Harry Potter And The Deathly Hallows Part 1 by Alexandre Desplat

[ChrisAfonso 186]

He may generally like it subtle, but there are plenty of moments and scenes in all three Yates films so far where the music really comes to the forefront and is allowed to make a statement of its own. Action music isn't really Hooper's forte (beware t3h mighty und0rstatement ), so things like the Prophecy hall and Arch room battles really underwhelm, but cues like "Flight of the Order of the Phoenix", "A Journey to Hogwarts", "Professor Umbridge", or "Journey to the Cave" are far from anonimous wallpaper, regardless of the actual quality of the music itself (which imho ranges from mediocre to pretty good over those cues, e.g.).

[indy4 155]

Neither of those reasons involves an artistic disagreement with the director, and until now we've had no reason to suspect that.

The way the music played out in the last three films didn't give you a hint?

The music has not been generic nor wallpaperish. I agree with Chris. I can think of a bunch of scenes from Yate's Potter films where music was in the forefront:

"Flight of the Order of the Phoenix"

"A Journey to Hogwarts"

"Professor Umbridge"

"The Room of Requirement"

"Dumbledore's Army"

"Journey to the Cave"

"The Kiss"

"Darkness Takes Over"

"Another Story"

"Fireworks"

"When Ginny Kissed Harry"

"The Killing of Dumbledore"

"Obliviate"

"Snape to Malfoy Manor"

"Sky Battle"

"Ministry of Magic" (the cue from both DH and OotP)

"Detonators"

"Fireplace Escape"

"Destroying the Locket"

"Farewell to Dobby"

"The Elder Wand"

I'm sure there'd be a lot more from HBP, but I only saw the film once a long time ago so I don't remember it. To say Yates doesn't treat his music well is just...wrong.

[gkgyver 1,645]

When there is little to no dialogue, the music is bound to be in the forefront. And whenever the music indeed is in the forefront, it makes little to no actual statement. Hooper's music especially.

Contrary to the statements of the officials, the music just takes what is there on screen and duplicates it. It neither layers subtext into the film, nor does it push or move it someplace.

Hooper's and, to a lesser degree, Desplat's music simply lacks guts. Whenever there is something of interest happening, may it be Ron's departure or Ron's return or other scenes, the music takes the backseat instead of moving the scene to a certain place or placing it in context by clever motivic inclusions.

What does "Obliviate" tell me emotionally? What does the film version of "Ron Leaves" tell me about Ron and Hermione's blossoming romance? What is "The Elder Wand" trying to achieve? After all, it's a pivotal moment in the story. Expertly orchestrated, and very listenable, but still, more mundane than anything else.

"The Kiss", "When Ginny Kissed Harry", "The Killing Of Dumbledore" - these are all pure musical wallpaper, pushed to the front because of lacking dialogue, with "Flight of the Order of the Phoenix" being amongst the worst and most lifeless pieces of attempted "soaring" music ever.

[indy4 155]

It's pointless to argue over the quality of the music, as that is likely the composers' fault, not the director. The best way to determine how a director wants the music to interact with the film is based on how the director treats it - how much control he gives it within the context of the film itself.

First, the fact that music is prominently heard during the sound effects laden action sequences - "Flight of the Order of the Phoenix," "Ron's Victory," "Sky Battle," etc. - proves that Yates cares about music. Even in scenes without dialogue or sound effects, that doesn't necessarily mean music will shine. Music can still be mixed quietly enough so that, in relation to the previous noises of the film, it is quiet. That's not the case in the Potter films.

Take the tale of the Deathly Hallows for instance - the only sound other than music is Hermione's voice (and even that's used sparingly), yet the music certainly doesn't shine here. It's atmospheric and subtle. The fact that, out of all the scenes with little or no dialogue or SFX, this was the only one where music wasn't prominent, proves that Yates' treatment of music in previous films has been generous. Why, just the fact that Yates included all these montages and scenes that gave the music little competition speaks to his admiration for the art.

You can argue about how good or bad that actual music that is being written is, but that's completely beside the point.

Anywho, I'm just trying to prove that Yates' questionable musical treatment was NOT something to be expected based on the score treatment for OotP and HBP (and it's not really the result of DH). I think the fact that this argument is stretched out so long proves that it's not stating the obvious to suggest that JW was put off by Yates' vision.

[ChrisAfonso 186]

I guess we have to disagree about matters of subliminal motivic connections, because imho DH is full of them. Arguing emotional impact of music on an objective level is largely futile, so I will leave it with my impression that e.g. "Obliviate", apart from introducing the main theme of the film (and foreshadowing the Hallows theme), perfectly captures that sense of uncertainty, of troubled times lying ahead, of longing to set things right again, that the trio feel. The despair of Hermione while erasing herself from her parents' memories to keep them safe. The uncertain outlook on the troubles lying ahead visible in Ron's expression when he stands alone at the edge of the field in fron of the Burrow at sundown (beautiful shot, btw). Harry's loneliness and self-doubt when he is alone in the house (though his scenes are easily the weakest of the whole sequence).

I agree that the final part of "The Elder Wand" is quite disappointing musically, I would have at least expected Desplat's Voldemort motif there, in a frenzied, multi-layered fashion that would express his manic feeling of success.

[Henry B 50]

I bought this deluxe set. Waste of money? Yup, but it did have a few uses; I gave the poster and film cells to my sister, who's a total fangirl. What's with this LP? I'm afraid to play it on any equipment that's less than stellar. Eh, maybe a rip will show up online.

"Obliviate" - yeah, it starts with an extremely typical sound, but morphs into a really interesting piece. It's the case for a lot of these pieces.

I actually like "Tale of the Three Brothers" a lot, atmospheric though it may be. I'd love to see the animation sequence.

[ChrisAfonso 186]

Yes, that track is interesting... the athmospheric part reminds me a bit of some passages of A.I., and the inclusion of the Hallows theme appearing there would lend the scene in the film some more motivic connectivity.

[gkgyver 1,645]

The mere fact that Yates omitted the piece from the film points heavily towards the assumption that he does not much care about thematic things, since in context, it is obviously the revelation of what the Hallows motif represents.

[indy4 155]

Oh please. There's a million scenes in Yates' 3 films where the music dominates, and you're going to make a generalization about him because he cuts out a theme in one of them?

[ChrisAfonso 186]

Hm, but it appears before, most importantly when Hermione sees the sign on Ignotus's grave, and then with the great buildup in "the Deathly Hallows", when Xeno explains them and draws the symbol. It's a real pity it's not there in the Tale, but the connection to the Hallows is made very clear.

In fact I agree that caring for well-placed thematic links probably isn't high in Yates's priorities (but thanks to the composers they're still there), but this doesn't really further the problematic claim that he intentionally keeps the music anonimous generally.

[Matt C 452]

I actually like "Tale of the Three Brothers" a lot, atmospheric though it may be. I'd love to see the animation sequence.

A small section of the cue is used in the animation sequence, which uses part of "The Deathly Hallows" cue as underscore instead.

[gkgyver 1,645]

SO, what actually IS on the vinyl thing?

(Still having faint hope it contains something more worthy of attention than the other "bonuses")

[King Mark 3,631]

who cares

[ChrisAfonso 186]

You obviously don't, so why are you here?

[Ollie 1,059]

Just to continually put down anyone other than Williams who has scored HP.

[gkgyver 1,645]

I care if the LP has new music.

So, nobody actually listened to the thing? That can't be ...!

But if there really was new material on there, I'm sure it would have been promoted to death and back again.

[gkgyver 1,645]

Harry Potter and the Deathly Hallows Part 1 iin chronological order:

1. Opening - Hedwig's Theme

2. Obliviate

3. Snape To Malfoy Manor

4. Voldemort

5. Polyjuice Potion

6. Sky Battle

7. At The Burrow

8. Harry and Ginny

9. The Will

10. The Life And Lies Of Albus Dumbledore/They Are Coming

11. The Diner

12. Grimmauld Place

13. Kreacher and The Locket

14. Dobby/Body Double

15. Ministry Of Magic

16. Detonators

17. Taking The Locket

18. Fireplaces Escape

19. The Exodus

20. Ron Leaves

21. Clues (aka "The Dumbledores")

22. My Love Is Always Here (Source)

23. Godric's Hollow Graveyard

24. Bathilda Bagshot

25. The Forest Of Dean (aka "Hermione's Parents")

26. Destroying The Locket

27. Ron Returns

28. The Lovegoods

29. The Tale Of The Three Brothers

30. The Deathly Hallows

31. Captured And Tortured

32. Bellatrix

33. Rescuing Hermione

34. Farewell To Dobby

35. The Elder Wand

Anyone interested? PM.

[rpvee 805]

Anyone else love the flute in "Sky Battle" that plays just as Harry and Hagrid escape from Voldemort? It sounds so Williams-esque, almost reminds me of Empire in a way. The first half of it even sounds like Yoda's theme! But even that aside, it reminds me of Williams and Empire a lot.

[Once 605]

Anyone else love the flute in "Sky Battle" that plays just as Harry and Hagrid escape from Voldemort? It sounds so Williams-esque, almost reminds me of Empire in a way. The first half of it even sounds like Yoda's theme! But even that aside, it reminds me of Williams and Empire a lot.

I've listened to that part over and over again. I love it. To me it sounds very Williams-esque, and like you said, something from Empire. Brilliant.

[gkgyver 1,645]

I've got a little sequencing question here:

in the film, the beginning of "The Will" plays over the trio arriving at Xeno Lovegood, but I've been thinking. Do you think it could have been tracked there, and was originally to play over the Weasleys "building" their wedding tent, followed by the arrival of Scrimgeour?

It would be very odd to place that cue near the beginning of the album.

In addition to that, do you think "Lovegood" was intended by Desplat to go over the arrival scene, and was then changed by Yates?

[JoeinAR 1,949]

The regular album started out with such promise and then died. It's still better than Doyle's but not as good as Nick's first score.

[Score_Fan 36]

I think it's the best score. I know how unpopular it is to love hooper's music, but I'm surprised I like Hallows as much as I did, having not been a fan of desplat before. Now? I love him.

[gkgyver 1,645]

I can see what people find in Desplat.

I cannot for the life of me see what people find in Hooper.

[Naïve Old Fart 9,515]

Has anyone got an absolutely complete listing for "D.H.pt.1", including the box-set, and the downloadable stuff?

[BloodBoal 7,538]

[Naïve Old Fart 9,515]

Whoops! Don't know how I missed that? Ta, awfully, Mr Blood (and gkgyver!).

[Score_Fan 36]

I can see what people find in Desplat.

I cannot for the life of me see what people find in Hooper.

I really can't explain why I love Hooper so much...but something with his music really resonates with me.

[crocodile 8,000]

That would be why. Hope you won't explode though.

Karol

[Score_Fan 36]

Not that type of resonance... <_<

[Naïve Old Fart 9,515]

Well, well, this a curious entry into the series, isn't it? My first thought was that it should be re-packaged and re-named "Music By Danny Elfman".

I'm not a big fan of Desplat's music, not because I don't like it, simply because don't know nearly enough of it to make any kind of judgment. It certainly surprises; one moment it's all Williams-esque action ("Sky Battle") then it's playful, tender, and sweet, before "Lovegood" kicks in, and it goes all Jethro Tull (!).

I'm not sure that I'm hearing Desplat's "voice" in this score, but, then again, I'm not sure what Desplat's "voice" is. To these (admittedly ignorant) ears, it seems like too much of a compromise.

Perhaps in trying to score arguably the two most important films in the whole saga, Desplat was told what the makers wanted to hear (aided, I'm sure, by those oh-so-helpful temp-tracks ) and then gave them what they wanted.

Maybe I'm biased, but the three best HP scores are by someone who knows instinctively what should be written and doesn't put a foot wrong in writing them.

Desplat's score is good, and nice to listen to, but, like so many scores these days, it does not seem to fit the film for which it is composed, neither does it work "against the grain"; it just is.

If this what modern film scoring is all about, then "D.H.pt.1" succeeds...just.

[crocodile 8,000]

I wouldn't say this is "pure" Desplat. That would sound something like this:

Karol

[publicist 4,643]

Maybe I'm biased, but the three best HP scores are by someone who knows instinctively what should be written and doesn't put a foot wrong in writing them.

Williams put plenty of wrong foots into POTTER I. The music got dialed down in Part II for a reason.

[Jeff 10]

Maybe I'm biased, but the three best HP scores are by someone who knows instinctively what should be written and doesn't put a foot wrong in writing them.

Williams put plenty of wrong feet into POTTER I. The music got dialed down in Part II for a reason.

First of all, I don't agree that Williams scored SS improperly in any degree. Secondly, I would say the music was dialed UP in Part II - it's got a lot of the same themes but more grandiose.

[crocodile 8,000]

Well, he states his main theme in the same guise every 3 minutes.

Karol

[Datameister 2,041]

Only in the first part of the film. That stops once they're on the way to Hogwarts.

[crocodile 8,000]

I had a chance to watch the first film recently, after many years. And it struck me how misplaced the music seemed. Maybe it's because we're so used to low volume of JW's scores in films. But it felt like he scored the book and then someone attached it to this film. But then again the movie is pretty bad, so it might be that the music is trying to make up for it.

Karol

[gkgyver 1,645]

Funny, I also watched part 1 again a few days ago.

One odd scoring decision is the grandiose music over Harry catching that memory glass thing during Madame Hooch's flying lesson. It sounds very corny in comparison to the rather insignificant action on screen.

Has anyone got an absolutely complete listing for "D.H.pt.1", including the box-set, and the downloadable stuff?

The track list with timings:

1. Opening - Hedwig's Theme (0:18)

2. Obliviate (3:02)*

3. Snape To Malfoy Manor (1:58)*

4. Voldemort (4:18)

5. Polyjuice Potion (3:32)

6. Sky Battle (3:48)

7. At The Burrow (2:35)

8. Harry and Ginny (1:43)

9. The Will (2:48)

10. The Life And Lies Of Albus Dumbledore/They Are Coming* (1:44)

11. The Diner (1:24)

12. Grimmauld Place (2:12)*

13. Kreacher And The Locket (2:18)

14. Dobby/Body Double (3:49)

15. Ministry Of Magic (1:46)

16. Detonators (2:23)

17. Taking The Locket (0:59)

18. Fireplaces Escape (2:54)

19. The Exodus (1:37)

20. Ron Leaves (2:36)*

21. Clues (2:09)

22. "My Love Is Always Here" (Source) (3:04)

23. Godric's Hollow Graveyard (3:15)

24. Bathilda Bagshot (3:54)

25. The Forest Of Dean (5:51)*

26. Destroying The Locket (1:11)

27. Ron Returns (2:16)*

28. The Lovegoods (4:19)*

29. The Tale Of The Three Brothers (1:54)*

30. The Deathly Hallows (3:17)*

31. Captured and Tortured (2:56)

32. Bellatrix (2:11)*

33. Rescuing Hermione (1:50)

34. Farewell To Dobby (3:43)*

35. The Elder Wand (1:36)

* contains unused music

[Datameister 2,041]

I disagree. I think the music works just fine in SS.

[gkgyver 1,645]

Oh it works alright. I do agree, however, that Hedwig's Theme is slightly overbearing in the firt 20 minutes or so.

[Datameister 2,041]

Yeah...I have pretty mixed feelings about that. If it had been used perhaps one or two fewer times, I think it would have been fine, but as it is, it does get to be a bit much. None of the statements are tracked, of course, but they're so similar that I almost wonder if Columbus made Williams do it that way. Doesn't seem like the sort of thing he'd normally do. Or maybe he just ran out of time...

[Joe Brausam 214]

Even with the recording sessions and all, I just CANNOT enjoy Sorcerer's Stone. It's just way too much. I enjoy Chamber of Secrets, I feel there's more variety in that, and I love Azkaban to death.

[Gruesome Son of a Bitch 6,488]

Well, I mean, do you enjoy parts of the first score, or do you dislike all 2.5 hours? That's just a lot of fantastic Williams music to not enjoy.

I also disagree about Hedwig. I agree it's used a lot, but I love it. It's like Dracula's theme or Witches of Eastwick again and again. They're such great themes, I don't really get sick of them despite repetition.

[gkgyver 1,645]

You know, I'm currently listening to "Don't Burn My Letter", and even though people incessantly claim this film's themes have no place in movies 5,6 and 7, the first 30 seconds of that cue rocks that theory heavily.

This slightly warped statement of the Nimbus 2000 theme could fit in any of those so-called "dark" films.

[Joe Brausam 214]

Parts of it I enjoy. The second half mostly. But some of the stuff just grates on me. Harry's Wondrous World, Voldemort's 3 note theme...for some reason they just ANNOY me. But the material that isn't based on that stuff I can enjoy, for the most part. And I love the source cues, like that ghostly Christmas song.

[Datameister 2,041]

You know, I'm currently listening to "Don't Burn My Letter", and even though people incessantly claim this film's themes have no place in movies 5,6 and 7, the first 30 seconds of that cue rocks that theory heavily.

This slightly warped statement of the Nimbus 2000 theme could fit in any of those so-called "dark" films.

I think "The Blue Forest" is even better evidence for the fact that Williams could have easily gone "dark" enough. That ghostly march is pretty gloomy stuff, and then the huge statement of Voldemort's theme is jaw-droppingly good. Would have been right at home in Williams scores for the later films. Oh well...

[gkgyver 1,645]

I didn't mean Williams' style as much as I meant the theme.

[Gruesome Son of a Bitch 6,488]

The notion that Williams' music couldn't fit the later movies has always been a bunch of shit.

[Datameister 2,041]

I didn't mean Williams' style as much as I meant the theme.

Ah, gotcha. Yeah, a good theme in the right hands can be used in dramatically different ways.

[gkgyver 1,645]

"You name me one film our Johnny can't do!"

[Brónach 1,302]

I need to show my enthusiasm on this matter, otherwise I'll explode.

I'm always under the impression that when JW goes dark and menacing, he just RULES. And he sometimes puts a fun and theatrical feeling to it without losing the dark side of the music at all. Impressive, most impressive.

Also when he gives the music that big sacred tone that I love so much.

7m3 Three Note Loop

Approaching the Stones

Reaching the Country