and David and Williams wrote 6 or 7 melodies and played them to the film to find one that would be just right. Eventually this one piece seemed to feel right and it became the cantilena-like Monica's theme. The theme itself is a long melody with multiple sections that is applied to the mother/child relationship as soon as Monica imprints David to herself and thus it has the character of a love theme, not of romantic love but of child's love for his mother and vice versa. The theme begins more as a love theme from David's perspective as he is imprinted to Monica but in the end it can be seen as an expression of mutual love and affection between the two. Williams’ orchestrations for this theme range from delicate chimes and string readings to the lullaby waltz on piano for the film’s finale and a solo soprano interpretation for the end credits. Abandonment/Lost This theme comes represent the fear and apprehension humans feel toward Mechas, which is also then tied to the jealousy and malice that Martin, the son of Swinton family, feels toward David. To him David is a rival for his mother’s affections and as he is artificial, Martin regards him more as a strange and curious toy than a person. All the animosity will eventually lead to David's expulsion from the family as Martin's attempts to oust the robot boy finally succeed and Williams presents the theme full-fledged in the abandonment sequence where it describes David's horror, shock and desperation of being abandoned by his mother and Monica’s inner turmoil since she has genuinely become emotionally attached to this robot child. There is subtly ominous malevolence in this music, which goes from the uncomfortable foreboding in the early dinner scene between Monica, Henry and David (Williams' unused original version) to the tracked statement during Martin's return to operatic heights in the abandonment scene but its message is always that of impending sense of dread and tragedy. The Blue Fairy/Humanity: The second central cantilena-like theme Williams composed for the movie is for the character taken directly from the story of Pinocchio and she is the person who first breathes life into the wooden puppet, when Gepetto the carpenter wishes to have a son and finally transforms the puppet into a real boy after his long adventure-filled journey. In the film Monica reads the story of Pinocchio to David and Martin and it is then that David gets his childish idea of the Blue Fairy being a key to his salvation. The theme portrays gentleness and awe of the character of the Blue Fairy from David's perspective but also on a deeper level David's wish to become a real boy and the hope of reuniting with his mother but most importantly it is connected with his hope of achieving humanity. The Blue Fairy's theme has a gentle fairy tale-like quality and like Monica's theme it resembles a lullaby, being a broad, slow and song-like in its melodic contour and full of warmth but also sorrow, for it implies that David’s hopes are ultimately impossible through the Blue Fairy, who is not real. It is one of the most touching themes Williams wrote for the movie and has a spiritual depth which is further enhanced by the use of solo soprano voice during its pivotal appearance. The soprano soloist Barbara Bonney’s voice seems to be keyed to the Blue Fairy in the music as she gently hums and sings in the scenes involving the character. Cryogenics This minor thematic idea is performed solely on strings and connects subtextually with the Cryogenics Institute and the unchanging and unending cryogenic suspension it provides for the terminally ill. This minor mode melody minimalistically repeats and alternates around a core of constantly rising and falling series of six and seven note patterns. This creates a very uneasy, emotionally detached, mechanized and unchanging atmosphere, very like the containment where Martin, the Swinton family's real boy, is kept. Interestingly there seems to be a faint echo of Williams' music in The Empire of the Sun here, where he responded with similarly Aram Khachaturian-styled despondency to another broken family and feelings of isolation. The motif is later reprised for uneasy effect when the score draws parallels between Monica's bedtime stories at the Cryogenics and when she reads them to both David and Martin. The Mecha World/Travelling Theme This is a collection of minimalistic and orchestrational devices representing the futuristic modes of travel in the world of A.I. The musical ideas for both major travelling montages in the film consist of repeating motifs on percussion, most pronouncedly marimba, and strings augmented by ostinati from the whole orchestra.The composer uses these figures to represent the high-tech mechanized age of the future and these ideas are used whenever David is seen travelling in the various vehicles (namely in the cues The Journey to Rouge City and To Manhattan) on his journey. Williams varies this musical idea in the travelling sequences and the minimalistic repetition of these musical cells in the style of Steve Reich and John Adams adds to the feeling of movement and busy atmosphere that drive the travelling sequences. These ostinati patterns would also become prevalent in several scores of the composer in the new millennium as Williams answered the new film scoring challenges with a touch of minimalism. *** The original soundtrack album containing 60 minutes of Williams' score and two different versions of the song For Always was released in conjunction with the film in 2001. Shortly after in 2002 a For Your Consideration Oscar promotional 2 disc set compiled from the score (still incomplete) surfaced and started making rounds in the collector circles. This apparently was created in error as the composer had not authorized such extensive promotional release for the awards season and subsequently also a single disc promotional CD appeared (with content matching the soundtrack album). Finally the full score was released by the La-La Land Records in 2015 on a lavish 3 disc set providing the fans of the composer and this score the complete release of the film's music on first two discs and another disc's worth of alternate material from the lengthy score making it one of the most extensive John Williams releases in history with more than three hours of music. The actual cue titles in the below analysis are available on the 2015 La-La Land Records 3 disc release of the score and they are provided along with the slate numbers for each cue. Similarly I provide information where this music can be found on the previous existing releases. TRACK-BY-TRACK ANALYSIS OF THE FILM SCORE The movie opens with silence and the gradually emerging sounds of crashing waves as Ben Kingsley's narrator voice presents a prologue describing the world of the future, where polar ice caps have melted and seas have swallowed up the coastal cities, causing displacement of millions. The richest nations soon developed laws to control birthrate of their people to conserve the now limited and contested resources. In the wealthier countries robotics have advanced to a whole new level and people now employ human-like robots called Mechas as menial labour and servants to make up for the lack of a larger work force mainly due to the fact that they do not consume resources beyond their original manufacture. The scene shifts to a meeting between professor Allen Hobby and his colleagues at Cybertronics robotics company where they discuss the nature of Mechas, their capabilities and defects and finally Hobby's proposition to build a robot child that is capable of love, one trait a Mechas have lacked in the past. His colleagues express skepticism at his idealistic proposition, which also presents the moral dilemma of what would be the human responsibility to these robot children who would become imprinted on their parents. As the question is left hanging in the air, the score begins as a cue called Cryogenics opens with cold dispassionate strings, that are used in conjunction with the image of a Mecha woman detachedly applying make-up despite being stabbed in the hand by professor Hobby earlier in his demonstration and after just being an unconcerned witness to this debate concerning her kind. The film then cuts to Monica (Frances O'Connor) and her husband Henry (Sam Robards) driving out to visit their son Martin (Jake Thomas), who is terminally ill and is therefore in cryogenic suspension in the Cryogenics company's facilities. Here we hear first a snippet from Waltz from Sleeping Beauty by Pyotr Tchaikovsky as a source cue when Monica approaches her son's suspension pod and starts to read the story of Robin Hood to Martin though the music is cut around Williams' first cue: 1. Cryogenics (1mA) (3:30) (OST track Cybertronics, LLL set D 1, Track 1, D 3 Track 2 (Alternate). OST track Cybertronics, Oscar Promo Disc 1 track 2😞 This piece is in essence a long nearly concertized development of the Cryogenics Theme. As mentioned above it is played solely on strings and features a continuous slow ostinato figure of 7-notes and a series of 6- and 7-note fragments ascending and descending to create a clinical cold and mechanized atmosphere. It seems like music without passion, repeating slowly, difficult to read emotionally yet slightly thredonic, even a bit sinister but ever calm. This is the scene where Dr. Frazier of the Cryogenic institute suggests to Henry the horrible possibility that Martin may be never healed and the composer hones in on the emotional strain of both Monica and Henry, whose son has been in cryo-suspension for five years because of his incurable illness. Around 1:47 a central searching 6-note melodic fragment appears to create the sense of unending cryogenic sleep, the mood cold and full of unease but the scene soon intercuts with professor Hobby and his assistants, who are with nearly equal dispassion selecting a candidate for the parent of the first robotic child with an imprinting protocol among the workers of Cybertronics employees and Henry's name has come up. With this cue Williams establishes minimalism as one of the main musical elements of the score, gives a nod Stanley Kubrick's musical tastes with the use of Aram Khachaturian-like musical approach (Gayane Suite to be exact) and adds a subtle layer of uncomfortable mood and psychological meaning to the scene. The score is almost asking a question when desperate Henry ponders on his family's possibilities. In the Making John Williams named this composition Cryogenics on the cue sheets but Cybertronics on the original soundtrack album. Beyond a simple oversight in the naming the reason for it might simply be that this piece of music actually plays during scenes taking place in the cryogenics facility and at the Cybertronics where professor Hobby is selecting the parents for the new child Mecha. The composer wrote also an alternate variant of this piece that can be heard on the LLL set (D 3 Track 2), which basically has some sections of the cue shortened and runs for about half a minute less than the film version, which itself is edited around the Sleeping Beauty snippet so this cue is never heard in its full intended form in the film. 2. Henry Is Chosen (1m2) (1:54) (LLL set D 1, Track 2) (Music for a deleted scene?) A cor anglais solo opens the piece as the music subtly hints at David's Theme in the extensive searching woodwind line, presenting fleeting snatches of the melody as it proceeds in enigmatic tones and suddenly ends in forebodingly ebbing and flowing high string idea accompanied by a harp and contrasted by slowly rising low woodwinds. This short piece of atmosphere setting scoring went entirely unused as the scene for which it was composed was most likely cut from the final film. One can suspect it was a scene involving professor Hobby interviewing Henry just as he requested at the end of the previous scene. 3. David’s Arrival (1m3/4)(3:50) (LLL D 1, Track 3, LLL D 3 Track 3 (Alternate), Oscar Promo Disc 2 track 3 (Alternate)) Off-screen Henry makes the decision to bring the Mecha child home and to surprise Monica despite the risk of her reacting badly to the situation. The film version of the music is created editorially by using the original version of the piece and tracked music from a later scene 2m1 Reading the Words. The cue begins quietly with austere hollow glassy electronic sounds and high strings, creating an understated uneasy underpinning to the moment when Henry brings the Mecha boy in and David (Haley Joel Osment) steps into the room. A Child Lost Theme is heard for the first time but in a halting fragmented form on celesta as Monica gazes at the boy in amazement and slight disbelief which is followed by a reflective cor anglais melody to underscore her sadness and emotional confusion when Henry tries to calm her down by saying he can always take the robot back to Cybertronics is she doesn't want to keep it. From now on cor anglais becomes Monica's musical voice in many of the subsequent scenes as Williams doesn't unveil her own theme until the imprinting of David as it relates as much to him as it does to her in the musical narrative. As she claims that the boy is not real, Henry concurs saying that he is a Mecha child and we hear David's Mecha Motif for the first time informing us of his robotic nature as it appears curiously out of the orchestral texture on synthesizer. A Child Lost returns and this time in a more developed guise on solo piano with a little more warmth to it as the couple notices David watching the family pictures of Monica, Henry and Martin, the music drawing a connection to their real son and the open wound of his absence and Monica's longing for her boy. This cue continues to the next one without pause. In the Making Williams wrote at least two different versions of the cue, neither of which were used in their entirety in the film: David's Arrival (1m3/4) (2:44) Original Version (LLL D 1 Track 3) The original take begins the same as the film edit but we hear first Mecha Motif on the synthesizers interspersed with a short rendition of David's Theme on oboe to announce his arrival. The music continues warmer and inviting on strings with the cor anglais presenting a long melodic line as Monica meets David, but the Mecha Motif repeats as if to remind that this real looking child is a robot and suddenly as she acutely recalls her own child A Child Lost Theme sounds on the piano that ends the cue with delicate sense of sorrow. This version of the cue found its way to the Oscar Promo as well. David's Arrival (1m3/4) (3:10) Alternate Version (LLL D 3 Track 3) Similar cold synthesizer sounds which sustain the apprehensive mood open the alternate version before Mecha Motif appears, just like in the original version but in this take the oboe solo of David's Theme interwoven with it is lengthier and emphasized in the mix, presenting the entire melodic line before the yearning delicate strings from the original version come in and the piece proceeds to the cor anglais solo voice which represents Monica in several scenes. This version creates slightly more sympathy for David on Monica's behalf although it also ends with the Mecha Motif and A Child Lost Theme on solo piano to remind of how torn Monica is of this turn of events and the halting theme suddenly just ends mid-phrase. This is an alternate beginning of the piece which Williams wrote after the original version (marked on the score 1m3 New start) which segues to the original version at bar 21 but they ended up using the original composition's opening in the film. 4. Of Course I’m Not Sure (1m5) (2:41) (LLL set D 1, Track 4) Another cor anglais melody and soothing strings reflect Monica's initial apprehension of taking David in and cold electronics describe her discomfort and doubt as Henry tells her of the imprinting protocol which supposedly will make the robot to identify to a person like to a real parent, simulating love and affection in their programming. He also emphasizes that if they are ever going to return an imprinted Mecha to Cybertronics it will be destroyed as it cannot be resold. Strings and woodwinds continue creating an airy atmosphere where the tone shifts from familial warmth to hesitant uneasiness as David asks Monica to dress him in pajamas when it is his bedtime and she declines and flees outside the bed room leaving his husband to take care of the boy. In the Making The film version dials out the middle portion of the cue from 1:01 to 2:01 and continues to the end as written. The LaLa-Land release contains the complete cue. 5. Hide and Seek (1m6) (3:23) (LLL set D 1 Track 5. OST track Hide and Seek (3:03), Oscar Promo Disc 1 Track 3) Monica spends a day with David and as she does the household chores the curious robot follows her silently everywhere observing her constantly in silence which makes her uncomfortable. This starts Monica's bonding with David after feeling reluctant to be a mother to a robot boy and this awkwardness creates many humorous situations for both of them and Williams' cue captures the light-hearted and tenderly playful nature of the scene perfectly. The composer continues to illustrate the dichotomy of David by counterpointing the Mecha Motif with David’s Theme. He creates a duet of synthesized piano playing Mecha Motif which forms the ostinato that drives the scene and real piano and orchestra playing David's humane theme, harp and light woodwinds and strings twirling about airy figures to depict the gradual disappearance of Monica’s apprehension towards David and the relationship that is slowly forming between the two while the piano and synthesizers bring the cue to a calm close with the mischievous Mecha Motif ostinato twinkling in the background. Soundtrack Album VS the Film Version The version of this piece found on the soundtrack album has been slightly truncated, omitting about 20 seconds of material from the full cue. 6. David Studies Monica (1m7) (2:01) (Unused in the scene, LLL set D 1, Track 6, Oscar Promo Disc 2 track 5): Lengthy and ominous introduction of the Abandonment Theme on strings, subtle synthesizers, woodwinds and harp underscores a quiet dinner scene with Henry, Monica and David, who starts to observe and imitate his foster mother as she eats. This provokes some unintentional humour with spaghetti and also a mechanical bout of laughter from David, which in turn provokes nervous giggles from the parents at the absurdity of the scene. Williams originally coloured the uncomfortable atmosphere of the scene with the Abandonment Theme, delving again into the psychology of the moment, forming a link to the family that was and how the parents still feel uneasy with the robotic boy who after all is mechanical. His tone for the scene is ominous and while the strings momentarily present soothing chords in the end they swell chillingly and an almost sinister rendition of the theme on celesta, harp and oboe ends up underscoring the laughter which leaves the listener subtly perturbed at the event, hinting at the unnaturalness of David as a Mecha, the still lingering apprehensions Henry and Monica have although the image might at first glance tell otherwise. This cue went unused in this scene as it was left entirely unscored in the finished films, letting the awkward and uncomfortable feel come from the silence and actors' performances rather than enforcing it with music. 7. Reading the Words (2m1) (3:34) (LLL D 1 Track 7 (original version 5:58 of which 0:00-1:15, 2:50-end is used, Oscar Promo Disc 2 track 4 (4:00) (Edit): The film version is a shorter edit of the full lengthy composition, which removes a good portion from the middle of the cue. The below analysis refers to the complete version Williams originally wrote. This cue starts of with the harp playing gently the A Child Lost Theme to express Monica's longing for her son and need to have a child in her life as she tucks David in his bed at night. English horn solo with harp, bells and string backing is heard expressing warmth and affection Monica is gradually starting to feel for the Mecha child. Suddenly the cue receives hollow and glassy synthesizer colourings as Monica's conviction wavers when her thoughts turn to her real son and she feels like she is betraying him. After this we are presented with some unused material as a fragment of A Child Lost Theme sounds again on ghostly celesta as we see how torn she is between her need for a child and the thoughts of Martin. Eerie electronic effects and glinting of celesta chords continue to hint at the A Child Lost Theme and another motherly cor anglais solo and a wash of synthesized voices create a quiet sense of conflict and suspense to the scene. The music is reminiscent of the dramatic underscoring of the previous cues, reflecting apprehension and longing in equal measure, organic acoustic instruments and the synthesizers providing musical dichotomy, but went unused in the film. The score in the film continues with hushed coolly detached synthesizer chords, piano, oboe and pensive harp all performing slow deliberate progressions to further suspensefully underscore the sequence and finally as the moment when Monica imprints David is reached the melody of Monica's Theme kindles for the first time on light tender piano backed by synth celesta to imply David's awakened love and affection for her as he looks at her for the first time as his mother. It is in essence a love theme, dreamy and innocent, depiction of child’s love for his mother. And it is at this moment that Williams begins the thematic development of the most central idea of the entire score, which is initially very sparsely used but will grow to dominate the last third of the film. In the Making Williams' original version of this cue can now be heard on the LLL release which runs for nearly 6 minutes. The opening 1:15 is used in the film before a long part lyrical part haunting segment is left entirely unused (1:16-2:50). In the movie the 1:15 opening section is edited into the extended atmospheric middle section (2:50-4:48) of the piece and this atmospheric music for the imprinting then flows into Monica's Theme at the end as it does in the film. This lengthier version would indicate that the composer originally wrote his music to a longer cut of the scene or that the music 1:16-2:50 might be some sort of alternate for the imprinting sequence which later got replaced with the largely atmospheric material. The Oscar Promo contains an alternate edit of this cue which uses the first 2:50 of the composition and then goes to the Monica's Theme which starts at 4:49. 8. Wearing Perfume (2m3) (4:13) (LLL D 1 Track 8, Oscar Promo Disc 1 track 8): The Swintons are leaving for a party one night and David is left home alone for the evening. The robot boy observes Monica applying some perfume and as Henry complements her for it, David decides to imitate to win his parents' approval. Synth celesta glistens with ethereal crystalline tones as he pours the whole bottle on himself and we hear an oboe soliloquy alternating with the Mecha Motif, the music reminding us of his naiveté and robotic way of thinking, and as Monica notices this, celesta, xylophone and lyrical cor anglais representing Monica interplays with Mecha Motif on glockenspiel, strings and harp accompanying tenderly until David suddenly inquires from her mother ”Will you die?” As Monica answers Williams presents here the lengthiest development of the A Child Lost Theme on piano full of melancholic yearning (marked gently in the score) as Monica explains to him that she will live for many many years, but yes, she will eventually die. The music offers heartfelt commentary on the notion of mortality but very much tinged in sorrowful longing, the score drawing again the memories of Martin to the fore, the lost child, David's sudden understanding of the possibility of losing his mother and Monica's underlying guilt which still battles with her sense of loss and yearning to have a child. And so to comfort the now somewhat shocked boy Monica produces Martin's old toy bear, a super toy named Teddy, from the closet to keep him company and oboe introduces a new playful element, a lilting little melody full of childish whimsy, the piano, strings and harp taking over the music and carrying it to a delicate finish. 9. Martin is Alive (2m4) (0:50) (Film Edit): David’s life changes rapidly when out of the blue Swinton's real son Martin is suddenly cured and brought home. And as Martin returns, he immediately feels jealous towards this new family member. Gradually the boys begin to compete for their mother's affection and even Monica is at a loss to how to deal with this. The film version of the music starts as Henry in frantic haste calls Monica and she hears that Martin has awoken and cured. This scene underscored by subtle up-and-down moving piano motif which has an ever so slightly ominous edge to it and as the Martin is brought home in a wheelchair accompanied by nurses cor anglais introduces the Abandonment Theme after which the music turns dark as the glittering rambling cold piano notes describe the threat David now suddenly feels. This film version of the cue was created editorially, a composite of two different segments edited together, taken from the cues Monica's Plan (3m6) and the original Martin Is Alive (2m2) composition. Martin Is Alive (2m4) (1:27) (LLL D 1 Track 9, Oscar Promo Disc 2 track 7): The original version of this cue does not use Abandonment Theme at all and runs without themes as moody underscore. Bubbling clarinets under a wash of strings evoke the threat David feels, the echoing moaning synthesizer motif enhancing the fear and uncertainty for David. Chimes and a lone cold violin line and sparse piano and celesta notes try to announce a melody as Martin arrives but cannot and end the piece with a sense of unease. All will not be well in the Swinton family. The last 27 seconds of this cue made it to the film. In the film most of the scene is underscored by the statements of Abandonment Theme tracked from the above mentioned cues, creating in the process a stronger melodic connection with Martin and his plan to oust David from the family, his arrival spelling foreboding from the start. This is a good example of how editorial process can affect the score as a whole and how music can be shaped to form narrative paths not initially intended by the composer. 10. David and Martin (2m5) (2:18) (LLL D 1 Track 10, Oscar Promo Disc 2 track 8): Martin and David spend time together and Martin asks where David came from and who made him, obviously trying to belittle the robot boy. David answers that the first thing he remembers is a bird. Martin urges him to draw it. Music is very light and ethereal using oboe, flute, celesta, strings and electronics to create a suitably mysterious and airy atmosphere to complement the somewhat existential discussion of the two boys. The music builds to a small crescendo with a bubbling clarinet line supported by the strings and a synthesized choir (1:33) that is cut off when Martin remarks on David’s origins making the robot boy ever more insecure about his status in the family. While the music is dialled out after this in the film the complete composition featured sinister high strings and celesta creating further enhancement to Martin's cruelty as we see him bringing Pinocchio to Monica to read to him and David. This means that the next cue would have continued without pause from the end of this one. 11. Canoeing with Pinocchio (3m1) (1:37) (LLL D 1 Track 11 and LLL D 3 Track 4 (Alternate), Oscar Promo Disc 2 track 9): Martin, knowing how desperately David wants his mother to love him brings a book to Monica to read, knowing full well how hurtful it can be to the robot. It is Pinocchio by Carlo Collodi. The mother looks worriedly at the cover of the book and as Martin with a smirk announces "He'll love it." Cryogenics is restated as if to remind of the time when Monica used to read to Martin in the Cryogenics lab but here it is also used to imply Martin's evil intent, where the innocent act of storytelling becomes another way of undermining David. The picture here is totally opposite of the music to suggest something is wrong as we see Monica reading to the boys in a boat bobbing on a pond on a sunny afternoon and yet we hear the coldness of the score. Soon it subsides however as we see Monica reading by Martin's bedside and David listening on the floor. A soft and dreamily hopeful piano rendition of Monica's Theme full of emotion subtly supported by harp and calm strings expresses here David's awakened wish to become a real boy as she reads the segment where Pinocchio pleads the Blue Fairy for the same thing. And it is here that David’s first idea or dream of becoming real is formed through which he hopes will achieve his mother’s complete love. In the Making There exists an alternate take on this scene (LLL D 3 Track 4), where the musical content is mostly the same except that it uses an oboe and piano duet of David's Theme instead of Monica's at the end, shifting the focus of David's awakened wish to become human from Monica to the boy, emphasizing the David himself instead of his mother as the driving force of the whole notion. 12. David and the Spinach (3m1) (1:02) (LLL D 1 Track 12, Oscar Promo Disc 2 track 10): The Swintons are having a dinner and Martin goads David into an eating contest with him. As the Mecha wants so very much to act like a real human child and possibly best his adversary, David gives in to Martin’s bullying. First the ever level-headed Teddy and then both parents try to stop it but David wants to show his mother he can eat like a real boy, so he in a moment of determined anger shoves a spoon full of spinach into his mouth. Suddenly he malfunctions and his face slackens and looks like it is melting down as he is not supposed to eat. This short cue is played mainly by the strings rising to a slow alarmed crescendo and develops a sense of urgency, shock and dismay as it swells while David's face prolongs horribly. 13. The Operating Scene (3m3) (2:07) (Unused in the film. LLL D 1 Track 12, Oscar Promo Disc 2 track 11): Similar uncomfortable dark mood continues in this next piece as David is being cleaned after the dinner incident and the family has gathered around the operating table with two mechanics in nonchalant fashion chatting around the robot's opened machinery and chide him playfully for making a mess. Ethereal frosty synthesizer sheen heard in previous cues to give a sense of alienness between humans and Mechas and subtle ghostly synth choir evoke the discomforting mood of the scene, sizzling of percussion, deep rumbling piano chords and growls from tuba all fashion a sense of apprehension and subtle horror, strings sliding slowly in high register, a cool and dispassionate portrait of this imagery of David with his chest cavity open on the table, technicians treating him like any piece of machinery. The cue went unused in the movie as again Spielberg lets the scene again speak for itself without underscore. But yet again the film maker found another placement for this music, the cue appearing late in the middle part of the film as Gigolo Joe explains to David in Rouge City how humans hate the Mechas. It appears in the film tracked into this scene after the cue To Manhattan (5m8). On the LLL release this and the previous short cue are combined. 14. The Scissor Scene (3m4) (3:46) (LLL D 1 Track 13, Oscar Promo Disc 2 track 12): This dark, ambient cue underscores the scene where David out of the suggestion from Martin sneaks up to her sleeping mother at night and tries to cut a lock of her hair. This is because according to Martin she would love him for it, just like it happened in a story about the princess who loved the prince whose lock of hair she possessed. Martin also promises to tell Monica that he loves David so she'll love him even more. With ominous orchestral rumble and very atmospheric orchestrations this music conveys perfectly the mood of the scene as David sneaks through the dark house towards his parents' bedroom. Skittering strings, halting echoing celesta and small chimes, rumbling piano, bass flutes all enhance the feel of something wrong in this whole scene. Music turns more busy toward the end of the cue as Monica wakes up just as David cuts her hair and she gets a small cut near her eye from the frightened David’s scissors and panicking Henry shakes him angrily demanding an explanation. As Henry had already become suspicious earlier that David was trying to hurt them out of jealousy, he sees his fears confirmed. Monica still has doubts. Piano rises among the low strings and rubbed tam tam. Oboe, harp and chimes play a sympathetic yet disheartened line that suddenly ends in an ominous rumble. The music here tells the story from both sides, the distress and confusion of David and the shock of his parents. Teddy who is accompanying David on his nightly mission saves the now forgotten lock of Monica's hair from the floor. 15. The Pool Rescue (3m5) (1:41) (LLL D 1 Track 14, Oscar Promo Disc 2 track 13): It's Martin's birthday and he and his friends are playing beside the pool in the garden. He is showing his robotic brother to his curious guests and because Davisd seems so human-like they want to see if he has DAS a Damage Avoidance System like other Mechas by stabbing him in the arm. Frightened David cowers behind Martin and grabbing him by the hand repeats: "Keep me safe Martin, keep me safe!" as the boys close on him with a sharp cake cutter. Martin tries to pull himself free from David’s grasp but stumbles right into the pool with David still firmly holding him. The metallic body of the robot boy pulls Martin underwater and David ceases to function. The cue starts with slowly growing uneasiness in low strings joined by a skittering sounds of a tam tam as the boys plunge into the pool and alarmed high strings combine with deeper brass notes from horns as they fall to the bottom of the pool and watery dripping synthesizer sounds play as we see David still pulling Martin down and unsettling chorus of synthesized voices and ticking echoing synthetic piano effects play as David has fallen alone to the bottom of the pool and Martin is rescued by frantic Henry who is now sure that the Mecha boy tried to kill Martin. 16. Monica's Plan (3m6) (3:30)(LLL D 1 Track 15, Oscar Promo Disc 2 track 14): Monica and Henry are now both certain that David poses a threat to their son and the whole family, so Henry proposes for him to be demolished at Cybertronics. But Monica has developed feelings for the boy and is hard pressed to carry out this plan. Torn between love and fear she finally comes to David and says they are going for a drive in the country. This cue begins with a new, peaceful yet ominous piano motif that creates a sense of quiet unease as we see Monica persuading David to take a drive with her the next day. Then in the next shot Monica sees some writings and drawings David has made for her that almost break her resolve and A Child Lost Theme receives a yearningly tragic reading on solo piano with delicate harp accompaniment figures as Monica's inner conflict is conveyed musically, the theme transformed into a motif of Monica's awakened affection for David, and the strings swell ever so slightly in warmth but in the end she decides to go through with the plan. Next morning the family car is speeding through the woods towards Cybertronics and Williams answers with a pinched oboe variation of the Abandonment Theme ghosted by the celesta and soon the composer speeds it up with the accompanying arpeggio figures rolling on piano and synthesizers to emulate the visuals of the spinning wheels of the futuristic car. Monica’s emotional conflict reaches its apex and in the end she decides to abandon the boy instead of taking him to be destroyed. Abandonment Theme begins on the synthesized piano, the melody finding new contours along the way but then the music steadies as does Monica’s resolve and grows to full force on lower strings that presage tempest as if to show that this was in the end Martin’s doing and to enhance the desperation she is feeling. She stops the car and drives to a different direction and as they stop in the woods, a segment of Abandonment Theme arpeggio up-and-down accompaniment figures is uncomfortably repeated on the piano and double basses until the cue ends abruptly. 17. Abandoned in the Woods (3m7) (3:57) (LLL D 1 Track 16, D 3 Track 5 (Alternate), OST track 10 Rouge City 0:00-2:00 and track 2 Abandoned in the Woods (Alternate), Oscar Promo Disc 1 track 5 0:00-2:00 and Disc 2 track 1 Abandoned in the Woods (Alternate)): The music starts off with a subtle sonic alert of a threat as contrabassoons murmur ominously together with the double basses to warn of danger to come. Williams then presents heartbroken and despondent musical portrait as the strings in high register play a new tragic and searching melodic fragment somewhere between the A Child Lost Theme and Abandonment Theme as Monica leads the unsuspecting David into the woods. The music is generating a sorrowful sense of foreboding as an emotional version of the Abandonment Theme sounds vulnerable and touching on solo piano and strings as she struggle's to leave him and David pleads her not to. The theme conveys here both desperation and horror as suddenly the music gains a threatening and forceful edge when the terse high string tremolos lead the orchestra to a full reading of the theme and David finally understands what is happening as the swelling ebbing and flowing arpeggios gain more strength. The strings section churns in minimalistic style reminiscent of Philip Glass, the woodwinds and brass presenting the Abandonment/Lost Theme on top of them, growing in intensity with each new iteration of the thematic line, the strings rising and falling mercilessly with the arpeggio figures like an oncoming storm. Horns makes subtle groaning utterances that add to the tension and tragic desperation of the moment. Finally as the melody rises to its peak of the it is joined by the rest of the orchestral brass and a synthetic choir. Struggling to get free from David's grip Monica pulls and tugs and the music grows louder showing both her inner conflict and the child’s confusion as she frantically gets to her car and drives away sobbing. And when camera pulls away and shows us David’s horrified expression through the rear view mirror of the departing vehicle the music reaches a shocking climax with hammered violent and cold piano notes. On the LLL release the complete version contains a previously unreleased and unused coda that contains frantic high string lines churning furiously as celesta and flutes inject quick cries, the piece coming to rest on pulsing low piano chords. Soundtrack Album VS the Film Version This cue is one of the few centerpieces of the score not released in it's original form prior to the LLL 3 disc set. All other versions are shorter and are missing the 0:00-1:51 portion from beginning half of the scene. The latter half of the film version of this cue is on the original soundtrack album and on the Oscar Promo, coupled on the OST track Rouge City with the music from that later travelling scene. In the Making There exists an alternate version of this cue that can be heard on the LLL set (D 3 Track 5), where the beginning of the piece is scored solely with ominous double bass figures with chilling high strings exchanging phrases with them instead of the double bass/contrabassoon material found in the film take. This take also also contains subtle performance differences in the various variations of the Abandonment Theme and a new dramatic desperate sounding string swell before the pounding piano chords for the moment Monica drives away. And thus the film moves to its second act. 18. City source cue(1:29) (Unreleased) There is a short saxophone lead techno/disco piece in the scene where Gigolo Joe (Jude Law) is introduced and it is continued further in the subsequent street scenes. This and other techno source music is composed by John Williams' singer/song writer/composer son Joseph. He is credited for three unnamed source cues on his resume on the Schwatz-Gorfaine agency’s site. 19. The Moon Rising (4m5) & The Biker Hounds Extensions (Joseph Williams' source music) (4M6) & The Biker Hounds (4m7) (7:48) (LLL D 1 Track 17 (4m5 & 4m7, 5:10) & D 3 Track 6 (4m6, 2:38), OST track 7 Moon Rising, Oscar Promo Disc 1 track 10): The only all-action cue of the movie Moon Rising is actually divided into three separate cues, 4m5, 4m6 and 4m7. The sequence begins when the audience encounters David in the forest alone and wandering through the dark woods. He sees a garbage vehicle dumping something on the ground near him and suddenly he sees dozen of abandoned Mechas scavenging for parts from what seems to be a dumpsite for broken robots, a fate David has unbeknownst to him just barely avoided. The Moon Rising (4m5) (3:25) The music opens with dark slowly rising orchestral and synthesizer effects and a very low male choir expresses David's shock and amazement and the piece gradually builds into a booming choral, string and brass laden fulgurant crescendo that seems to express sheer horrific panic and violence when the lord Johnson Johnson's (Brendan Gleeson), a Mecha hating showman’s, Moonballoon rises over the edge of the hill at 1:50 and the hunt for the Mechas begins. Percussion, forceful brass and churning chaotic strings bark out rhythmic figures and roaring angry chords full of ruthless menace, followed by rambling low piano coda and a woodwind and brass finale accompanied by a steady metallic and threatening synthesizer staccato pulse before the score slows into... The Biker Hounds Extensions (Joseph Williams' source music) (4M6) (2:38) At 3:26 the Mechas escape through the woods, scored with whirling techno effects and driving beats, aggressive electric guitar and a lone male voice chanting in the distance. This section is the cue 4m6 and was co-written with the composer's son Joseph Williams who lent this project his expertise on a few modern touches and source pieces. In the following chase most of the Mechas are captured by the Wolfbikers (men with motorbikes and Mecha hunting weaponry) and while others try to hide in abandoned buildings amidst the trees they are soon captured. The piece as written is longer than this brief action scene and only a portion of the music is used, inserted editorially between John Williams' cues for the sequence. The Biker Hounds (4m7) (1:43) The orchestra returns with violent brass outcries, steely percussion and fervent strings playing rolling churning ostinati figures as bikers rip off the wall of the shack and net the helpless Mechas hiding inside, including David. The desperation and panic of the Mechas and the terrible efficiency of the hunters is depicted in the music that is full of sharp angles, growling percussion, churning string patterns and relentless angry brass sounds. At around 4:25 mark groaning double basses play repeatedly a 4-note motif which is then taken up by the lowest brass to create a threatening merciless drive as the Mechas are hauled into the Moonballoon of Lord Johnson Johnson. When it rises we spot Teddy hanging outside the net and when David can't hold on to him, his fall is underscored with swirling strings followed by a whimsical oboe melody which coincides with his safe landing and pursuit of the balloon on foot (or rather paw in his case). In the finished film Teddy's fall was left entirely unscored and the music dialed out. Soundtrack Album VS the Film Version The original 2001 soundtrack album version of Moon Rising switches the position of the three sections placing the furious music of the Mecha hunt at the beginning leaving a short portion of the Joseph Williams' techno beats and the solo voice in the middle and and ending with the original Moon Rising cue. It also omits the music for Teddy’s fall altogether. The LLL release combines Moon Rising (4m5) and The Biker Hounds (4m7) for listening purposes and provides Joseph Williams' composition for the Biker Hounds (4m6) on disc 3 as a separate bonus track that actually runs longer than the version heard in the film. *** Gigolo Joe, a lover Mecha and David among other robots are carried off to the Fleshfair where disgruntled people who hate all Mecha related artificiality execute them on an arena for entertainment in the style and tradition of Ancient gladiatorial games. The Fleshfair sequence plays without traditional underscore and all that is heard is source music, provided by a band called Ministry (Al Jourgensen, Paul Barker, Max Brody and Deborah Coon) who perform two songs, What About Us? and Dead Practice on-screen in the film. When the time of David’s execution comes and he is brought to the arena to be destroyed, the audience, who has not seen a Mecha child before and does not even know they exist, demands for David to be set free and under the pressure from an outraged angry mob Johnson-Johnson has no alternative but to let David and Gigolo Joe go free. *** 20. Remembering David Hobbie (5m3) (2:20) (LLL D 1 Track 18, Oscar Promo Disc 2 track 15): Joyous warm string melody with horn lines underneath plays as David and Gigolo Joe are freed from the Fleshfair, the music celebrating their freedom and relief. As the film cuts to Professor Hobby's facilities, where he is watching some photos of David (as we later find out his own dead son), the A Child Lost Theme makes its final appearance in the score, luminous piano and harp dueting in a nostalgic fashion. When his team informs him they have located David, the music continues optimistic and warm, a variation of the theme's melody passing to flute and ghosted by clarinet as we cut back to the woods, where Gigolo Joe and David are trying to make their way to the Blue Fairy. Here can be heard a faint reference to the minimalistic figures of the Travelling Theme for the first time (1:28-1:39), presented on piano and glittering harp figures as David and Joe talk about the journey. A lyrical dreamily wandering oboe line scores a shot of the night sky and the moon but as David ponders if it is the real moon, remembering the Moonballoon, the music suddenly grows eerie with queasy strings and synthesizer tones darkening the mood. 21. The Journey to Rouge City (5m5) (3:51) (LLL D 1 Track 19, OST track 10 Rouge City 2:00-end (Album Edit), Oscar Promo Disc 1 track 5 2:00-end (Film Version)): The Mecha World/Travelling Theme prominent in this scene is very effective describing the robotic and highly Mechanized age of the film but importantly provides dramatic propulsion for the journey montage. It also conveys the thrill and excitement of this futuristic travel and David’s marvel at all the wonders he is now experiencing. A short lyrical oboe line backed by strings, solo horn and harp is heard when we see the moon far in the distance, the score conjuring a small but magical little moment of beauty before it flows into a rhythmic repeating motif that could be characterized as The Mecha World/Travelling Theme ticking away on marimba and other percussion and supported in its drive by the rest of the orchestra. A short optimistic interlude for woodwinds seems to remind us of the oboe ideas of the previous tracks before the travelling motif takes over. Most of the cue consists of the development of the travelling music that steadily and minimalistically in the mode of John Adams and Steve Reich grows and modulates in orchestrations when David and Joe are seen driving towards Rouge City, an exotic den of pleasures and vices, to find Dr. Know and around 2:33-2:58 as their vehicle dives into a tunnel shaped like a woman's mouth that leads to the city the piece bursts into a grand rolling string statement of Richard Strauss' Der Rosenkavalier waltz theme (taken from Der Rosenkavalier Suite Opus 59 and adapted for the scene by Williams). From here the cue winds slowly to a close, orchestration gradually becoming sparser until only marimba accompanied by synthesizers is left and fades into silence as the group arrives to their destination. The Rosenkavalier waltz was the one piece of music Kubrick wanted to include in the film and as an homage Williams incorporated it into his score though not knowing where exactly Kubrick himself had planned to place it he chose this particular sequence to use it. The Soundtrack Album VS the Film Version The soundtrack album track Rouge City contains as an intro a part of the film version of the Abandoned in the Woods (3m7) and the Travelling Theme is cut short just as it would go into the Rosenkavalier waltz section. Most probable is that Williams didn’t want to present other composer’s work on his album or the rights of the music were an issue though you can clearly hear the clumsy transition from one part of the cue to the next on the soundtrack album. The LLL set contains the full cue. This is a good example of how differently the composer can reimagine his music for a soundtrack album for listening experience purposes. 22. Immaculate Heart (0:46) (5m6A) (LLL D 1 Track 20, Oscar Promo Disc 2 track 16) Gigolo Joe and David arrive to the Rouge City and head for the cyber parlour called Immaculate Heart where the mysterious and sage Dr. Know can be found. The composer introduces the Blue Fairy /Humanity Theme here as it rises from a fluttering bed of strings on solo flute with ghosting clarinet and slightly comedic rhythmic backing, an inkling of what is to come, a fragment that has yet to reveal its true significance in the story but at this moment it reinforces David's wish of finding the Blue Fairy with Dr. Know's advice. 23. Rouge City source music (1:45) (Unreleased. Source music composed by Joseph Williams): Techno flavoured and beat heavy source cue plays as David and Gigolo Joe are walking through the neon sign illuminated streets of Rouge City. 24. Inside Dr. Know's (4:32) (LLL D 3 Track 7) Williams provides ambient and mickey-mousy quirky entirely electronic underscore for this scene where the animated Dr. Know, voiced by Robin Williams, is seen consulting David and Joe. This diegetic piece of music emanating from the Dr. Know interface (he is a database programme) with its different question categories, that launch various musical effects takes on a deliberately cartoony character that doesn't seem to stay in the same mood or style for long. There is also a repeating motif for the main menu of the programme David is using which bridges the gap between pure sound effects and underscore and Williams even finds a way to inject a little fragments of David's Theme into this colourful and playful musical collage. 25. To Manhattan (5m8) (1:27) (Unused in the film. LLL D 1 Track 21, Oscar Promo Disc 2 track 17): As the curious exchange between Dr. Know and David comes to close the Mecha boy sees a puzzling message appearing on the screen that initially quotes Williams Butler Yeats' poem The Stolen Child: Come away,O human child! To the waters and the wild With a fairy, hand in hand, For the world's more full of weeping than you can understand. Your quest will be perilous Yet the reward is beyond price. In his book 'How Can A Robot Become Human', Professor Allen Hobby writes of the power which will transform Mecha into Orga. DAVID Will you tell me how to find her? DR.KNOW Discovery is quite possible. Our blue fairy does exist in one place, and one place only, At the end of the world Where the lions weep. Here is the place dreams are born. The music would probably start just as the message appears, but since the cue went unused in the film, it is difficult to tell its exact placement in this sequence. It begins with swaying figure on the strings but turns into a lovely longing piano version of the Blue Fairy/Humanity Theme that suddenly ends unresolved as David’s hope of becoming a real boy is rekindled but the end of his journey still remains a mystery. Incidentally Williams named two consecutive cues, 5m8 and 6m3, To Manhattan on his original manuscript. 26. Amphibicopter Escape (source) (0:31) (Source music composed by Joseph Williams): As soon as the pair exits the Dr. Know parlour the police are waiting outside as the law has finally caught up with Joe. Here a piece of threatening tracked material from Moon Rising is used. Another source cue begins here as tense synthesized drum beats go to a techno drumming and effects that underscore the hijack and escape in the police amphibicopter. This is another piece probably composed by Joseph Williams and resembles quite a bit his music for the Biker Hounds sequence. This energetic passage is immediately followed by... 27. To Manhattan (6m3) (5:28) (LLL D 2 Track 1 (0:00-5:28), OST track 1 Mecha World 0:00-4:42, Oscar Promo Disc 1 track 1 0:00-5:14): David, Joe and Teddy are seen flying towards Manhattan in the amphibicopter and Williams delivers a forceful variation of the minimalistically inspired constantly building repeating Mecha World/Travelling Theme, that seems like an extension and elaboration on the music of the previous travelling scene to Rouge City. With rhythmic tug of the strings and burnished steely fanfares from the trumpets and horns the ship is on its way. Long clear string and brass lines supported by the mechanical beat of marimbas and glittering harp underscore the ride of the protagonists through the skies. It feels like the whole orchestra becomes a giant clockwork machine repeating and modulating the constant ostinato motif of the theme as it keeps building and building with propulsive brass, steady marimba pattern over continuous rhythmic string figures until it reaches a climax at the 3 minute mark with the combined forces of the orchestra, percussion and the electronics when the flying machine plunges into the full view of a skyscraper in the sunken Manhattan that indeed has gigantic lion statues on top of outlying buttresses “weeping” through their metallic jaws and eyes like enormous fountains. From here the music continues subdued as David and Joe land in the Cybertronics main building, the tone of the music turnining gentle with probing high strings, luminous sparkling harp and a dreamy solo horn line as the score voice the robot boy's excitement. David seems so close to his goal (or so he thinks) and the cue ends with clear tones of bell tree and celesta but the musical sequence continues on without pause to an interconnected cue... 28. The Reading Room (6m4) (3:13) (LLL D 2 Track 1 (5:59-end), OST track 1 Mecha World 4:42-end, Oscar Promo Disc 1 track 1 5:14-end): After a probing light figure in string the music grows eerie with a cold electronic pulse, yawning ominous string figure and scraped gong as David steps into a room that is revealed to be a library. Just then one of the chairs turns and both audience and the robot boys see a David replica reading there calmly. Subtle yet hard edged cold string sustain and hollow synthesizer sounds underscore this revelation. Baffled David is feeling confused and angry since he realizes that he is not unique and thus special any more, the ghostly synthesized voices and subtle icy twinkle of piano depicting his psychological state. Rubbed tam tam groans, strings and synthesizers rise and as David flies into a fit of uncontrollable manic rage as he thinks this clone is after his mother’s love as well, he in a moment of fury decapitates the robot with a table lamp. Here the score turns from fear and confusion to rage and the woodwinds and strings swirl furiously, chirping and screeching, creating the confusion and horror while underneath the percussion hits imitate the blows of the lamp although they do not catch the on-screen action blow-by-blow. In this moment of madness proferssor Hobby appears out of the blue and stops David and calms him explaining the purpose of the Mecha child. He is the test version of imprinted robot capable of love and affection and that there will be many more of his kind for those who are unable to have a child of their own or have lost their own children. When Hobby mentions that David, his real son, was one of a kind, unique, in anguished tones, we hear David’s Theme sing out on compassionate oboe which ends the cue on a warm note which makes the next cue a sudden but narratively effective shift in tone. Album Versions VS the Film Version The music underscoring David's rage is included in the album version of The Mecha World but it is missing the atmospheric middle portion of David meeting his robotic clone. The Oscar Promo is missing the same section as the OST. The LLL release features the entire sequence as written, joining the cues 6m3 and 6m4. 29. The Replicas (6m5) & Floating Downwards (6m6) (5:58) (LLL D 2, Track 2, OST track 3 Replicas, Oscar Promo Disc 1 track 9): This sequence is also composed of two continuous cues. Professor Hobby leaves David alone in the offices as he goes to fetch his team of scientists so they can start to analyze David, his data and his experiences to learn more from them in order to perfect their imprinting protocols. The robot boy wanders off into a workshop nearby and makes a startling find that brings home professor Hobby's words: A room full of Mechas, replicas of David, have already been manufactured and packaged for sale with female versions lined next to them. He is not unique, not like human children are. The music starts very sparse and haunting as chilling treble voices of the women's chorus seem almost to moan as they murmur in high register, piano, sinister percussion, distant muted brass and high strings underscore the scene where David discovers the replicas. As he notices the packaged robots his horror and dismay increase and finally as the boy finally seems to lose all heart and his hopeless horror is revealed, the camera zooms to his eyes and the choir and orchestra build to a literal screaming halt around 3 minute mark. Subsequent scene finds David sitting on a ledge high up in the Cybertronics building at the heart of sunken Manhattan completely heartbroken and forlorn, oboe and the choir now expressing his heartache in mournful and sympathetic tones. Finally in his despair the robot boy plunges down into the ocean that now covers all of New York (witnessed by Joe from the copter) and with this the music takes a sudden turn to ethereal and reflective with twinkling piano and luminous strings as David is seen sinking to the bottom through water pierced by clear shafts of sunlight from the surface. Luminous high register orchestrations follow when a school of fish swim around him and he is carried on by them, the sunlight dazzling in the clear blue water, Williams capturing the lyrical atmosphere in his music. Subtle fragments of Monica's Theme can be heard amidst the music along with something that sounds like a slight nod to Albinoni’s Adagio for Strings (beginning at around 4:20), creating a spiritual almost religious musical tableaux. Just as David hits the ocean floor, Joe comes to his rescue and at that very moment David sees a glimpse of something that catches his eye in the water which animates the score on hopeful singing strings. He has seen the Blue Fairy! In the Making The LaLa -Land set (Disc 3 Track 8 includes an alternate take on the Replicas section of this sequence with notably enhanced brass starting at 2:20 mark with a disconsolate horn passage and a pinched trumpet cry during the choral crescendo. Alas Gigolo Joe has been tracked by the police because he is wanted for a murder of a client and at this precise moment they descend on him in the Manhattan ruins and capture him. Saying quick goodbye to David, he in his last selfless act of kindness to his diminutive saviour activates the amphibicopter which plunges under the waves towards the place where the Blue Fairy lies! 30. Finding the Blue Fairy (7m1/2) (5:59) (LLL D 2 Track 3. OST track 11 Search for the Blue Fairy (Edit), Oscar Promo Disc 1 track 7 (Edit)) Music takes a murky, meandering underwater quality as David is seen slowly propelling past the old Coney Island amusement park buildings. Slow, deep orchestral sonorities, rumbling piano, tuba, double basses, lower woodwinds and deep horn lines all create the sense of antiquity and the ocean depths, the higher strings counterpointing the atmosphere with their colours. Williams even adds a carnival organ into the orchestral palette as a nod to the atmosphere of the amusement park, a ghostly musical reminder of the bygone eras, harp glittering like light through shadowy waters above the orchestral textures. At 1:58 the music becomes more agitated and anticipatory. Barbara Bonney’s voice is heard humming softly under the coalescing orchestral forces as David closes on his goal with strings and bubbling woodwinds and a wash of sound from the bell tree heralding his arrival to the statue of Blue Fairy with their swirling excited textures. Here the orchestra gives a way to a humming human voice, soprano Barbara Bonney, who performs the Blue Fairy/Humanity Theme. The soprano voice complements the orchestra with beautiful subtle wordless solos as Ben Kingsley's narrator voice continues David’s story. The whole scene is musically based on one long development of the Blue Fairy/Humanity Theme as David has reached the fulfillment of his dream. But since he cannot achieve his hopes, the theme is full of both hope and profound spiritual beauty but also quiet sorrow of unimaginable depth. There in the deeps of the sea the amphibicopter is stuck under the crumbling metal of a falling ferris wheel, trapping the robot boy and his teddy bear in their craft. And as the screen grows dark while the narrator tells us how David still continued to make his innocent plea to the statue that was standing right before him but beyond his reach, again and again praying to become a real child, the Blue Fairy/Humanity Theme fades softly away in tones of hushed sadness. This cue along with the lengthy finale is one of the emotional centerpieces of the score. Williams has here captured all the spiritual depth of David's hope and faith and also the deep sadness of this search for something he cannot ultimately achieve and thus has created a moment that both rejoices and laments for David with profound sympathy. It is one of those unique opportunities where music can speak deeper than words and the composer captures the deeper subtext of the scene with poignant lyricism that reaches for the human soul. He gives David’s most fervent dream, his belief, and the character of the Blue Fairy a voice of her own. In the Making Although the music of this scene always used the broad cantilena melody of the Blue Fairy/Humanity Theme, the music itself went through several different versions before an edit of several takes and elements was used to compile the final cue heard in the film. Williams created at least a purely orchestral version (LLL D 3 Track 10 (Orchestral Excerpt)), an orchestral version with shimmering bell-like synthesizer accompaniment without vocals (LLL D 3 Track 9) where oboe takes the solo part and a combination of soprano soloist and orchestra (D 2 Track 3) before the film makers opted for an orchestra and subtle vocal accompaniment heard in the film. There is yet another alternate version of this piece with the major difference being that the solo soprano is in the forefront of the composition. This is the concertized version of the Blue Fairy/Humanity Theme Williams reworked for the soundtrack album and there exist two different arrangements of it, one with and another without the soprano vocals (titled A.I. Theme (Instrumental Version) LLL set D 1 Track 22 (4:08) and A.I. Theme (Vocal Version) D 2 Track 11 (4:01)). In the end Williams chose to use the vocal version edited together with the film opening of Finding the Blue Fairy on the soundtrack CD. Bonney's voice conveys perfectly the feel and emotion of the scene and gives the piece a fairy tale-like quality but it also enhances the feelings of sorrow and loss in the scene, Bonney's voice echoing powerfully and operatically as if from the depths of the sea itself. 31. Journey Through the Ice (7m3)/Stored Images (7m4)(Film Edit)(~5:14): Stored Memories forms one long 5 minutes track but was created editorially from two different versions Williams wrote of this cue. The film version opens with the original version Williams wrote but at around 2:25 mark it is edited into the ending half of the revised version 2 of the cue. Both versions are analyzed separately below: Journey Through the Ice (7m3) (Version 1) (4:43) (LLL D 2 Track 4, OST track 8 Stored Memories and Monica’s Theme 0:00-4:43, Oscar Promo Disc 1 track 4 0:00-4:43) The piece starts directly after Barbara Bonney's and orchestra's last notes have faded as we now are introduced to the world of the far future and Manhattan all covered in ice 2000 years after David was trapped in the sea in front of the Blue Fairy. A solemn religioso piece for a mixed choir singing a long lined wordless melody underscores the flight of the futuristic Super Mechas over the glacier city. As they land to the site where David has been found in the ice, the music remains mournful, almost like a funeral hymn and when the Mechas approach the amphibicopter and brush off a layer of snow to reveal David inside, frozen, still staring at the unattainable Blue Fairy standing before him, the statue by some miracle yet intact after two millennia. One of the Mechas reaches out and accesses David’s memories and reads them and twinkling piano and bell tree underscore his sudden awakening at 2:17-2:25. Glittering celesta and other chimes play with the rising choral forces and strings spin luminous busy figures underneath as amphibicopter and David are melted from the ice, the musical atmosphere itself warming and lighting up. Clear flute and clarinet bubble to life as the ice melts and David with seeing eyes looks in astonishment at the Blue Fairy standing even after all this time before him. He steps slowly out of the amphibicopter and the music retains the sense of awe as the little boy approaches and touches the statue, an oboe’s warm voice greeting him over a bed of strings, pensive and lyrical. But the statue falls apart under David’s touch and his horror but most of all his grief is announced when the choir repeats the mournful theme from the beginning of the piece almost as a quiet thredony, double basses ending the piece almost in mid-phrase as David notices the Super Mechas for the first time. This original take on the material is much more sentimental than the revised version which explores the alienness of the scene. Williams scored David’s reawakening with empathy and pathos that was in the end perhaps considered a bit too emotional by Spielberg. The final version underscores David’s horror and discomfort and the ambience of the icy world is emphasized in the orchestrations and nearly themeless approach. Journey Through the Ice Version II (7m3) (Version 2) (5:04) (LLL D 2 Track 5, Oscar Promo Disc 1 track 6): This version of the piece opens with a high female chorus, shimmering bell tree, harp and celesta, the music very dispassionate and emotionally detached, depicting the icy world where the futuristic Mechas approach the excavation in the ice. The chorus becomes almost a drone and bell tree offers glinting icy accents with harp as the robots approach David, celesta presenting few scattered notes here and there and piano rumbling in the cold space. The opening 2:17 of the music was not used in the film. At 2:18 icy strings, harp, orchestral chimes, bell tree and high female choir continue to enhance the alien and cold atmosphere as David stares out with seeing eyes first time in 2000 years. The Mecha child espies the statue of the Blue Fairy still intact and gets out vehicle and slowly approaches his goal just few feet away. As David feels the the frozen statue with his hand the hoarfrost covered edifice crumbles to pieces under his touch which is scored with subtle intensified orchestral rumble (3:20) but in the film sound effects take precedence over music, which is dialled out at this moment. David is confused and horrified and icy piano plays fragmented pieces of the Blue Fairy/Humanity Theme as he suddenly becomes aware of the the Super Mechas around him and indeed the huge icy cavern they are in. The remainder of the cue continues eerie but now more luminous with women's choir singing in the background and Williams offers further fragmented readings of what sounds like both The Blue Fairy/Humanity and Monica's Theme on piano while the Mechas keep studying David's memories. This latter portion (from 2:18 onwards) was used in the film, where the cold and slightly alien atmosphere was favoured over direct emotionalism. 32. Stored Memories (7m4) (3:07) (LLL D 2 Track 6) With clear peal of triangle and harp the Mechas start to read David’s memories and a lovely lilting duet for cello and piano performing full version of Monica’s Theme appears as images of her from David’s memory are projected through the glassy bodies of the super Mechas as they share the information among themselves. Then in a flash accompanied by subtle sizzling high strings and icily coruscating synthesizer effects David appears to be at home again. In this familiar environment Williams again reiterates Monica's Theme on piano as David's hope of returning home to his mother seems to have come true and the piano enhances the simple direct emotion of the calming song-like theme. But soon the robot boy encounters someone unexpected. 33.What Is Your Wish (7m5) (4:12) (LLL D 2 Track 7, OST track 8 Stored Memories and Monica’s Theme 5:40-end, Oscar Promo Disc 1 track 4 5:40-end) Then and there the David hears the unlikeliest voice in their house, the Blue Fairy (voiced by Meryl Streep), calling out to him as she has appeared as if by magic in the next room. As he goes to her, the source of his greatest desire and dream, a subtle soothing wordlessly sung melody of the gentle female chorus over a bed of warm string harmonies represents the Blue Fairy instead of her actual theme. Perhaps Williams is suggesting subliminally here that David's wish to become a real boy is not in the power of this enchanting figure as she is not real after all, only a figment of Super Mechas' doing, and can't grant him his wish in the way he desires. The fairy then proceeds to explain the situation to David, about his mother and how he is the only living memory of human race left in the world while the music retains a sympathetic tone with the chorus intoning their warmly serene melody. She informs Monica cannot be brought back after such a long time, not without some trace of her physical being, a finger nail or hair, but Teddy, who has also been revived after his long journey with David, has saved the lock of hair the boy cut from Monica's head all those years ago. This means that she can be created anew from its DNA and so solo harp presents a meaningful and poignant melodic phrase (2:59) as we see David handing this precious memento to the Blue Fairy and Monica's Theme calls delicate out on celesta, softly played shimmering glockenspiel notes and glimmering bell tree. It is a moment of innocent hope and determination and the expectant rhythmic string chords that close the cue illustrate the boy's renewed faith. In the Making The version of this music found on the soundtrack album is slightly truncated. An alternate version of this piece can be found on the OST album and the Oscar promo that features Barbara Bonney's solo voice humming gently in the place of the chorus. This alternate is also presented on the LaLa- Land set (D 3 Track 11). 34. The Specialist Visits (8m1) (3:59) (LLL D 2 Track 8, Oscar Promo Disc 2 track 18) We see David next in his old room and the harp plays a solo over a wash of gently dancing luminous strings and glinting chimes and for the first minute or so the music is ethereal, magical and calm as we are shown David calmly playing with his old toys again. Then crystalline musical tones usher in a Super Mecha, the Specialist (voice by Ben Kingsley), who we now find out has been the narrator of the story all along. And when he explains to David that they can bring his mother back for just one day and how it can be done only once (wish fulfilment in the best Spielberg fashion) Williams spins a beautifully heartfelt and delicate chamber-like variation of the Blue Fairy/Humanity Theme on strings, celesta, flutes and two harps that expresses sadness and tenderness in equal measure, the score capturing the sorrow and comforting wisdom of this futuristic being. It is almost as if the score is preparing the listener for what is to come, singing a quiet lullaby to David but also in its poetic way extolling the human spirit, the Specialist viewing human fragility with sadness but also with wonder, their soul something he cannot fathom, nor their concept of love and what it can help them to achieve. Around the 3 minute mark a haunting sonorous voice of solo cello intones the theme for one final time with delicate lyricism signifying that David stands behind his decision to meet his mother for one last time even if it will be for only a single day. Here the Blue Fairy/Humanity Theme has fully changed from a theme for a character to a musical identification of David’s dream of reuniting with his mother, of achieving humanity, which his wish to become a real boy has actually been all along. 35. The Reunion (8m2) (7:29) (LLL D 2 Track 9, D3 Track 12 (Alternate), OST track 12 Reunion (7:45), Oscar Promo Disc 1 track 11(7:00) (Alternate)) After David has restated his wish to see Monica for one last time, the morning miraculously comes and as the sun rises Specialist urges David to go to his mother and spend a day with her. Williams uses a fleeting variation of the Blue Fairy/Humanity Theme here to signify that David's impossible dream has after all come true and from this point on piano takes the centre stage. Accompanied by oboe, cello and strings a beautiful long development of Monica's Theme is first heard on the piano as David wakes Monica up and they sit together for a breakfast. The theme continues with oboe peacefully accompanying, cello ghosting the piano melody, adding a warm texture underneath as the two spend the day together, the music playing lullaby-like, lilting warmly and reassuringly in the background. When David tells of his incredible journey to his mother (close to the 4 minute mark), with a shimmer of violins Williams weaves David's Theme together with Monica's and so these two musical ideas are finally united. David's melody continues on solo oboe in a bed of soothing string textures, harp effects and etheral celesta interjections as they celebrate the boy's first birthday as he has never had one before. But eventually the night falls and the moment of their parting is drawing nigh. David tucks his mother to bed and as she finally says that she loves him, the everlasting moment that David has waited for so long comes. The composer presents a small anticipatory harp and string cascade when she finishes her sentence and the camera closes on them as they hug, the soloist beginning a rendition of Monica's Theme full of serene finality and acceptance, the hopes and dreams of David at last fulfilled. Monica falls asleep, never to wake again and David goes to sleep beside her, closing his eyes for the last time and Monica's Theme on the piano, harp and graceful warm strings brings the cue to a peaceful close, like a lullaby sending our small protagonist to where dreams are born. In the Making The film version of this piece is likely a hybrid edit of different takes of the piece. Neither the LLL set, OST version nor the Oscar Promo version fits the film’s running time or performance of the music completely. The OST performance is close to the film version in some portions while the Oscar Promo in others. The LLL set (and the Oscar promo) contains an alternate slightly faster version of the piece but Williams chose the slower lengthier performance as the one presented on the original soundtrack album and in the complete score programme on disc 2 of the LaLa-Land Record's release. 36. End Credits (Where Dreams Are Born) (8m3) - Opening End Credits/Vocal and Credits (4:24) (LLL D 2 Track 10, OST track 9 Where Dreams Are Born, Oscar Promo Disc 2 track 2): For the film's end credits John Williams created this hauntingly beautiful and lyrical concert version on Monica’s Theme that features soprano Barbara Bonney singing the wordless cantilena version of the theme accompanied by piano, cello, oboe and strings. It is a fitting and poignant farewell to David, the score gently addressing his achievement of some measure of humanity at the end, Bonney's voice lending a spiritual depth to his character and the end of his quest with this gorgeous vocalize. 37. End Credits part II (2:21) (Film Edit) To accommodate the end credits' length music was tracked from the cue Journey Through the Ice (Version 1). It is the segment from the beginning of the cue until 2:20 where the choral section of the piece ends. Abandoned in the Woods (Album Version) (LLL D 3 Track 13) Originally John Williams recorded another version of the Abandoned in the Woods (LLL D 3 Track 13, OST track 2, Oscar Promo D 2 Track 1) to function as the second part of the end credits. He wrote essentially a concert version of this particular theme, which features more powerful full ensemble orchestrations for the material and the accompanying minimalistic arpeggio-figures than the film counterpart but it also adds a completely new coda after the crescendo after the 2 minute mark, which restates the Abandonment Theme on woodwinds and tense brass with the minimalistic string motif slowly winding down to silence. While it was ultimately unused in the film's credits, this version made it to the soundtrack album and the Oscar promo, while the film version of the film cue of the same name was finally released on the LLL set in 2015. The Song For Always (LLL D 3 Track 1 & 14 (Duet) (4:40) Poet Cynthia Weil wrote lyrics to John Williams’ Monica's Theme and two different versions of the song were recorded, one with Lara Fabian and the other with Josh Groban and Lara Fabian singing a duet. Neither version of the song appears in the film and was created just for the soundtrack album. Here follow the lyrics of the piece: I close my eyes And there in the shadows I see your light You come to me out of my dreams across The night You take my hand Though you may be so many stars away I know that our spirits and souls are one We've circled the moon and we've touched the sun So here we'll stay For Always Forever Beyond here and unto eternity For Always Forever For us there's no time and no space No barrier love won't erase Wherever you will go I will know in my heart you will be With me From this day on I'm certain that we'll never be alone I know what my heart must have always known That love has a power that's all it's own And for always Forever Now we can fly And for always and always We will go on beyond goodbye For Always Forever Beyond here and on to eternity For Always And ever You'll be a part of me And For Always Forever One thousand tomorrows may cross the sky And for always And always We will go on beyond goodbye © Mikko Ojala
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