What is the last score you listened to?

[John Crichton 4]

Harry Potter and the Sorcerer's Stone:

Another masterpiece of JW. Soaring fanfares, magical themes, beautiful and bitersweet motifs, cheerful ideas, and a great evil theme. It is just magnificent, one of JW's best scores of the 2000s. 5/5 stars

For once you and I are in complete agreement.

[indy4 155]

[Red 75]

I prefer Prisoner of Azkaban myself, but the first is great too.

[indy4 155]

So do I, but it's a very close call. Also depends on my mood.

[Koray Savas 2,251]

Prisoner Of Azkaban is a straight run through of awesome music. Sorcerer's Stone has a handful of great tracks.

[Nick Parker 3,040]

"Super Mario Galaxy"

I purchased the Platinum Edition album a few months ago, and I gave it another playthrough. It is excellent orchestral music, one of the finest in video games. I would recommend purchasing it, assuming that it is still affordable and in print (I had to use Ebay.com).

[Koray Savas 2,251]

It is excellent orchestral music, one of the finest in video games.

I somehow doubt it.

[Nick Parker 3,040]

Oh. Did I insult you? Eh, I am just joking. One cannot compare "Super Mario" to "Medal of Honor", or to something similar: they are two radically different series that accomplish radically different goals. The "Super Mario Galaxy" music (most of it, anyways) has an epic, pure (slightly tainted by darker, operatic pieces), majestic quality that would impress one the same way one would be impressed with a Walt Disney film seventy years ago.

[Koray Savas 2,251]

One cannot compare "Super Mario" to "Medal of Honor"

Correct.

[Richard Penna 3,694]

Prisoner Of Azkaban is a straight run through of awesome music. Sorcerer's Stone has a handful of great tracks.

I feel the exact opposite. Maybe it's the nostalgic factor, as the first score was part of my introduction to film music, but there's something about PoA that for me doesn't quite gel together as the ultimate cohesive work. I think it's because there are quite a few tracks where not a lot happens (Forward to Time Past, Saving Buckbeak, Portrait Gallery, Monster Books & Boggarts), and overall I think the album presentation could have been a lot better.

Combine that with the fact that I don't watch the Potter movies much these days because I don't think they're that great really, and the first score is therefore going to mean more to me.

Last score: JNH's The Lookout.

[John Crichton 4]

...but there's something about PoA that for me doesn't quite gel together as the ultimate cohesive work.

I feel exactly the same way. The Past theme is developed wonderfully throughout, but other than that it's a collection of wildly disparate cues. And I still say the second half of the score is very hit and miss. It is a good score, though.

[Richard Penna 3,694]

Indeed it is. I think the best way of describing it would be that while I'd welcome expanded sets for the first two scores, I'd only feel the need for a collection of individual cues from here and there from PoA. It has some moments where it's superb, but I think it's too inconsistent to be called a masterpiece by any stretch.

[Nick Parker 3,040]

One cannot compare "Super Mario" to "Medal of Honor"

Correct.

Now you are being silly.

[Richard Penna 3,694]

When was this place ever 'sensible'?

[JoeinAR 1,949]

Accidental Tourist

[indy4 155]

Harry Potter and the Chamber of Secrets:

A good, solid score. "Fawkes the Phoenix" is fantastic, as is "Chamber of Secrets" (though not quite as good as the former). I like "Gilderoy Lockhart" and "Dobby the House Elf," especially the climax of those cues. I also like "The Flying Car." The choir in "Dueling the Basilik" is great. There are a lot of bits pulled straight from SS, but one thing I appreciate about JW is that even when he pulls stuff out of other previously written things, it is always slightly different. Be it a new arrangment, new development, or just a new recording, there is always something new. And I know some people think it's too cheesy, but I absolutely love the ending of "Reunion of Friends." Absolutely fantastic, it gives me shivers when I hear it. The score is very good, but it makes me wonder how awesome it could be if it were composed by JW when he didn't have any other projects to worry about.

3.75/5 stars

[Henry B 50]

There are a lot of bits pulled straight from SS, but one thing I appreciate about JW is that even when he pulls stuff out of other previously written things, it is always slightly different. Be it a new arrangment, new development, or just a new recording, there is always something new.

You mean one thing you appreciate about William Ross?

And I know some people think it's too cheesy, but I absolutely love the ending of "Reunion of Friends." Absolutely fantastic, it gives me shivers when I hear it.

Then William Ross did his job well.

[Koray Savas 2,251]

Last score: JNH's The Lookout.

Great stuff.

[indy4 155]

There are a lot of bits pulled straight from SS, but one thing I appreciate about JW is that even when he pulls stuff out of other previously written things, it is always slightly different. Be it a new arrangment, new development, or just a new recording, there is always something new.

You mean one thing you appreciate about William Ross?

[Henry B 50]

Um, seriously though, Ross is responsible for all that music you brought up.

[Nick Parker 3,040]

Did you ever notice "Music Adapted By William Ross" in the credits (or at least in king mark's signature)?

[indy4 155]

Um, seriously though, Ross is responsible for all that music you brought up.

Okay. Then I complement him on a great job adapting CoS.

However, my comment still stands. Williams still always alters his self-plagarism. An example would be the flute solo in "Finale" of KotCS, or the WotW reference in "City of Gold," or the numerous references to other music in American Journey. None are exact rips.

[Hlao-roo 389]

Williams still always alters his self-plagarism. An example would be the flute solo in "Finale" of KotCS, or the WotW reference in "City of Gold," or the numerous references to other music in American Journey. None are exact rips.

Indeed, Williams's ability to conceal his dishonesty as a composer is second to none.

[John Crichton 4]

The Chamber of Secrets theme and concert piece is by far the best thing in the score.

[Red 75]

"Super Mario Galaxy"

I purchased the Platinum Edition album a few months ago, and I gave it another playthrough. It is excellent orchestral music, one of the finest in video games. I would recommend purchasing it, assuming that it is still affordable and in print (I had to use Ebay.com).

It is a great score, and quite different to other Mario games.

[Koray Savas 2,251]

None are exact rips.

Zimmer does the same but no one praises him for that.

[Marian Schedenig 8,200]

The Chamber of Secrets theme and concert piece is by far the best thing in the score.

Obviously. The rest of the score is still bloody good though.

[Henry B 50]

I certainly don't praise Williams for quoting himself.

[John Crichton 4]

I wouldn't mind hearing Mario Galaxy at some point. Kondo hasn't lost his touch, Twilight Princess might be the best Zelda score yet.

[Hlao-roo 389]

I certainly don't praise Williams for quoting himself.

I do. It's the mark of a man who knows who he is, who knows he has nothing left to prove. Those composers who habitually pursue originality in their work are but aimless vagabonds in search of identity and self-possession.

[Nick Parker 3,040]

I wouldn't mind hearing Mario Galaxy at some point. Kondo hasn't lost his touch, Twilight Princess might be the best Zelda score yet.

You should definitely listen to it. There could be ways for I to help you with that, if you know what I mean....

I certainly don't praise Williams for quoting himself.

I do. It's the mark of a man who knows who he is, who knows he has nothing left to prove. Those composers who habitually pursue originality in their work are but aimless vagabonds in search of identity and self-possession.

Excellent sentiment, good friend.

[Hlao-roo 389]

None are exact rips.

Zimmer does the same but no one praises him for that.

That's because Williams has taken the craft of masked disingenuousness to such rarefied levels that Zimmer cannot possibly hope to compete.

[indy4 155]

The Chamber of Secrets theme and concert piece is by far the best thing in the score.

I'd saw "Fawkes the Phoenix," though "Chamber" is a close second.

None are exact rips.

Zimmer does the same but no one praises him for that.

But Zimmer does it so much more often that Williams.

[Hlao-roo 389]

The Chamber of Secrets theme and concert piece is by far the best thing in the score.

I'd saw "Fawkes the Phoenix"

Well, you're not alone. Many here would take a hacksaw to just about anything Williams writes these days.

[Koray Savas 2,251]

The Chamber of Secrets theme and concert piece is by far the best thing in the score.

I'd saw "Fawkes the Phoenix," though "Chamber" is a close second.

None are exact rips.

Zimmer does the same but no one praises him for that.

But Zimmer does it so much more often that Williams.

Not really. You praise Williams for taking a previous composition and changing it up in a newer score. Zimmer does the same thing. The number of times such act is done is irrelevant. If Williams did it more, you would still praise it.

[indy4 155]

I never praised it. I said I prefer his new versions as opposed to JW just tracking in the exact same recording he used when it was originally recorded. 9/10 times, I would prefer completely original music over a slightly altered passage. Same goes for Zimmer.

But if we're on the subject of originality, then Williams kicks Zimmer's ass. Zimmer can be diverse enough when he wants to, we've seen that from several of his scores (Simpsons, AWE, The Holiday), but he's not even close to writing in the vast amount of diverse genres of music that JW has.

The Chamber of Secrets theme and concert piece is by far the best thing in the score.

I'd saw "Fawkes the Phoenix"

Well, you're not alone. Many here would take a hacksaw to just about anything Williams writes these days.

My bad.

[Red 75]

None are exact rips.

Zimmer does the same but no one praises him for that.

That's because Williams has taken the craft of masked disingenuousness to such rarefied levels that Zimmer cannot possibly hope to compete.

What he said.

[Koray Savas 2,251]

I never praised it. I said I prefer his new versions as opposed to JW just tracking in the exact same recording he used when it was originally recorded. 9/10 times, I would prefer completely original music over a slightly altered passage. Same goes for Zimmer.

O.K.

There are a lot of bits pulled straight from SS, but one thing I appreciate about JW is that even when he pulls stuff out of other previously written things, it is always slightly different.

You're saying you appreciate it, not exactly saying you prefer the newer version to the older one. My bad for misunderstanding.

[JoeinAR 1,949]

Um, seriously though, Ross is responsible for all that music you brought up.

no its not, we've gone over this, Ross contribution was minimal.

[Henry B 50]

Ross did all the direct adaptations of the Williams music. He specifically stated in an interview that he wrote the extended finale to "Reunion of Friends." But since you're not much for logic and facts, I'm guessing you're going to ignore that.

[indy4 155]

Harry Potter and the Prisoner of Azkaban:

Another masterpiece. It is fantastic, venturing into new territory that Williams has never been in before. It's Potter gone deliciously dark, and I love it. "Secrets of the Castle" is fantastic. I love the opening minute or so of both "Forward to Time Past" and "Saving Buckbeak," but I must say that after the opening which is beyond awesomness, the cues transform into a waste of CD space. I used to think that the weakest part of the score was the action music, but I actually really enjoy "The Whomping Willow" and "Quidditch, Third Year." The worst parts of the score are the scary stuff--eg, "Apparition On The Train." I will agree with Richuk that while SS is more consitantly awesome than PoA, I still prefer PoA, because its highlights are more spectacular (and to say that one score's highlights are better than SS...that's saying something!). My current favorite Potter score. 5/5 stars

[Henry B 50]

What's wrong with "Apparition on the Train"? Great frightful music. Hooper tried to ape the style in Order of the Phoenix, but it didn't go so well.

[indy4 155]

[Henry B 50]

Don't you blow me off like that.

[John Crichton 4]

The cue towards the start with the dementor might have been the best cue in OotP.

[Nick Parker 3,040]

Will I be whipped by an animated "smiley face" or thrown into an animated microwave if I say that i never listened to a "Harry Potter" score?

[Henry B 50]

The cue towards the start with the dementor might have been the best cue in OotP.

Or the opening cue - great treatment of Hedwig's theme, then a spooky piano/synth figure. It would have been great if the rest of the score was as moody and minimalistic. I also like "The Room of Requirements." The rest, meh.

[Koray Savas 2,251]

[indy4 155]

Don't you blow me off like that.

Well, I fail to see what makes it so interesting of a cue. There's nothing unique about it, it would work fine pretty much any horror movie. There's no melody, it's completely atonal, there's not much of a solid rythmn, there's a lot of instruments blowing loudly to make noise. It doesn't sound like a cue from Harry Potter, it just sounds like...I dunno. Generic horror music.

I don't think JW could have approached it in a better fashion, in terms of working within the scene, but as a listening experiance it is miles apart from the rest of the score.

Nick, get a Potter score (better yet, get all five, or at least the first three). You won't regret it.

[Henry B 50]

I don't really have the theoretical knowledge to back this up (yet), but it seems as structured as any tonal piece from that score. Hooper's take on the dementors is completely different; he's the one just striking random notes.