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Harry Potter 7CD Collection - MUSIC discussion


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The whole thing is still surreal to me, that I would even be asked to work on something so large and important!  The whole thing came together extremely quickly (especially for 7 discs / 8 hours of mu

This set is the best album I have ever bought. It’s still unreal to me that all of my favourite music from my childhood is newly remastered and released. I’ve been looking forward to discussing every

Williams wrote that music for the deleted Sir Cadogan scene.  The cue was then tracked into two different spots in the final cut, one of which was artificially slowed down.   The little 10 s

1 minute ago, crumbs said:

Wow, I definitely did not expect that! I've always loved that little cue and intro, and the whole thing is basically artificial! It fits right into the rest of the score too, so hats off to the sound editors if they created the percussion. 

 

It's very weird that the cue title (for the deleted Cadogan scene) includes 'percussion' but there's no percussion in the cue. 😄 Did Williams record some overlays and not use them or something? That trickster. 

I've always loved it too, but surprisingly, the moment I considered that it might be a loop, it immediately felt like the right assumption. When I found out the slowed-down version wasn't on this set either, it immediately made me think something was going on with that cue.

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The fact that that percussion loop is not JW's really surprised me!
That's so interesting.
So the shawm cue was indeed a source music composed by JW but not included in the set?
Anyway, that part fades out after 30 seconds, so Discussing Black sounds fine without it.
As I said, I surely wouldn't have listened to the shawm cue by itself :D 

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1 hour ago, Holko said:

I just feel a bit cheated. One of the best cues in the score is just a slowed down tracking of another cue over which a random music editor masterfully overlaid some random percussion. I'll never even have the chance to have it unless the iso score leaks.

That's how I felt when I learnt that the final cue of Titanic was completely created by the editors and that James Horner never wrote it that way...Still it's so powerful and effective 😨

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2 hours ago, Alex said:

I’m watching POA again and honestly, I need another Cuarón/Williams collaboration in my life.

 

I watched it last night for the first time in about 6 years. It is such a great film, not just a great Potter film, but a great film in general. It looks absolutely beautiful, has some fantastic camera work, the three leads have totally matured into their roles, and the story in gripping. David Thewlis and Gary Oldman are excellent additions to the cast. 

 

And of course JW's score ...  👍  :music:

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1 hour ago, crocodile said:

@Jay. And the other reason is that I was pretty sure those scores would receive a release like this some day (I didn't expect all three at once!).

 

I still think they were released by a string of lucky breaks, not because they were destined to be. First the existence of Mike Mastessino, nobody else could have convinced the studios or Williams. Second they talk it was because the studio was split up or something and that gave them a lucky break for the rights otherwise not possible .Seems the later scores can't even be released because of complicated rights issues

 

Always wise to have the sessions no matter what

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Can't say I'm the biggest fan of the overlay of "Window to the Past" right on top of the lovely piano/strings melody, 00:23 in "Lupin's Transformation", it doesn't really gel for me. Luckily we have the original version as well!

 

Speaking of which, at 00:09 of "Lupin's Transformation" listen for the descending string line, it's a reprise of 00:18 of "Sirius and Harry". I love how he used the time travel element to play with these kinds of melodic callbacks, gorgeous stuff.

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Huh, I hadn't listened to the set in enough detail to notice the WttP overlay. I agree with you there - it doesn't work. Was it really composed that way?

 

Might have to fix that with an edit - I can't just use the alternate because the alternate ending with those plucked strings is also a bit rubbish.

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3 minutes ago, Richard Penna said:

Huh, I hadn't listened to the set in enough detail to notice the WttP overlay. I agree with you there - it doesn't work. Was it really composed that way?

 

Might have to fix that with an edit - I can't just use the alternate because the alternate ending with those plucked strings is also a bit rubbish.

 

No it wasn't composed like that by the sounds of it, I'm pretty sure that "Window" was just tracked in over the top.

 

Also the second half of "Lupin's Departure" is BREAKING MY HEART. It's insanely beautiful.

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Just now, Docteur Qui said:

 

No it wasn't composed like that by the sounds of it, I'm pretty sure that "Window" was just tracked in over the top.

 

Also the second half of "Lupin's Departure" is BREAKING MY HEART. It's insanely beautiful.

 

Well yes, it sounds like it was tracked in over it, but that goes against the mantra of this set - to present JW's intended score. Why recreate this one?

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3 minutes ago, Richard Penna said:

 

Well yes, it sounds like it was tracked in over it, but that goes against the mantra of this set - to present JW's intended score. Why recreate this one?

 

Perhaps so we have both the film version and original intended version? The mantra of the set wasn't just JW's intended score, it's a complete archival representation.

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Speaking of WttP do we think this is a Irina's Theme situation where the concert cue was created editorially from cues throughout the score glued together? or a mix of those plus inserts ala JP?

Just now, Docteur Qui said:

 

 

Perhaps so we have both the film version and original intended version? The mantra of the set wasn't just JW's intended score, it's a complete archival representation.

"Then why not preserve Ripples on the Lost World set if that was the case?" ~ Richard Penna

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4 minutes ago, Docteur Qui said:

 

 

Perhaps so we have both the film version and original intended version? The mantra of the set wasn't just JW's intended score, it's a complete archival representation.

 

Archival presentations don't usually contain tracked or edited cues. Hence I'm just curious that if this is indeed tracking, why this one?

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1 hour ago, Faleel J.M. said:

Speaking of WttP do we think this is a Irina's Theme situation where the concert cue was created editorially from cues throughout the score glued together? or a mix of those plus inserts ala JP?

 

Sounds like someone hasn't read the liner notes yet....

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Just now, Jay said:

 

Sounds like someone hasn't read the liner notes yet....

I wanted to listen to the set first, before looking at it ;)

Truth be told, I have been trying to experience the Potter scores as pure music as much as possible, without the baggage of the films/books. (which I am not really interested in)

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I'm a bit confused that JW wrote the Teaser music when he wasn't even hired as composer yet. Does this mean he might not have scored this at all despite writing music for the trailer? Is there a story behind that?

 

I vaguely remember when the Teaser came out we were debating if Williams wrote it or if it was an Elfman piece or something because there was no credit at all for a while, or confirmation he was scoring the films

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52 minutes ago, Faleel J.M. said:

Anyways, I just put together a little suite featuring unreleased cues from  PoA, it turned out a little more chronological than I wanted..

 

 

No Sirius's Rescue;)

 

Seriously, tho, how great is 6m5 Pt II in full orchestral glory? Never realized it was scored for choir! 😍

 

 

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31 minutes ago, Faleel J.M. said:

I kind of wanted to highlight the less known unreleased stuff and kickbutt alternates..

Summoning the Patronus?

 

what's 6M5 pt II?

51 minutes ago, Jay said:

Link?

On 12/3/2018 at 6:49 AM, Holko said:

You confused the two, the teaser is the earlier one scored by a Williams who hasn't seen the film yet and wasn't contracted for it. The trailer is what uses edited performances.

At least we can be sure TV ad is Hedwig tries a Coke/Cookie.

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1 hour ago, King Mark said:

I'm a bit confused that JW wrote the Teaser music when he wasn't even hired as composer yet. Does this mean he might not have scored this at all despite writing music for the trailer? Is there a story behind that?

 

I vaguely remember when the Teaser came out we were debating if Williams wrote it or if it was an Elfman piece or something because there was no credit at all for a while, or confirmation he was scoring the films

 

It was official by at least May of 2003. 

 

http://edition.cnn.com/2003/SHOWBIZ/Movies/05/05/john.williams/index.html

 

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