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Harry Potter And The Deathly Hallows Part 1 by Alexandre Desplat


Josh500
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I like how Clemmenson is so taken aback by the electronic bass.

Hello...Harry Potter takes place in the 20th century. Not the damn middle ages.

P.S. I'm really liking the Turkish elements in this soundtrack.

Most exciting thing in Harry Potter music since the Harpschichord in POA.

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Did anyone notice on that DH site that there is a deluxe digital album that you can preorder on 11/02 that comes out the same day as the CD that has the OST tracks, digital booklet, and video interview, and 3 EXTRA unreleased tracks. So does this mean that big 70 dollar set will only really feature 3 unreleased tracks since 3 can be bought digitally in the deluxe set? lol.

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I really like the new samples. At the rate this is going, it doesn't need Williams' theme to be good -- it's solid all around. The electric bass sounds well integrated and it feels refreshing.

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Okay, I canceled my limited edition order, and will get the normal CD instead. I may regret it, but I was just sick of this totally uninspired rip off. If you want soundtrack fans to shell out money, offer them more soundtrack. Seriously, who do they think their target audience is? Most casual fans of Harry Potter will hardly get the limited soundtrack album box for a gazillion dollars, and most real fans of film music will (or should!) feel offended by these marketing decisions and boycott the set. I ordered the Alien blu ray set instead. I do like the new samples, btw.

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These new samples really do sound like they'll make for a great score. I do hope to hear some Williams references in the film, but I'm not going to go to Desplat's house with a torch and pitchfork if he doesn't use it anymore than the previous two composers did. The reaction of some people here is a little much. I'm sure Desplat worked his butt off trying to write the best score he possibly could for this film, he knows how much exposure this will get him with a new audience, and if in doing that he didn't feature someone else's theme on the OST as much as some fanboys would have liked than that is his choice. Let his music will speak for itself. Arrogant, rude, liar - i mean, really? The man is doing his job, and by the sounds of these latest clips, he's done it well.

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By the way, you really call me an idiot Henry? If that's the case i expect an apology. This board is not a dictatorship, as far as i am aware i can voice my opinion without getting insulted. Such behaviour really makes me angry. You don't have to share my opinion, thats's alright but better argument on a grown up level and stop insulting.

That is probably the worst experience i had on this board since i registered, to be called an idiot just because i voice my opinion....

Eh... you'll be okay.

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I like how Clemmenson is so taken aback by the electronic bass. Hello...Harry Potter takes place in the 20th century. Not the damn middle ages.

You're right. Honestly, it's atrocious how many films with non-medieval settings are not scored with use electric bass!

EDIT: SF1_freeze, I think what Henry is trying to say is that this board has a certain rough-and-tumble appeal, and in order to survive here, you kinda need to have a thick skin and the right sense of humor. Took me a few YAGEs to figure that out, and I'm much happier now. :lol: If you come here expecting perfectly respectful (say that three times fast) discussions, you're always going to be disappointed eventually. Half the time, the insults are all in good fun, and the rest of the time...well, you enjoy it more if you just laugh them off and/or respond with a similar maturity level. :huh:

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These new samples really do sound like they'll make for a great score. I do hope to hear some Williams references in the film, but I'm not going to go to Desplat's house with a torch and pitchfork if he doesn't use it anymore than the previous two composers did. The reaction of some people here is a little much. I'm sure Desplat worked his butt off trying to write the best score he possibly could for this film, he knows how much exposure this will get him with a new audience, and if in doing that he didn't feature someone else's theme on the OST as much as some fanboys would have liked than that is his choice. Let his music will speak for itself. Arrogant, rude, liar - i mean, really? The man is doing his job, and by the sounds of these latest clips, he's done it well.

Exactly. Do I feel that carrying over John Williams' themes in true, Wagnerian fashion would have provided for the ultimate and the ideal Harry Potter experience? Absolutely. Was this technique absolutely necessary for Williams' successors to utilize? Not really. Do I think it was arrogant, rude, and disrespectful for these composers not to include Williams' themes, and to treat each film, instead, as its own thing? Of course not. Disappointing, yes. A poor artistic decision, sure. But what's the use in attacking their personal characters? Patrick Doyle, Nicholas Hooper, and especially Alexandre Desplat have all expressed their deepest respect for John Williams and his work, and they may have felt that they weren't up to the task of adapting his themes the way they deserved to be heard, or that it would have been disrespectful to take his themes and make them their own. Hell, the decision not to use Williams' stuff could be interpreted as downright modest.

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I'm waiting for the OST itself to judge. Seems like some people out there have it, like the Filmtracks site owner... so... where is it...? :huh::lol:

I find it strange he says he won't put up a full review until late December when the lame limited edition comes out so he can judge ALL the music. I mean, isn't the purpose of people like him to get the scores early is to review them in advance so people will want to buy it? By the time he has his full review up not many will care, since by then anyone who has currently been interested in the series will have either bought it or not. I just think it's kind of silly and defies the point of why these people are so privileged in the first place. But hey it's his site. At least he did post about it in the forums, however. I just hate this trend of "hoarding" some people have. Having all this music, yet not sharing it, or much info about it, if ever. (I'm looking at you, the people who have complete recording sessions of Hook, the other Potter films, Star Wars, Indy, Jurassic Park, and anything else out there... wherever you are...)

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The soundtrack itself just leaked tonight guys. Obviously I'm not posting the link, but if you want to know exactly what Desplat did in advance, well, it's out there.

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By the way, you really call me an idiot Henry? If that's the case i expect an apology. This board is not a dictatorship, as far as i am aware i can voice my opinion without getting insulted. Such behaviour really makes me angry. You don't have to share my opinion, thats's alright but better argument on a grown up level and stop insulting.

That is probably the worst experience i had on this board since i registered, to be called an idiot just because i voice my opinion....

Eh... you'll be okay.

Now now Henry, be nice.

We have ways....

:fouetaa:

;)

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It is the best HP score since Azkaban. Doesn't touch the Williams scores still, but it evokes much more feeling and has a lot more style in its execution than the previous 3 scores. The orchestrations are lovely thanks Mr. Pope! There are times where it sounds so much like a Williams score in its orchestra, made me very happy and another reason why I rank it as the best since Williams. Even though Desplat has a very different voice to the Maestro, the soundscape is much closer to the big familiar HP sound we've all missed since the early scores.

I have heard stronger structural thematic work from Desplat in the past. There is a theme for the trio / friendship theme that is lovely and very heart warming, but not particularly memorable. There's a Death Eaters theme which has a lot of motion and pulse in it which i quite like. Also there is a theme that seems to associate with The Locket i think which almost hints at the Hooper's Possession Theme (but that could be an accident considering how simple that melody is). I'll have to give it another listen soon because i'm sure there were more.

'Hedwig's Theme' can be heard in tracks 3, 4 and 7 and there is a big gaping hole at the start of track 1 which i'm hoping will have Hedwig's Theme over the top of it as the main title appears in the film. Though i'm loving Desplat's work here, i would be a little devastated if we didn't at least hear the theme over the titles.

Can't wait to see the score work in the film, i think it's going to work very well just judging by what i've heard. Its a very solid piece of work. Off to work now!

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It doesnt f***ing matter how good the score is, if Desplat made the SAME MISTAKE LIKE DOYLE AND HOOPER AGAIN BY LARGELY IGNORING THE FRANCHISE MAIN THEMES i completely support Clemmensen in his following statement: "I just wish that these sequel composers wouldn't act like dogs pissing on a fire hydrant."

I fear that Desplat could be a completely arrogant lier. He said in the interview that he wants to use Hedwig's theme more, that he loves it and will take every opportunity to use it.

Of course i reserve final judgement until i see the whole movie with all the unreleased music. Maybe the Williams material is there and he only wanted to showcase his material on the OST album. But after this review i dont have much hope. If even a so called Williams lover completely shits on all the established thematic material of SIX MOVIES i will not even call him a worthy composer anymore, that would be the peak of dumbness, arrogance and egoistic behaviour.

Someone's being arrogant alright, and it ain't Desplat.

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The darker motif/theme appears to be derived from his Nid de Guêpes score, but since that's a great motif, I don't mind him adapting it. For me the new samples confirm it's going to be awesome, by the way.

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I fear that Desplat could be a completely arrogant lier. He said in the interview that he wants to use Hedwig's theme more, that he loves it and will take every opportunity to use it.

Yes, i suppose that is exactly what WB wants now: to get their now completely gloomy film series covered in bouncy Disney-lite themes for owls and phoenixes. It may be hopeless to discuss this in rational terms at a Williams fanboard, but i wager that even the maestro himself would very much abandon his thematic material for the first films at this point(save for A WINDOW TO THE PAST, maybe).

In fact, he certainly would do what his heirs do: quote the damn owl theme when the credit arises and then be done with it.

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My review (yes, I have heard it)

My first thought? Disappointment. Granted, this is just a first thought, but it must be noted. This score is in no way awful, and it has more going on than the last 2 Potter scores by Hooper. However, that isn't a compliment that should be fully appreciated. The whole thing just felt really... forgettable. That's the thing that really bugs me. I was really looking for some kind of memorable theme as I listened to this, and the only one that really stuck out to me was the odd "Lovegood" theme. Other than that, nothing really stuck, which is a big shame. The novel the film score is based on has loads of opportunities for really memorable themes. Really. They don't have to be like Williams to be memorable. But as most know, Desplat is know for subtlety, and for that kind of talent, this score seems to shine through. There are a lot of pleasant moments, and some nice underscore. But that's all it ever feels to be. Underscore. The odd thing is, I have read a lot of screening reviews of the film itself that claimed there was quite a bit of action. However, there really isn't that much of it in the score (though perhaps it just isn't represented well in this OST). Even the lengthiest action track "Sky Battle" feels like it's over before it really gets started. That's how all the action tracks feel. Luckily they, like the rest of the score, do embrace a full orchestra (unlike the last Potter entries), and the action at least does feel exciting and sometimes frightening when it's there. Perhaps my favorite action track is actually "Bathilda Bagshot", but maybe because I have a pretty good idea exactly what must be happening during it's frightening moments. :fouetaa:

Oh, for those wondering about themes from the other Potter films being used, you can forget it. I literally only heard "Hedwig's Theme" twice ("Polyjuice Potion" and "The Will"), very briefly. And no other themes that I could recognize. However, one has to realize that the OST is only an approx 70 minute presentation of this score. And from the other releases we already know that are coming out that will feature 'additional' tracks not on this album. The film itself is 2 hours and 30 minutes, approx. So there are plenty other opportunities for more themes, such as Hedwig's, from John Williams to pop up. And also, perhaps, a greater sense of a musical identity for the score alone.

So, in short, what do we have? From the OST we have a score that will probably serve the film well, but never really stand out as it's own entity. Which is kind of a shame, really. However, as said above, I do think there is probably a lot of interesting stuff missing that is in the film (action-oriented mostly, it seems). So I guess we will all have a better idea when the film comes out next month.

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Well, judging from the samples, excited though I am, I must admit it probably won't be as memorable as The Golden Compass, purely because that one seemed to have better themes.

Somebody on FSM mentioned that Conrad Pope wrote that the score was only 100 minutes long? That would mean that with the extra 6 bonus tracks the score would be nearly complete? Can anybody confirm?

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So that means only 45 minutes of the film has no score. I have a feeling a lot of action sequences in Part 1 maybe aren't scored entirely. Because like I said, the advanced screening reviews I have read for the film (very positive btw) said there was quite a bit of action, more than I felt the score had the way they were saying it. Very interesting. I just wanna see this damn film now! lol.

Still we only have, what was it, 73 minutes? So about 27 minutes not on the OST. There could still be some real interesting cues in there...

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So that means only 45 minutes of the film has no score. I have a feeling a lot of action sequences in Part 1 maybe aren't scored entirely. Because like I said, the advanced screening reviews I have read for the film (very positive btw) said there was quite a bit of action, more than I felt the score had the way they were saying it. Very interesting. I just wanna see this damn film now! lol.

Still we only have, what was it, 73 minutes? So about 27 minutes not on the OST. There could still be some real interesting cues in there...

Just listen to it a few more times. I cannot remember one score of recent times i embraced on first hearing, at least not for this kind of film (KUNG FU PANDA, maybe). I guess the main problem is that the kind of old school themes like Goldsmith or Williams would provide aren't written by those younger composer generation anymore. I bet David Arnold hasn't produced a lot of old school melodies for the new NARNIA either.

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It was me who said that on FSM - I remember seeing it on Pope's Facebook page, but I can't find it again. I'd say that those extra 6 cues make up the bulk of the remaining score. And upon first listen I like the score, it has a maturity and edge I never expected to hear in a Potter film. If the liner notes are correct, then I am not too unhappy Desplat is doing Part 2 as well. I'm also not that surprised Hedwig's Theme is largely absent, considering Yates was the director who really made a move to abandon it in Phoenix.

To reiterate, I remember Pope saying it was either 100 minutes or 140 minutes, 1h40 or 2h20, 100 seems more likely, with the film being 145 minutes. I'd say those 6 cues are the remaining score. I'm wondering how Snape to Malfoy Manor opens the picture.

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Found this:

Conrad, one question: on Wikipedia there was the news that the album of HP7 was around 100 minutes of length, is this right?! :fouetaa:

Conrad Pope:

I know there was talk of of a 2 CD set, and certainly AD wrote more than enough music to fill both. I think maybe Wiki knows something more than I.
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I think it's very good, it certainly has a greater depth than the previous 3 scores and hearkens back to the richness of PoA. It comes across as thematically nondescript at times, however listening to the instrumental force in cues like "Snape To Malfoy Manor", "Sky Battle" and "Destroying The Locket" really makes me appreciate Desplat's entry into the franchise. The broadness of Desplat's themes (at times) and the seeming ignorance of Hedwig's Theme throughout the album are forgiven by me in the hope that Desplat will deliver a big pay-off for the themes he has now written in Part 2 (as Yates has confirmed Desplat is returning in the Part 1 liner notes).

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I'm very pleased with the score. It EASILY surpasses the last three efforts, and like someone said earlier, so much of the soundscape sounds like a traditional John Williams score (all credit to Mr. Pope! :fouetaa:), and even some of the bouncy, comedic elements like "Detonators" had little similarities to some of Williams' scores, like The Terminal. The lack of a fully developed melody didn't bug me so much. Desplat has three or four different motifs that he uses, and they're VERY present, always in a new variation. I grew to quite like them over the course of the album. A long-line melody would have been nice, but then again, this movie is an incomplete telling of the story, so maybe Desplat felt the film just didn't have enough of a structure to warrant a longer theme. Part 1 has been described by the director as an "emotional road movie and a dark mystery", and these motifs will most definitely serve those ideas well. Perhaps they will be expanded into longer melodies for the "epic, operatic" Part 2. One can only hope.

But anyway, melodies aren't the only things in music that can tell a story or preserve continuity, and again, much of Desplat's work here reminded me of the first three films, texturally. While listening, I couldn't help but think that aside from the Maestro himself, this is about the closest anyone could have gotten to what a new Harry Potter score by John Williams would sound like. It's an enjoyable new score by one of the only great hopes we have in film music. I enjoyed the small references to "Hedwig's Theme", for what they were worth (the action version in "Sky Battle" is a lot of fun), and there's a repeated, descending interval in "Farewell to Dobby" that brought a HUGE smile to my face, because it is directly lifted (probably unintentionally) from John Williams' own "Dobby the House-Elf". I'll take what I can ;)

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and here we go again. With the it must have in your face themes to be memorable.

Kinda like saying if Natalie Portman was wearing a hoodie and jeans on a date with you, she would be less memorable than the girl next door with the clubbing boobie dress.

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I think it sounds terrific. The first track is a perfect example of why Desplat is on another level from most people working on Hollywood. Those repeating string figures have a certain Zimmerish (superficial) similarity but once the track develops, with Desplat modulating into unexpected keys and changing the texture and density in the orchestration, this is far above what Zimmer and co. could ever hope to produce. They just don't think in this way compositionally speaking (based on listening to a LOT of Zimmer BTW and liking a bit of it).

I love Sky Battle. Reason is again that Desplat doesn't just do bombast for the entire track. He contrasts the thicker, meatier action sections with some woodwind phrases to give the cue extra dynamism. It's even ballsier than his previous action writing from other scores. Super stuff!

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I'm noticing a lot of people crediting Conrad Pope for the score's purported similarity to Williams' sound. Obviously, Pope does very fine work, but is there any evidence to suggest that Desplat's sketches are less detailed than Williams'? How do we know that Desplat isn't just doing a good job of writing within that style? Why does that credit have to go to the orchestrator?

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Is there any quote from the Hedwig's Theme?

If so, which track? (listened to it while doing something else and might have missed it)

Yeah, this sounds better than PD and NH, but still a loooong way from JW's PS and PoA (and CoS).

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I think it sounds terrific. The first track is a perfect example of why Desplat is on another level from most people working on Hollywood. Those repeating string figures have a certain Zimmerish (superficial) similarity but once the track develops, with Desplat modulating into unexpected keys and changing the texture and density in the orchestration, this is far above what Zimmer and co. could ever hope to produce. They just don't think in this way compositionally speaking (based on listening to a LOT of Zimmer BTW and liking a bit of it).

I love Sky Battle. Reason is again that Desplat doesn't just do bombast for the entire track. He contrasts the thicker, meatier action sections with some woodwind phrases to give the cue extra dynamism. It's even ballsier than his previous action writing from other scores. Super stuff!

Agreed 100%.

It's amazing how a simple idea can be so radically different in the hands of someone with greater skill.

It's one of the things I love about composers in the vein of Desplat or Herrmann. They take basic constructs and build amazing work around them.

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Is there any quote from the Hedwig's Theme?

If so, which track? (listened to it while doing something else and might have missed it)

Track 3, Polyjuice Potion, features it's most prominent quotation starting at 3:10.

And as someone else pointed out, Sky Battle seems to have an action variation at about 1:51-2:20 (I think).

I missed it at first, but it's really quite brilliant.

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It's amazing how a simple idea can be so radically different in the hands of someone with greater skill.

It's one of the things I love about composers in the vein of Desplat or Herrmann. They take basic constructs and build amazing work around them.

Could you elaborate, please. Point out to me these basic constructs so perhaps I can also appreciate this music more after figuring out these structures. As it is I am not thoroughly enjoying this music as I find it hard to catch even one basic central musical idea that would somehow ground the whole score for me.

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Well, Filmtracks has suggested a weak four star rating and MMUK has given a five star rating (but Broxton's five star ratings have the credibility of ditch water sometimes).

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Is there any quote from the Hedwig's Theme?

If so, which track? (listened to it while doing something else and might have missed it)

Track 3, Polyjuice Potion, features it's most prominent quotation starting at 3:10.

And as someone else pointed out, Sky Battle seems to have an action variation at about 1:51-2:20 (I think).

I missed it at first, but it's really quite brilliant.

OK, thanks!

I think I might just get this album... the first HP OS album I will buy since PoA. :lol:

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Hedwig's Theme is heard in tracks 3 (Polyjuice Potion), 4 (Sky Battle) and 7 (The Will).

Was listening to the score on the bus home from work tonight, and i'm really enjoying the maturity of this score. And as a huge fan of the books, this really is capturing parts of the novel for me. There are some times in the book where the tone is so stark and with an undercurrent of such helplessness as the trio struggles to really do the task at hand, and i can just hear the despair in a lot of these tracks. Desplat has really captured the feel beautifully for me: i agree that some more fully realized themes would have been nice, but this is a good score people, and i can see it working very well with the film.

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Hedwig's Theme is heard in tracks 3 (Polyjuice Potion), 4 (Sky Battle) and 7 (The Will).

Was listening to the score on the bus home from work tonight, and i'm really enjoying the maturity of this score. And as a huge fan of the books, this really is capturing parts of the novel for me. There are some times in the book where the tone is so stark and with an undercurrent of such helplessness as the trio struggles to really do the task at hand, and i can just hear the despair in a lot of these tracks. Desplat has really captured the feel beautifully for me: i agree that some more fully realized themes would have been nice, but this is a good score people, and i can see it working very well with the film.

Yes, agreed! And now let's just hope either John Williams or Alexandre Desplat (in that order) scores DH Part II. :lol:

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Yes, there's no doubt in my mind that if Johnny were to return i'd be skipping down the street for a least a couple of days, but i would not be upset to hear where Desplat wants to take his ideas further in a score for Part 2.

Just listening to 'Bathilda Bagshot' at the moment, and loving how its playing out perfectly with the images of that scene i have in my head. Its one of the most chilling sequences in the book and i can almost see the action playing as i listen to this cue. I LOVE the incredibly subtle childlike music box melody playing from about 1:45, very eerie... urgh this scene freaks me out.... i love it.

Hermione's parents is one track i'm not quite getting fully where it sits in the story, guess i will have to wait and see.

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