HARRY POTTER AND THE DEATHLY HALLOWS: ALAXANDRE DESPLAT:
Multiupload.com – upload your files to multiple file hosting sites! (http://www.multiupload.com/NLC42UKP7E)
25 tracks @ 320k
Track list:
1 Lily’s Theme 02:28
2 The Tunnel 01:09
3 Underworld 05:24
4 Gringotts 02:24
5 Dragon Flight 01:43
6 Neville 01:40
7 A New Headmaster 03:25
8 Panic Inside Hogwarts 01:53
9 Statues 02:22
10 The Grey Lady 05:51
11 In the Chamber of Secrets 01:37
12 Battlefield 02:13
13 The Diadem 03:08
14 Broomsticks and Fire 01:24
15 Courtyard Apocalypse 02:00
16 Snape’s Demise 02:51
17 Severus and Lily 06:08
18 Harry’s Sacrifice 01:57
19 The Resurrection Stone 04:32
20 Harry Surrenders 01:30
21 Procession 02:07
22 Neville the Hero 02:16
23 Showdown 03:37
24 Voldemort’s End 02:44
25 A new beginning 01:38
HARRY POTTER AND THE DEATHLY HALLOWS PT 2: ALAXANDRE DESPLAT
Miusic by: ALAXANDRE DESPLAT
Released: 2011
Genere: Soundtrack
Format: MP3 320Kbps
Size: 156 Mb
Tracklisting
01. Lily’s Theme [02:28]
02. The Tunnel [01:09]
03. Underworld [05:24]
04. Gringotts [02:24]
05. Dragon Flight [01:43]
06. Neville [01:40]
07. A New Headmaster [03:25]
08. Panic Inside Hogwarts [01:53]
09. Statues [02:22]
10. The grey lady [05:51]
11. In the Chamber of Secrets [01:37]
12. Battlefield [02:13]
13. The diadem [03:08]
14. Broomsticks and Fire [01:24]
15. Courtyard Apocalypse [02:00]
16. Snape’s Demise [02:51]
17. Severus and Lily [06:08]
18. Harry’s sacrifice [01:57]
19. The resurrection stone [04:32]
20. Harry surrenders [01:30]
21. Procession [02:07]
22. Neville the hero [02:17]
23. Showdown [03:37]
24. Voldemort’s end [02:44]
25. A new beginning [01:39]
uploaded.to
filesonic.com
http://www.filesonic.com/file/1331692464/HPP2-AD.rar
wupload
http://www.wupload.com/file/38124711
easy-share
http://www.easy-share.com/1916373671/HPP2-AD.rar
fileserve.com
http://www.fileserve.com/file/7vgm86B
Enjoy and Please Say Thanks 🙂
thanks in avance
how did you do?
1. "Chaos" – 1:23
2. "At Shell Cottage" – 1:34
3. "Ollivander" – 2:15
4. "The Gringotts Assault" – 3:56
5. "Escape from the Vaults" – 2:01
6. "Voldemort’s Dread" – 1:13
7. "Horcruxes" – 2:06
8. "Apparition from the Void" – 3:34
9. "Hogsmeade" – 2:17
10. "Aberforth" – 4:53
11. "Albus and Gellert" – 2:04
12. "Threat over Hogwarts" – 0:49
13. "Dumbledore’s Army" – 1:41
14. "Professor McGonnagall" – 2:07
15. "The Flight" – 0:35
16. "The Dark Lord Conspires" – 2:08
17. "The Battle Theme" – 9:12
18. "The Kiss" – 1:21
19. "Attack on the Woods" – 1:04
20. "Chamber of Secrets" – 2:28
21. "Destruction of Souls" – 2:03
22. "Fiendfyre" – 3:12
23. "Thoughts and Memories" – 3:03
24. "Seeing the Light" – 1:54
25. "King’s Cross" – 2:20
26."The End of the Battle" – 4:31
27. "Triumph Theme" – 3:46
28. "King’s Cross #2/Hedwig’s Theme (The End Of The Story)" – 6:12
Interesting, this one can leak before than TF3’s Score 😛
OK
Hey I’m just sayin’ 🙂
( on sait jamais …)
another mirror coming soon xD
By the way, in case anyone need another mirror (in the near future, when those bastards start to kill our links xD) here (http://soundtrackzone.blogspot.com/2011/06/harry-potter-and-deathly-hallows-part-2.html) there’s one in MU.
btw his name is Alexandre.
You guys posted within one minute of each other, I guess it’s true what they say about great minds think alike..:-D
thanks!!
you do not pronounce the last letter "t", it is a silent "t". 🙂
Despla
(a little more emphasis on the "pla" I would say)
have a look (a listen) here:
Pronounce Names – Pronounce Desplat, How to pronounce Desplat, How to pronounce the name Desplat, Pronunciation of Desplat, how to say Desplat, how to say the name Desplat (http://www.pronouncenames.com/pronounce/desplat)
who alexandre?
(answered already)…
or could also be pronounced as "Dei-pla"
the last name , thanks sorei 🙂 XXOO
Hold your horses there. A Deluxe Edition of the digital album is planned, with 3 additional tracks. Just that small hurdle to overcome and the Collection is truly, verily complete 😉
HPP2-AD.rar – 156.5 MB (http://www.filedino.com/blne14ut1wtv)
I see just like part 1 hopefully it will contain some other music?
———- Post added at 03:57 PM ———- Previous post was at 03:56 PM ———-
at least this soundtrack is promising unlike the last 2 which didn’t sound interesting
8th wonder is Alexandre Desplat himself
Will someone please find and post the DIGITAL BOOKLET to this soundtrack! I Really Want It!
8th wonder is Alexandre Desplat himself
Will someone please find and post the DIGITAL BOOKLET to this soundtrack! I Really Want It!
:/ sorry bout that. I deleted it. Never keep the art, just becomes habit….
I doubt that the artwork for this release is that extensive however.
Greatest gratitude to babydoll AS ALWAYS, to the original uploader (whomever that may be) and to those providing mirrors. My gripe is not with you.
As for the score… it’s undoubtedly 2011’s score of the year as far as mainstream movies are concerned… but it’s themeless, directionless, and dull. With tracks like "Statues" Desplat proves that even he is not immune to the contemporary scoring dictat that states big, dumb, slamming percussion, trailer-music-esque Hans Zimmer power anthems are needed to invoke "epic" when, actually, intelligently written, imaginatively arranged, thematic, memorable music would do the job far more effectively.
There are some nice moments here – and I mean that in comparison to what one would expect the score to be like given the current climate – but ultimately it’s a forgettable, utterly disappointing close to a franchise that was founded upon the very best musical standards and finishes with something anonymous and generic. It is a fine illustrator of just what has happened to mainstream film music in a space of ten years; that we would begin with John Williams and one of the most recogisable melodies of his career… and end here. Missed opportunties all round. Desplat could’ve knocked this one right out of the park; but instead he batted the umpire in the shin and fell over in the dirt. Really, really sad.
such a harsh word to say when some of the folks here just know how to appreciate the simpler things that they find enjoyable. not all folks here of course are music score connoisseur (i myself included) that would demand such high expectations on all the movies that Is deemed fit to contain such marvelous compositions when it’s not just the composer who decides what is ultimately be coming out in the film, we all knew or expect that the suits or the producers and the directors has a great say on that.
bottom line what is a masterpiece to some may be a crap to others but the fact remains, we all get to choose what we believe is good for our own taste and enjoy it! 🙂
I really cannot understand the mentality of any film music who turns down JOHN WILLIAMS. Particularly these days, as Williams is basically retired and only works now as a favour to his mates (Spielberg, Lucas) or on films he feels passionate about. Every score from Williams is a blessing. Every new score from Williams – who is 80 years old next year – is a wonderful miracle. If you have ole’ Johnny chasing you and begging to be allowed to score your movie… You do NOT say no! You JUST DON’T.
Well, apparently these days, you do…
"Sorry, God… I really appreciate your offer to create a brand new Earth for us to all live in, in peace and harmony for the rest of time… but we’re going to go for a few portakabins in an old car park instead. Thanks for thinking of us though!"
John Williams wasn’t "begging" to work on this score. He said he’d do it if he could make room for it in his schedule. Turns out he couldn’t. "War Horse" and the two "Tintin" movies might have something to do with that. :shrugs:
so for now i’ll just enjoy the simpler things in life rather than be upset about everything that wouldn’t go out the way I would have wished to be. 😀
thanks
John Williams wasn’t "begging" to work on this score. He said he’d do it if he could make room for it in his schedule. Turns out he couldn’t. "War Horse" and the two "Tintin" movies might have something to do with that. :shrugs:
Let’s not split hairs; Williams agreeing to work on, or even expressing an interest in, any non Spielberg/Lucas movie is at the very least exceptionally noteworthy. He said he’d "very much like" to do it, in any case, and whilst obviously he didn’t "beg" he certainly did appear enthusiastic.
And honestly? I’m glad. I wouldn’t say this very often, nor do I know what John would have did here, but I’m more than satisfied enough with the score to miss his involvement. I find the action cues fantastic, Lily’s theme is beautiful and is incorporated tastefully throughout, and I love how he reprised some themes from Part 1 but not to the point where it feels like any sort of rehash. I don’t get how anyone could hear tracks like "Procession" and "The Resurrection Stone," Procession being one of the most unique and different tracks in the franchise, and be REMOTELY disappointed by this score, but to each their own.
In "Voldemort’s End," you don’t hear some big epic victory theme. Instead, you get a soft rendition of Lily’s theme. To say this score lacks a thematic heart is pretty ridiculous because they’re all over the place. Lily’s theme, the Horcrux theme, even the battle has themes of its own which can be heard in Statues and Battlefield and a few others. It’s not "random" typical action music. The only tracks with fast-paced action are Underworld, The Tunnel, Broomsticks and Fire, and Showdown. Chamber of Secrets has a bit too but it’s much shorter.
I like the music, it is less superficial than that of Williams. The movie is epic enough.
Anyway, opinions are like musical-taste, to each his/her own. Believe it or not, there are folks in the world (myself included) which didn’t like that much the approach took by Williams on the HP universe. I’m glad he didn’t get a chance to score the last one.
Hi everyone. English is not my native language. Superficial is perhaps the wrong word. His music is very strong and dominant. Some directors do not like this particularly.
Williams wrote great music, except some stuff from the 90’s. Believe it or not, i like it listen to new interpretations of the Harry Potter universe.
For the record, at this point in the series, I think the film should be less about melody and more about mood and menace, which this score seems to deliver.
It should definitely be about mood and menace… but nobody ever said mood and menace had to be dumb music. Wagner knew all about mood and menace. There isn’t always an opportunity for a strident melody or a straightforward statement of theme… but there is always an opportunity for intelligent, involving, evocative music… Even when John Williams isn’t taking the big, melodic approach (War Of The Worlds) every note oozes with quality and intrigue. Jerry Goldsmith turned suspense into an artform; not many notes, but so much meaning. This score, by comparison, is frequently lots of notes but very little meaning.
Finally, thank you to everybody so far… I say "with respect" because I mean it; that we can all have different opinions, state them, sometimes agree, sometimes disagree, and sometimes meet somewhere in the middle… and not end up shouting at each other… is a wonderful thing and puts most of the internet to shame. 🙂
*shakes hands*
They’re not themes, they’re recurring series of notes. You’ll think I’m splitting hairs, but there is a big difference between the two. As others have said, it is not memorable; it is functional, boring, and eminently forgettable. I don’t think we’ll be hearing Lily’s Theme in concert halls in the future, but I know we’ll still be hearing Hedwig’s fifty years after the whole world has forgotten who Harry Potter even was.
So, yes, I’ve listened – and I’m disappointed because it’s frankly poor. "Wonderful" orchestrations I would also question; flaccid, painting-by-numbers orchestrations are what we actually have here. Conrad Pope is clearly arranging this thing to sound as Williams-like as possible – but without Williams’ musical heart, the result sounds like a lot of empty-headed orchestral aerobatics. Certainly, they’re wonderful in comparison to 99.9% of the other mindless dreck that is produced by mainstream cinema but being better than the competition when the competition is utterly incompetent is hardly praise one should be proud of.
It’s still score of the year. But it could – and should – have been immeasurably more.
It’s not the best score ever?
-Right.
It wouldn’t be played all around the world?
-Ok.
It isn’t the best HP score?
-I couldn’t say better!
But we’re listening to an orchestra here! And I can feel it!!! Not like in the other 50 scores this year. So you CAN NOT compare "Statues" with that shit "epic" music out there! They’re miles away! So tango, I ask you to regret your words!!! Right here! Get down on your knees and repeat your own words loud:
It’s still score of the year. (But it could […] have been immeasurably more).And I’ll specify, it’s the blockbuster score of the year so far.
I think not. You forgot Priest.
– in my opinion, Williams is a classical composer who writes filmmusic as a hobby. Ik had the immense pleasure attending two of his concerts in London, and I was struck by the richness of his compositions an orchestrations. His music is even better listening to it live than on cd. There’s no question about it: Williams is a genious and will be played in concert halls for decades end maybe centuries to come. That will not be the case with Desplat, or Zimmer, or even Herrmann of Rozsa
– when Williams compose filmmusic, he keeps the ‘concert-hall performance’-aspect in mind. That’s why a lot of his filmmusic is an interesting listening experience in the concert hall without altering a lot. The strongest example is the finale music form ET (Et’s adventures on Earth). The consequence of his method is that the music is rich, enjoyable without the movie en packed with lovely themes. Another consequence is that his music has a very dominant part in the movie: he wants it to be heard in the movie, like a extra actor playing his unique role. Think of the Raiders theme… it’s more Indiana Jones than Harrison Ford is!
– in a recent interview Desplat talked about his ‘method’. In his opinion, if the audience hears the music to clearly, it’s totally wrong. He consider filmmusic to be a frame, a decor in which the actors play their role. Far less dominant en more humble than the Williams ‘method’. Desplat forces himself to the background all the time, so the the audience captures the music on a more implicit way. The consequence of his method is that it works brilliantly while watching the movie, but that is’s a more difficult listening experience on cd. Do not expect theme you can whistle!
I have listened to almost all available filmmusic of Williams and Desplat. I like them both. I whistle the themes of Williams, but can also enjoy a subtle, tempered Desplat very much. Harry Potter 7 is a jewel, and by far the most personal, intimate and emotional composition of the franchise.
Yeah, I forgot that one. XD I just listened to it once, and was really impressed, but need more times.
My mind was thinking about all those comic blockbusters that failled over and over again this year even having fantastic composers behind them! I was quite enthusiastic for what Silvestri is gonna do for Capitan America, but IMO we’d start thinking that that score would be also dictated by Marvel rules, again.
Yeah I don’t get it either. I think Lily’s theme is one of the most memorable themes in the Potter films and it will work wonders during the Resurrection Stone sequence. It’s just plain beautiful and VERY memorable. Everyone that I’ve introduced the score to thinks the same as well, even a few of my friends who were butthurt that Williams didn’t come back agrees that it’s fantastic and more than worthy.
Would I have liked Williams to do Part 1 and 2? You have no idea. However, they did try to get him back and it just simply didn’t work out. Would he have did a better job? Perhaps. But I don’t know that. Williams doesn’t strike gold every time he writes a score, and I’m more than happy with Desplat’s contribution here because I do find tons of feeling and emotional backbone to it. Again the Resurrection Stone track blows my mind and how it brings Lily’s theme out in full-force is going to be fantastic, plain and simple.
Now, I love Williams’ Potter albums. But he got to do it in the beginning, before the all pervasive darkness and gloom set in. He got the playful, look at the wonder of it all stuff. As the nature of the films changed drastically, so too has the music. Here at the end, I think they should have been written purely as a horror score. Not that Wiliams can’t do horror, but even if he had done these, I would not have expected them to sound at all like the original few films.
I have not listened to this new one, or any after Willians, so I am not able to give an opinion on them specifically, just my general thought of where the music should have gone. Then at the end, when the horror passes, break out into the bright and wonderful sound once again, in the last moments on the train station, with new students bound for new awe and adventures. Just my thoughts.
A friend of mine was a young child back in ’67 when Sgt Pepper first came out. He tells the story of buying the LP, bringing it home, and putting it on his record player. As he listened to it, he started to cry. Not because it was beautiful or a work of art, but because he didn’t understand what had happened to The Beatles he loved. He thought Sgt Pepper a disaster and wanted The Beatles of Eight Days a Week back. He wasn’t judging the record based on what The Beatles were actually trying to do, he was judging it based on what he wanted to hear.
If you judge something based on what you hope it would be, wanted it to be, and not on what it is actually trying to be, then it will always come up short. Sure it’s not as melodic, it’s not filled with themes and motifs coming out of its pores like a JW work would be. But is it even trying to? Just because a score is what you wanted to hear, does that mean it’s actually appropriate for the film? This film is not like any of the others in the series, yet you expect the music to be. As Harry’s world evolves from a place of wonder and magic and beauty into a world filled with menace, danger and death, so too should the score. Having read the book, this score seems entirely appropriate to the death and massive carnage that’s coming.
Imo, this and Part 1 blow anything williams wrote out of the water. DO NOT get me wrong, I actually enjoy all eight scores…but imo, hallows 1/2 are the best.
It’s not the best score ever?
-Right.
It wouldn’t be played all around the world?
-Ok.
It isn’t the best HP score?
-I couldn’t say better!
But we’re listening to an orchestra here! And I can feel it!!! Not like in the other 50 scores this year. So you CAN NOT compare "Statues" with that shit "epic" music out there! They’re miles away! So tango, I ask you to regret your words!!! Right here! Get down on your knees and repeat your own words loud:And I’ll specify, it’s the blockbuster score of the year so far.
Agreed
I could say something more:
– Desplat scores ask time to appreciate the job. It’s not about themes easy to remind. It’s more subtle and complete.
– I think that some people here see John Williams as a God and myself i have to admit that it’s one of the greatest compositor ever (even if there are other) but the Williams style is different. John like to do some easy to remind scores.
Conclusion
1- A score can be really appreciated after a good listenning time and standing back.
2- I never listen soundtracks before watching the movie because for me the score is completely linkable with the movie and the image. So you appreciate the soundtrack after watching the movie.
I have not a special opinion about this soundtrack. I just don’t make too fast conclusions and go watch the movie. After , we could really discuss about the score.
If I forgot priest, it’s because priest is just as generic as all the other recent bombast we have heard. Sure it’s not buried in electronics but it’s still devoid of quality writing and themes. Any semblance of a theme in priest was still purely fixed in the usual sound of modern scores and sounded more like a short motif than a quality theme.
At least the music for Harry Potter Part 2 is solid writing and Lilly’s theme is nice. I of course agree with Tango on this score in that it could be a lot better, but I do also enjoy it for what it is.
Couldn’t agree with you more. I too have embraced the work of Desplat with much adulation.
Williams Score, and in particular, his orchestration of the final scenes in ET (Escape – Chase – Saying Goodbye) is in my opinion the greatest piece of music set to film. It is this piece of William’s genius that had me first fall in love with film music/composing almost 30 years ago.
To this day that 15min piece still gives me chills. I have seen Williams conduct live many times over the years and each time is better than the last.
The answer’s in the thread. They did. But they weren’t able to provide him with a cut of the films as early as he requires, so he turned them down, and they in turn offered the job to Desplat.
Do you like anything?
———- Post added at 03:52 PM ———- Previous post was at 03:50 PM ———-
Apologies. MU crapping out on me, so I changed to Multi-upload. Though since Konio stole my thread, why bother?
He does that a lot, and it’s rather annoying. He did that with "Hanna", too. Even after I’d upped it on MultiUpload.
I must admit I’ve started to post mirrors within other people’s threads… but only after someone has said they are having difficulty downloading it.
I started, using the proviso that if the thread creator objects I’ll remove the post. I don’t specify that anymore, but would always withdraw the mirror if the creator did object.
I will let the late Peter Falk and Billy Connoly explain:
YouTube – ‪Columbo – Murder with too Many Notes scene‬‏ (http://www.youtube.com/watch?v=_6L5aD3Ys_A)
A film score is ultimately there to accompany the film; a good piece of the score will help you remember a good scene of the film itself, and not necessarily be memorable in itself. There are, of course, always cases in which a score is genuinely bland, forgettable, without soul and emotion; you can lambast these scores all you want and with almost universal acclaim.
Now, John Williams has the rare ability to create themes and music which work very well on their own. Someone mentioned that he actually composes film music with this in mind; the thing is, it’s not the final scope of film music but rather an added – and very much appreciated 😉 – bonus. I enjoy this as much as anyone, but I think a film which is less meant to introduce us to Harry’s new and wonderous world but rather more the gritty, grim, final showdown between good and evil can get away with not having this quality of film score.
So I beseech you to give Alexandre Desplat’s score a second chance, but only after having seen the film. You may actually enjoy it more.
A film score is ultimately there to accompany the film; a good piece of the score will help you remember a good scene of the film itself, and not necessarily be memorable in itself. There are, of course, always cases in which a score is genuinely bland, forgettable, without soul and emotion; you can lambast these scores all you want and with almost universal acclaim.
And Desplat’s score is one of them, hence why many of us are lambasting it. But thaks for your permission.
So I beseech you to give Alexandre Desplat’s score a second chance, but only after having seen the film. You may actually enjoy it more.
And we might not, seeing as the score to Part 1 was as bland in the movie as it was standalone.
A film score isn’t there to accompany the film – it is there to complement it, to commentate on it, to add the missing dimension that isn’t filled by dialogue or visuals.
"Music expresses that which cannot be put into words and that which cannot remain silent" – Victor Hugo.
I take the point though that there are some scores which only "make sense" when you are familiar with their context – but that doesn’t invalidate their claims of greatness; it merely suggests that they are not immediately accessible and require thought and consideration to fully appreciate.
I cannot name a single score that sounds rubbish on CD but miraculously becomes a masterpiece in the film; good music is good music whether it is married with the film for which it was written or enjoyed alone as a purely musical experience. I can, however, name a whole bunch of mediocre scores that are functional and inoffensive in their companion films.
🙂
Hang on: "If a film needs the presence of the score to prop up its inadequacies, then it has no right to be called film."
Fixed. 🙂
I think if you asked any composer of any worth, they would tell you the score should be invisible. It should contribute emotionally to key moments of the film, but you should never be aware of the score while the film is playing. A film that is filled with themes and motifs, that you walk out of the theater humming, is not necessarily a great score. When you walk out of the theater having felt you’ve been on an emotional roller coaster, that is a good score. And that score can come in many forms.
I do agree with you on this part:
A film score isn’t there to accompany the film – it is there to complement it, to commentate on it, to add the missing dimension that isn’t filled by dialogue or visuals.
I can name scores that I thought were wonderful on their own, yet ruined the movie for me. Alan Silverstri’s Eraser, for one. Great score, very exciting, good themes: utter crap when played during the film. Same with Kamen’s X-Men: liked it till I saw the movie, then I hated it. Ruined the movie for me.
I can also think of scores I did not like, that I thought were weak, until I saw the film, at which point I revised my opinion when I saw how the score worked with the film. Batman Begins is one, Deathly Hallows Part 1 is another.
I’ve experienced both sides of the spectrum. A film score has no business being judged on its own merits because it was not designed to be heard on its own merits. As a listening experience, one could say, I don’t like it and don’t plan to listen to it. But saying the score sucks when you haven’t even seen the film is like saying a car is ugly when you’ve only seen the steering wheel.
Well I don’t know that the scores remain invisible for everyone. Certainly the average user won’t notice the music but I certainly do every movie I go to, even if it is seriously buried in terrible sound design because the audio mixer doesn’t care to let me hear it.
I also don’t know why you think a quality score full of themes and motifs is at all distinct from quality emotional music. Certainly I can get some emotion from music that doesn’t contain themes but themes help a score to connect me to the emotions even more than a lack of themes. I agree there are plenty of great scores that have no themes but have a real emotional connection, but they are still clearly emotional from the first listen, something many posters here are finding that this score lacks. Themes are just one way to connect to a score and give it a unique character that helps it have a cohesive whole.
Understanding how a score works in a film and appreciating the score are not the same thing. For instance, when I saw Larry Crowne recently in theaters, I recognized the silly classic rock styled score from James Newton Howard and figured out what the director was trying to achieve by using that style of music, but I also thought it was silly and didn’t really add much. I heard the same generic guitar rift whether there were characters riding down the road on their bikes enjoying life or a girl was sitting alone on a bus stop bench waiting for some help. From the first note I heard of it, I could tell it wasn’t going to be giving the movie much extra emotional kick and it never did, was just sort of there like some functional score.
I think Tango’s point is that just about any score can "work well" with a movie if used correctly by a sound engineer who has a brain and can figure out what goes where. The difficult part is getting a score that works so well with the movie that it elevates it in a way a functional score could not. I watched the first Harry Potter and the Deathly Hallows movie and the score was functional with it but I didn’t feel it really gave it the extra spark it could have. I didn’t feel that magic coming from the music that I did when I first heard Hedwig’s Theme in the first movie.
Not sure that’s what I said, but either way it’s not what I meant. What I meant is that just because a movie does not have catchy themes doesn’t mean it is not emotional. Or rather, a movie doesn’t have to have themes to be emotional. What is important is whether a film underscores the emotions and does so without drawing undo attention to itself. That can come with or without themes; it’s not mandatory.
I agree with you completely when you say this:
Understanding how a score works in a film and appreciating the score are not the same thing.
But I also think appreciating the score on its individual merits is completely separate from appreciating it in conjunction with the film.
I didn’t feel that magic coming from the music that I did when I first heard Hedwig’s Theme in the first movie.
I can’t help but feel that maybe that’s the point. There are many scenes in the early films where Harry sees something extraordinary and thinks, I love magic. He doesn’t do that anymore. It’s not about wonder anymore. It’s about trying to stay alive. Hedwig’s Theme would be, to me, mostly inappropriate.
If you don’t know the music that goes with the lyrics, then your mind has to fill in the gaps. You have to make up music for the lyrics, or scenes for the isolated score you’re listening to. It’s clear to me that the fans of this score are bringing something to their listening experience that the critics aren’t. They might be more eager to fill the gaps in the score with their personal expectations of the movie they’re anticipating. Those who are looking at the music with a detached perspective simply see a score without a movie. If the musical style is not to their taste, then it won’t click with their mind and inspire it to race with possibilities. I think that’s pretty much the situation with this score and this thread.
Now, I don’t like people who go around shouting "because I don’t like it, it’s not good, and no one else is allowed to like it", if you have the mental wherewithal to hear something in this score that resembles music of a quality this franchise deserved to end with, well and good, continue on with your delusuions and merry flying to you!
This is probably one of those "write it then don’t post it" kind of rants. But hey, it’s the internet, *post*.
Now, I don’t like people who go around shouting "because I don’t like it, it’s not good, and no one else is allowed to like it", if you have the mental wherewithal to hear something in this score that resembles music of a quality this franchise deserved to end with, well and good, continue on with your delusuions and merry flying to you!
This is probably one of those "write it then don’t post it" kind of rants. But hey, it’s the internet, *post*.
Some rants are justified 🙂
For a while, I had been anticipating this. I really thought Desplat would pull out something good here. There are a few good tracks to be sure. The statues one is awesome and I really liked the music for the Resurrection Stone scene. Still, the Potter scores have had a serious decline in quality since John Williams stopped working on them, and this is unfortunately no exception. Hedwig’s Theme is used occasionally, but not nearly as much or as powerfully as necessary.
My one little tiny hope is that you’ll notice there is no ending credits track here. I haven’t seen any reviews commenting on the music, but I would love it if they just said "screw it" and threw the Sorcerer’s Stone credits theme on the end of this movie. That would be perfect beyond belief. No, they’re probably not going to do it because it would require some legal stuff with Williams, but that would be incredible. I really just want a powerful rendition of Hedwig’s Theme like the first 3 movies had.
As it stands, I’m with bookbinder3. My Casio keyboard and I could have done better, if not in terms of sound quality and orchestration, in terms of thematic progression.
There’s have been rumors that "Leaving Hogwarts" from the Sorcerer’s Stone does play in the epilogue and the original "Hedwig’s Theme" will play during the end credits. 🙂
Just curious, why would inserting Williams’ recording be illegal to use? Doesn’t it belong to WB? They could just pull out the papers with the original piece on them and just record it so it technically wouldn’t be Williams.
Who knows what they might pull out at the end. I hope it’s not a song, that’s all I’d need. Avril Lavigne singing "Harry".
Ripping Hedwig’s theme out of one of the other films doesn’t sound any better, a suite of end credit tracks might be nice.
Who knows what they might pull out at the end. I hope it’s not a song, that’s all I’d need. Avril Lavigne singing "Harry".
Ripping Hedwig’s theme out of one of the other films doesn’t sound any better, a suite of end credit tracks might be nice.
The recording sessions that were posted for the first film have a 5:30 end credits…..
Thanks for the link! That was awesome, and pretty much exactly what I would like to hear.
By the way, having listened to the soundtrack a few more times, while I still find it horribly underwhelming compared to the others, it’s starting to grow on me a little. It’ll never be up there with the Williams or Hooper scores, but it’s not terrible. And despite its general lack of themes, it at least does have that epic quality that you want from this type of movie.
Hollywood Reporter review: "Alexandre Desplat’s score is arguably the best yet for the series"
"Alexandre Desplat is a genius! Lily’s theme works so well throughout this film. It highlights both Snape and Harrys love for her."
Just to name a few.
Hollywood Reporter review: "Alexandre Desplat’s score is arguably the best yet for the series"
"Alexandre Desplat is a genius! Lily’s theme works so well throughout this film. It highlights both Snape and Harrys love for her."
Just to name a few.
That’s why I think it works better in the context of the movie, kind of like his score for movie 7 did. The reviews are remarkably positive for the music, but standalone it isn’t as effective.
I will agree that now that I’ve heard it several times, Lily’s Theme really does work, and it’s a shame it’s a one movie thing. Granted, there aren’t many times that it could have been used before this, but had movie 5 been done a bit better, the scene where Harry sees into Snape’s background and sees James attack him would have been longer and would have been a great place for Lily’s Theme.
My only real problem with it is that it’s not as immediately "hummable" as a lot of Williams’ songs are. Nonetheless, it really sounds great, and there’s a subtle power to it, especially when you hear it in the track that seems to play over Voldemort’s death.
Don’t disagree with that. How many shitty movies have we seen that have, in fact, been propped up by their scores? Too many.
I think if you asked any composer of any worth, they would tell you the score should be invisible.
I disagree; a composer of any worth would say that his score should not intrude. I have always been aware of scores playing in films – perhaps I’m biased because I’m interested in film scores – but I would argue that a score that people notice is not a bad thing. If they notice it because it is conspicuously present at inappropriate moments, or because it is in itself inappropriate music, that is BAD. But all the best scores throughout history didn’t get famous because they were invisible. They got famous because they were forthright, melodic, memorable – AND because they perfectly married up to the needs of the film.
I am a composer myself; I don’t consider myself one of worth, but I like to think I have the right idea as far as scoring goes. I haven’t had any complaints from the directors I’ve worked with. 😉
A film that is filled with themes and motifs, that you walk out of the theater humming, is not necessarily a great score.
There are three different things going on here:
a) This score could be full of themes and motifs and STILL be shitty music.
b) This score could be full of themes and motifs, be GREAT music, and be utterly inappropriate for the film.
c) This score could be full of themes and motifs, be GREAT music, and fit the film like a glove.
With A) you have a bad score. With B) you have a good composition that doesn’t work in the film. With C) you have a great score.
But, in the case of B) I can still listen to the score and judge it to be good music. In that case it would be beneficial to listen to the music as far away from the film as possible.
A good score doesn’t HAVE to be thematic or full of melodies. My problem with this is that, in addition to NOT being thematic and NOT being full of melodies, I consider it bad music. It may be a decent film score – in the sense that it doesn’t call attention to itself in the film, doesn’t do anything inappropriate, doesn’t compromise the film… but being functional, and being functional and great at the same time, are two very different concepts. Hooper’s scores are functional. Williams’ scores are functional and great.
I don’t like Harry Potter and will not see the film – but not seeing the film doesn’t invalidate my evaluation of the music, because as far as I am concerned, it’s a CD with music on it. I listen to the music, I hear bad music. Simple as that. 🙂
I’ve experienced both sides of the spectrum. A film score has no business being judged on its own merits because it was not designed to be heard on its own merits. As a listening experience, one could say, I don’t like it and don’t plan to listen to it. But saying the score sucks when you haven’t even seen the film is like saying a car is ugly when you’ve only seen the steering wheel.
It wasn’t designed to be, but a GREAT score can be. A great score is a great film score AND a great composition. This score sucks. As I said before, it may function well enough in the film, but the score still sucks.
If there was a version of the film where all actors and all scenes were cut except Emma Watson’s, I’d go and see it. Unlikely, though…
By the way, if you truly are a film composer, it’s not exactly heartwarming to see a fellow composer saying that another fellow film composer’s score "sucks." I mean that’s about as unprofessional as it gets. So not only is your opinion on the extreme side, almost as if Desplat has offended you in some way personally, but your posts carry an air of arrogance to them as well. This score most certainly does not suck and I’m not sure why you continue to be so vocal about it anyway especially considering that you don’t even like Harry Potter nor plan on seeing the film. I dunno it’s like you’re on an agenda or something.
That being said, I continue to listen to the score every day and find it quite fantastic and I think it will work wonders along with the footage.
edit: as I re-read my post, maybe it doesn’t come across as "polite" as I originally intended… so please, regardless of how it reads, try not to take any offense to it!
First, I do not think it "sucks" – I said that to make a point in general. That last sentence was designed as a general comparison regards how the concept of "good score" and "good composition" can be disparate. I thought that was obvious; I guess not. Please make sure you know what I’m actually getting at, and read my posts in context, before you start calling me ignorant, unprofessional, and driven by an agenda.
Secondly, I am a composer but so far I have only worked in no budget productions. I am not a big name; I am not any kind of name at all. The most money I have ever earned for composing was a director giving me ???10 to pay for parking while I attended a meeting about the film. But I do write music for films; not big ones, not good ones, not ones anybody has ever heard of, but films. I am still allowed to have an opinion; if you had read my previous posts, you would know that I hold Desplat and his music in great esteem (probably more than most people in this thread) but that I believe this particular score is a misfire.
There seems to be so many sorts of justifications as to why people are to be denied an opinion:
If I’m not a composer, and I judge somebody’s composition – I get told to shut up on the grounds that I do not know his craft and couldn’t do any better myself.
If I am a composer, and I judge somebody’s composition – I get told to shut up on the basis that criticising another composer is unprofessional!
If I had said "F**K Desplat, he’s an arsehole and this score came out of his butt!" then that would have been plain rude. A constructive criticism, however, is nothing bad.
To create an analogy; I draw pictures with crayons. If I look at somebody’s twenty foot true-life oil painting and say I don’t like it, I can hardly be accused of being unprofessional on the grounds that I am active in the art world. It’s just an opinion.
The post above that you have taken exception to isn’t so much about THIS score – it’s about different types of scores, how they interact with their companion movies, and what facets go into making a score that is functional versus a score that is great. Those comments should be taken as they were written – a batch of generalised, unsorted opinions on various topics. Not a kick in the teeth to Desplat. (Whom I do not know, have never met or corresponded with, but would welcome the opportunity to because I think he’s a splendid composer.)
Peace, Brandon. 🙂
If you’re getting something from this score, and I’m not – then I envy you. God help me, I just don’t think it’s that good. If you do, you’ll be having a better time watching the movie than I will. (I daresay I’ll watch it eventually; come to think of it I’d even sit through the score for Emma…) 😉
Like when I listen to "The Resurrection Stone" I mean it’s just absolutely pitch-perfect with that particular moment from the book.
– Simone Weil (not the politician), in the Need For Roots, 1943.
Unfortunately, yes. Just try not to memorize it when you listen so it technically won’t be a spoiler cause you won’t see where the music is going. Lol!
For all I know, there’s a licensing issue and they have to cut John Williams a larger check if his themes are featured on the soundtrack. (Wouldn’t surprise me.) They may not be on the disc, but they’re in the film.
you haven’t read harry pottter???
On topic: I can imaging that the score isn’t that explosive or impressive at first. But believe me, this score IS the best score until now. I’m sorry for those amongst you that love Williams scores, but his strength really is to make a fairytale like score, really fantasy music. But as did Potter grew up and became more serious so did the music (fortunately!).
Having themes in the score on some of the most powerful moments in the movie, would ruin the movie undoubtedly. The movie is filled with emotional/true dramatic moments anyway. The music, connects absolutely perfect with this.
So go and see the movie! Don’t come with the worst argument imaginable:
As it stands, I’m with bookbinder3. My Casio keyboard and I could have done better, if not in terms of sound quality and orchestration, in terms of thematic progression.
This really is a weak respons and easy dismissal. Especially when you don’t even mention quality brand keyboards 😛
@Bookbinder3 when you say this:
..my dissapointment with this new relase is not based upon a belief that it is not suitable in tone, it is because as music it is (certainly compared to William’s scores for the same franchise) thematically and orchestrally bland, retreading the same territory from Desplat’s score for part 1, adding nothing more of interest to what was already a familliar and overused soundscape.
Have you seen the movie? I cannot image that would hold your opinion after seeing it. (Williams imho isn’t able to create realistic music for realistic drama…he cannot stop using themes and way to many flutes and bells.)
Anyway:
That’s why I think it works better in the context of the movie, kind of like his score for movie 7 did. The reviews are remarkably positive for the music, but standalone it isn’t as effective.
I agree, however, when you have seen the movie, (I at least) connect the music with the strong images/acting. And there you are, a strong score, not depending on themes, but connecting to what you see…use your imagination and emotions well when listening to this score…
Hope you will all enjoy it as much as I did!
cheers
I was going to write a lengthy comment to the post above, but I think I’ll just quote it instead and let those words speak for themselves.
I was going to write a lengthy comment to the post above, but I think I’ll just quote it instead and let those words speak for themselves.
Well, they do speak for themselves to me, but we have another opinion apparently. So humor me, and do write this lengthy comment? 🙂
I have to recall my words a bit on that he’s not capable of doing it more grown up I guess. That was a bit easy, seen scores like Schindlers list. But he also made very melodramatic music for Star Wars, making ‘the tears less real or didn’t prevent the dialog to become less of a joke, if you get what I mean. Again, Williams is brilliant…I just think Desplat (I’m becoming a fan I think…) was the right man for this job.
But Williams, if nobody else on the planet, knows when and exactly how to pitch a theme. A blanket statement like "a theme would wreck the movie" is nonsense and distracts from the fact that a BAD theme, or an INAPPROPRIATE theme would wreck the movie… I haven’t ever heard a Williams score that didn’t fit – and I am 100% certain without reservation that arguably the greatest composer for the medium of cinema the world has ever seen would just throw in "flutes and bells" where they would have obviously been inappropriate. Your earlier statement about Williams seemed to suggest that his entire career has been one long "Harry’s Wondrous World" – and that he would look at a scene of death and darkness and misery and say "Oh yes, we need a big playful theme here with lots of trilling woodwinds!".
I am genuinely sorry that I dismissed you and made a patronising post, when I should’ve done what I’ve done here and shared my opinion. Call me jaded, if you like, but it’s no excuse to not give you the benefit of the doubt. (Which, through your last few posts, it is absolutely clear that you deserved.)
🙂
Folk need to stop equating extravagance with childishness.
I think it’s important to realise what Potter was when Williams
was scoring it. It certainly wasn’t the Potter of the last few movies. It was essentially kids playing Wizards – and Williams scored that to perfection. From what I understood, his scores never grew up because the characters really didn’t start to grow up themselves until he departed the franchise.
I agree! Without question. @babydoll, his scores for the first movies brought up joy and wonderment. That is absolutely the strength of Williams, to create new music tunes, that are quickly recognized by almost all people. Also he know how to put a certain atmosphere to music.
But Williams, if nobody else on the planet, knows when and exactly how to pitch a theme. A blanket statement like "a theme would wreck the movie" is nonsense and distracts from the fact that a BAD theme, or an INAPPROPRIATE theme would wreck the movie… I haven’t ever heard a Williams score that didn’t fit – and I am 100% certain without reservation that arguably the greatest composer for the medium of cinema the world has ever seen would just throw in "flutes and bells" where they would have obviously been inappropriate. Your earlier statement about Williams seemed to suggest that his entire career has been one long "Harry’s Wondrous World" – and that he would look at a scene of death and darkness and misery and say "Oh yes, we need a big playful theme here with lots of trilling woodwinds!".
A pardon from my side, I meant not to put it this blunt/sharp. Again, Williams is to my opinion extremely talented, I admire him for his music and career. Having that said, I just cannot say that he is the composer I enjoy always and in every type of movie/scene.
The flutes and bells, was a regrettable statement. It comes from my sometimes annoyance from his music, that he uses particular instruments to often (imho).
I just have a feeling call it an opinion that a score like Desplat delivered is working exceptionally well, and have the idea that this score appeals to me more than a Williams score would. But, we’ll never know…
anyway Tangotreats, thank for you reply, I’d like to exchange ideas when possible (however blunt I / we all may be sometimes)…
Patrick Doyle’s Goblet of Fire is fantastic, definitely give it a listen.
I’m also getting the impression that most people who defend Desplat’s music just do this because of the simple fact it’s Harry Potter. If Desplat’s score would have been put in a random B-Movie and would not feature Williams’ Theme, tell me you would still care for it.
The other answer I recieve is that we don’t need a thematic and melodic score for a "dark" and "serious" movie (modern film scoring idiocy). If that is your point, then why put music in the film in the first place ? Just a rumbling ambient noice or a string section looped througout a scene would fit the tone better and doesn’t distract you from the dialogue. See Dark Knight, a razor over a guitar string is enough to illustrate the mind of the Joker, why not do this for Voldemor too. And for Harry a Horn solo playing the same note everytime he does someting, it’s heroic, right ?
After all Themes and melody don’t belong in a film, too distracting…
No excuse me while I listen to some Conan, Star Wars and Indiana Jones
I’m also getting the impression that most people who defend Desplat’s music just do this because of the simple fact it’s Harry Potter.
Certainly not, I listened to a lot of scores by Desplat before even knowing he did the last Potter movies. Strange observervation btw, why would someone want to defend him because its a HP movie? No less than 4 composers were involved with HP movies…??
If Desplat’s score would have been put in a random B-Movie and would not feature Williams’ Theme, tell me you would still care for it.
Explain this please, I don’t understand. Why B-movie? In an A-movie people would care? Desplat doesn’t deliver well enough film music without Williams’ themes?
I’m starting to look like a Desplat advocate…not my intention, there are (too) many very good composers 🙂
Regarding the appropiate music comment: Hannigan’s game scores are objectivly (at least on a technical aspect, until Deathly Hallows, that is) better than their film counterparts and at least feel like a somewhat natural continuation of Williams material. I randomly put the final battle theme from the order of the Phoenix game over the wizard battle scene in the film and it worked wonders, if they had used Hannigan’s material in the movie and not in the game, it would have been a better movie, at least in the audiovisual-department.
My point is that themes and melodies are things that can save a movie, not distract you from anything. Plus, if the music is also really really good and enbedded in an appropiate context, it can elevate even the cheesiest, corny B-Movie to a cult classic, see Conan the Barbarian.
The music of Desplat suits the dark mood of the movie wonderfully. It’s as powerfull as if Williams would have done it. The action music is breathtaking at times, and the soft music very emotional.
During the last scene (19 years later) the mood changes and so the music: the wonderfull themes of Williams are back. During the first part of the end titles, a part of the end titles music of Harry Potter 1 is played. It really sounds like a relief: it’s a musical victory that celebrates the death of You-know-who and the return of the wonderfull world of Hogwarts. It was a very good choice to do this this way.
But at the second part of the end titles, something strange happened: when Desplat’s music returns, that felt like a kind of relief too. It expresses the maturity if which HP had grown. And believe it or not: when Desplat’s music starts again, there was a big burst of applause by the enthousiastic audience. It was evident that they really enjoyed and recognize Desplat’s music.
At the end, the audience is the final judge…
At the end, the audience is the final judge…
They probably applauded because the original Williams’ Hedwig’s Theme had just ended in great fashion and the title card apeared for the last time. 😀 I felt like applauding myself
Desplat’s music was great, too, IMO.
I am also very happy that he included some of Williams’ and Hooper’s work on the previous films BUT how come this is NOT on the CD???? BOUHOUH!!!
Guess we’ll have to wait for a complete score….
*lol* I would say, look at the television programs that are made (and broadcasted!) today … says enough to see this. ‘dinner’ at McD, however popular, isn’t very good as well is it.
@lim2403 I’ll be waiting for that too..
@klnerfan, I know I just reacted on it.. 🙂 I see your point, just don’t think that one can approach music ‘objectively’ or with rules that a good ‘stand alone’ score would make a movie even better, than a score that is in someones opinion (subjective!) not appealing to listen to without a seeing a movie.
To me personally the movie behind the music is not always important to listen to it. I refuse to see Transformers 2, but the music is excellent…
but anyway, that’s just me 🙂
That is completely true
but
I’ve never heard applause for a Zimmer or a Powell. I think you may not underestimate the audience completely. The fact that they did applaude for music that doesn’t sound like the typical zimmer-soundtrack-sound of these days is remarkable.
———- Post added at 09:56 PM ———- Previous post was at 09:47 PM ———-
Every time I remember that John Williams could’ve done the score the last Harry Potter film, I die a little inside. Damn his busy schedule that didn’t permit it. 🙁
I personally think that he just wasn’t interested and I respect that. He has had it all: he scored so many movies, so many kinds of projects. He doesn’t need Harry Potter to fulfill his artistic ambitions anymore. I think that from now one he only will score for movies of his personal friend Steven Spiellberg. I also think that working in England didn’t appeal to him, because he hates to fly. (in 2005 he canceled a promised concert in London, and it is rumoured because he doesn’t like fo fly so far).
Think you’re right (his list of achievements well where to begin 5 oscars 27 (!) nominations…), why commit yourself to 8 movies, when you set the tone for the whole thing.
No audience today applauds for music; unless it’s a special case (Williams’ Superman March received a smattering of applause at the main title of Superman Returns, and the medley of Jerry’s Omen at the end of The Omen 2006 got applause from me – but that’s about it.)
Now, I could be wrong – but I’d put money on the applause being for some other reason. I don’t know where you live, but where I live the auditorium is empty within fifteen seconds of the credits beginning.
I imagine Williams considers that, at his age, he has better things to do than sit on planes travelling to London to record music, when the LA studio musicians can do a reasonable job. (No disrespect, but they’re not the LSO.)
EDIT:
Tango beat me to it. Yeah, most audiences start shuffling out when the credits start. This has long been a common practice during my 20-something year lifetime, and I’ve never understood why. When I started collecting DVDs and going to the theater on my own, I began staying for the credits, because there’s nice music and it’s fun to pick out or spot names! Really, paying attention to the credits is the way to become a better movie-goer. How else would someone discover cinematographers/editors/production designers that they like?
Now, I could be wrong – but I’d put money on the applause being for some other reason. I don’t know where you live, but where I live the auditorium is empty within fifteen seconds of the credits beginning.
I imagine Williams considers that, at his age, he has better things to do than sit on planes travelling to London to record music, when the LA studio musicians can do a reasonable job. (No disrespect, but they’re not the LSO.)
I attended a special two-part night-premiere of Deathly Hallows in Antwerp (Blegium). Part 1 at 9 pm and part 2 at midnight.
I must confess it was a very special audience: all true Harry Potter fans. Some were even dressed like students at Hogwarts 🙂 Others were reading Harry Potter books during the break. I guess because of this special kind of audience, one can explain why they didn’t leave after 15 seconds…
It was clearly an audience that knew Harry Potter(films) from the heart. And I’m certain this concerns the music as well. The recognised the Williams music at the end immediately. But you must believe me: when the rollercoaster-Gringots music of Desplat re-appeared in its grandeur, the spontaneous applause was because of the music, and nothing else!
I do no want to state that Desplat is better than WIlliams. That would be nonsens. Williams has been my biggest musical hero for the last 30 years. But we must give the new composers a chance and some respect. It would be boring if they all sounded like Williams or Goldsmith. Desplat did a hell of a job on Deathly Hallows 2. After watching the movie, I have listened to his music over and over again, and every time it becomes richer and richer. He is a genious in his own way.
*lol* Having read your reaction, I know you mean well, but it sound a bit as if Williams is a god and the lesser gods must be given some space and credit is his universe… Mind you, I know you mean well!
applause at the end of a movie, well I count myself blessed that I don’t experience them too much (apart from film festivals almost never actually). I tend to think too that people applaud for the entire experience, not only for music. Sometimes in the example of tangotreats, the experience is boosted by the tune of this music. Just as the start of the Star Wars tune. So, applause, it’s a exhaust for excitement?
Personally I find it very disturbing to have an applause at the end of a movie. You just want to sit there and let it all sink in, deal with the fact that a story has come to an end. And btw the makers of the movie aren’t there anyway, are they? thank them by twittering or buying movies or keep seeing their work…I mean no disrespect to the makers, I would applaud when they would be in the audience.
Well I’ve seen the movie and yeah at the end of the film we can hear Leaving Hogwarts. I can’t remember exactly but I think it’s pretty much the same as in Philosopher’s Stone.
He also used Hedwig’s Theme once or twice, and Dumbledore’s Farewell from HP6. Plus some hints of The Kiss (HP5) and some reprises of The Oblivation, The Horcruxes Theme… (HP7)
He also used Hedwig’s Theme once or twice, and Dumbledore’s Farewell from HP6. Plus some hints of The Kiss (HP5) and some reprises of The Oblivation, The Horcruxes Theme… (HP7)
When I heard all of that stuff in the movie, my very first thought was "What the hell happened to the soundtrack CD, and who thought it was a good idea to omit all of this stuff?" I get that they want to release new material, but still, the in-film score and the CD score give 2 very distinct feelings. The CD leaves you unfulfilled; the movie is very satisfying.
It was great to hear them re-use relevant music from before. I personally wanted to applaud when the credits music started because I was already in shock that they used "Leaving Hogwarts." To couple that with what sounded like part of the credits for the first movie was icing on the cake. I agree that it worked to mix that into Desplat’s music from this movie in the second half of the credits music to show the evolution of the series from whimsical and magical to darker and serious.
True! Will there be a complete recording WITH all that on it? Does anyone know/expect this?
Ah you listened to the CD before actually seeing the movie? I did that too, but for Deathly Hallows Part 1. Since the music didn’t get me the first time I waited to see the movie to enjoy Desplat’s music. So for Deathly Hallows Part 2 I decided to wait, see the movie first then listen to the music. Yeah, kind of disappointing that not all is on the CD, still I think A New Beginning is a good closure for the CD.
Harry Potter And The Deathly Hallows Part 2 is the most beautiful and fitting end to a film and book phenomenon unlike anything I have ever experienced. The use of William’s music at the end of the film brought be near to tears (and I never cry at films, ever). To be fairer to Desplat, the score in the film was far superior to that on disc. I’m not sure I would have wanted half a dozen (very similar to their original) recordings of William’s themes on the disc, but their inclusion in the film was always a wonderful moment, and I’m pleased he had the sense to put them in.
Desplat’s music (although better in the film) left me with little if any real emotion, certainly not on disc. I would have loved to see what Williams could have done with this film, seeing how fitting his music was in the epilogue leaves me in little doubt that he could have scored it. I’m not a well read fan of his, so I don’t know how he fares scoring these kind of high drama action films, but his score for Prisoner of Azkaban suggests a move towards more suspenseful, more grown up, and more soulful scores for the series, and the fact that he was not an enduring presence for the series is sad. To summarise. The joy I felt at the end of the film can be attributed to the beauty of William’s music for a film he scored ten years ago. If that’s not powerful music, then Desplat’s certainly isn’t.
On the licensing and copyright point, I believe WB owns all of the music, so it probably wouldn’t have to engage in any re-licensing. If that’s not the case to some extent, it still depends on where they got the music in the movie from. If it was some sort of arrangement, it could have (and certainly should have) been released.
That said, I can’t disagree with your point that fans would complain about putting existing tracks on the CD. Once it comes out on DVD, it’ll be easy to determine the origins of those tracks, specifically whether they are in fact existing music or so-called "slight" arrangements newly recorded for this movie. Also, assuming they are already on the other CDs, it’ll be simple to assemble a sexy playlist that incorporates those other tracks at the appropriate places.
For the time being, I’m glad that Desplat or someone in charge of the musical direction of the movie had the good sense to properly utilize themes to make sure the whole thing feels like a little bow on top of a very nice package. They deserve tremendous commendation for that decision.
Score wise John Williams’ scores were amazing, chamber of secrets having the most highlights for him in the series but personally I think Patrick Doyle should have composed all films after 3 as his score captured the magic world perfectly and is part of the reason I find that film and score to be the best of the series.
Basically boring movie = boring score for these films.
the compilation is great 😀
the compilation is great 😀
Awesome I posted my tracklist in the other Harry Potter thread but here it is again:
Tracklisting:
01 Opening
02 The Bank 5
03 Tunnel
04 Underworld
05 Dragon Flight
06 Neville Arrives
07 Harry Returns (2M6 Boys Recieve Detention from Chamber of Secrets)
08 Student’s March / Snape and Harry / McGonagall Vs Snape (Uses 2M6 Boys Recieve Detention)
09 Trio On Stairs / McGonagall and Neville
10 Statues
11 Grey Lady and Battle
12 Chamber Of Secrets
13 Neville and Battlefield
14 Room Of Requirement
15 Broomsticks and Fire
16 Courtyard Apocalypse
17 Triage
18 Snape and Lily (Uses Dumbledore’s Farewell from Half-Blood Prince)
19 Harry On Stairs
20 Clearing
21 Harry Surrenders
22 Procession
23 Neville The Hero
24 Showdown
25 Voldemort’s End
26 Viaduct
27 19 Years Later (9M2 Leaving Hogwarts / 8M5 The Mark Of Love from The Sorcerer’s Stone)
All the tracked material that is combined with Alexandre Desplat’s material has been edited and mixed very well by myself and sounds as if they were supposed to be part of the cue. 😀
download link?
download link?
Lol. It’ll be a bit. I only just completed it this morning 😛
Overall, it has a nice texture, but to sum up in one word, I’d call the score "functional." It has some fantastic moments but seems to be mostly repetitious motives that don’t quite develop into full on themes, more an exercise in technique and psychology than emotion. "Lily’s Theme" is nice, beautiful, and sad, but I can’t help but feel that someone like Williams or Elfman could have really knocked it out of the park into something transcendent that would have us all sobbing; Desplat produces a tear or two and that’s about it.
Not crap by any means, but short of true greatness, IMHO. That said, massive kudos to whomever suggested using "Leaving Hogwarts" at the close. Perfect way to bring things full circle musically.
I really didn’t think much of Lily’s Theme on first listen prior to seeing the film, but its use in the first scene of the film is fantastic, particularly when you know the importance of Lily (either from reading the book or from seeing the film previously) to the main characters on the screen at the time. There doesn’t feel like much of a melody to the piece at all on the CD, but in the film it really came to life and felt quite hauntingly beautiful. It’s one of those pieces, like Lara’s Theme from Dr Zhivago, that carry more weight and resonate after you’ve seen a film.
There is one particular moment in the film when I found myself quite glad that JW was not scoring the film, actually. In one of the battle scenes, as our main three are running through the battle trying to get from A to B, Desplat gives us a very dark, mournful piece. It’s the cue called Courtyard Apocalypse on the soundtrack. It lent a great deal of weight and tension to the scene that I found perfect. I felt it was absolutely the right tone to hit for that moment, and that Desplat had 100% nailed it. More than that, I didn’t feel there were any points during the film where he had missed the mark. Listening to the soundtrack today, for instance, there are a couple of times when I got chills when the music kindled a memory of a specific scene in the film, most particularly Neville The Hero.
I definitely liked it. I certainly understand why others feel it’s a less than pleasing listening experience on its own, but I really enjoy it. To each their own.
Oh well, everyone has his/her right to an opinion 🙂 I just cannot help thinking that you don’t have appreciated (recognized) the emotional moments in the plots in these movies and just wanted some action… You see, there is more than magic in these stories…or may be I read this the wrong way around..
Hallows Part 2 was fantastic btw!
Yes some more action would have been nice and sure there were many emotional moments but they just appeared to be so slow and dull like the harry and dumbledore scene (could have gone to sleep during that scene) and when harry is supposedly killed – haha only Ginny reacted no one else seemed to show any interest especially his two best friends but what I really mean is for example in number 4 the confrontation and duel with harry and voldemort was really emotional and kept the suspense, in this film any scenes like this were just not interesting.
I guess I’m just disappointed at how much the series changed in the last 3 films because IMHO they could have really made an exciting and epic finale not a movie with 2 mins of good moments then 25 mins of boring scenes, then another 2 great mins etc. but that’s just my opinion.
I had a totally different experience, I think this was a very good ending to the story. Have you read the book? I get the impression you didn’t. Many of the scenes make more sense when you’ve read the book. But why if you want more action in a (or this) movie, did you go to HP7.2? HP6 and HP7.1 set the tone for the final one…
I had a totally different experience, I think this was a very good ending to the story. Have you read the book? I get the impression you didn’t. Many of the scenes make more sense when you’ve read the book. But why if you want more action in a (or this) movie, did you go to HP7.2? HP6 and HP7.1 set the tone for the final one…
Haha I downloaded it, had to see how it finished wouldn’t bother going to see it and I know the book but my point is those scenes from the book were really boring on film, lacked any real emotion and considering this is a score forum – those emotional scenes really would have worked well with some emotional music not so much silence or very quiet underscore (Imagine the climax of return of the king with no music, you just wouldn’t feel the emotion).
CLICKITY CLACKITY (http://www.sendspace.com/file/oqb2qn)
The only thing I wish you included is an edit of the credits music.
Tracklisting:
01 Opening
02 The Bank 5
03 Tunnel
04 Underworld
05 Dragon Flight
06 Neville Arrives
07 Harry Returns (2M6 Boys Recieve Detention from Chamber of Secrets)
08 Student’s March / Snape and Harry / McGonagall Vs Snape (Uses 2M6 Boys Recieve Detention)
09 Trio On Stairs / McGonagall and Neville
10 Statues
11 Grey Lady and Battle
12 Chamber Of Secrets
13 Neville and Battlefield
14 Room Of Requirement
15 Broomsticks and Fire
16 Courtyard Apocalypse
17 Triage
18 Snape and Lily (Uses Dumbledore’s Farewell from Half-Blood Prince)
19 Harry On Stairs
20 Clearing
21 Harry Surrenders
22 Procession
23 Neville The Hero
24 Showdown
25 Voldemort’s End
26 Viaduct
27 19 Years Later (9M2 Leaving Hogwarts / 8M5 The Mark Of Love from The Sorcerer’s Stone)
All the tracked material that is combined with Alexandre Desplat’s material has been edited and mixed very well by myself and sounds as if they were supposed to be part of the cue. 😀
When the John Williams cues come from? The Chamber of Secrets Complete score? Which one?
Tracklist:
01-Lily’s theme (2:28)
02-The tunnel (1:09)
03-Underworld (5:26)
04-Gringotts (2:24)
05-Dragon flight (1:44)
06-Neville (1:40)
07-A new headmaster (3:26)
08-Panic inside Hogwarts (1:53)
09-Statues (2:24)
10-The Grey lady (5:51)
11-In the chamber of secrets (1:37)
12-Battlefield (2:13)
13-The diadem (3:08)
14-Broomsticks and fire (1:24)
15-Courtyard apocalypse (2:00)
16-Snape’s demise (2:51)
17-Severus and Lily (6:08)
18-Harry’s sacrifice (1:57)
19-The resurrection stone (4:32)
20-Harry surrenders (1:30)
21-Procession (2:07)
22-Neville the hero (2:17)
23-Showdown (3:37)
24-Voldemort’s end (2:44)
25-A new beginning (1:39)
Total time: 1:08:09
Lossless version
http://www.megaupload.com/?d=ELKTS76B
Password: MiNT
The only thing I wish you included is an edit of the credits music.
Plan to take notes on the end credits next time i go 😀
When the John Williams cues come from? The Chamber of Secrets Complete score? Which one?
Lol. Chamber of Secrets Yes
CLICKITY CLACKITY (http://www.sendspace.com/file/oqb2qn)
Really solid work. Listening to it now and it sounds very much what I remember the movie being.
Thanks! It was a very simple edit unlike alot of the other stuff im working on (see my signature). Of course when the movie comes out it can be done ALOT better. I actually want to tack the end credits onto this after i take notes when i go see it again soon
Lol can’t forget a moment like that! That was epic! Hahaha. Glad you enjoyed it! I was stoked as well to hear some of John Williams music in the film 😀 Once I heard it playing along with Desplat’s work I knew i’d have to make this version of the score as it would bug to hear the tracks WITHOUT these themes playing where they should be 😛
Honestly? I had to force myself to keep listening…it’s just….not it….for me…
May be I need to keep trying? :S
———- Post added at 03:15 PM ———- Previous post was at 03:11 PM ———-
Haha I downloaded it, had to see how it finished wouldn’t bother going to see it and I know the book but my point is those scenes from the book were really boring on film, lacked any real emotion and considering this is a score forum – those emotional scenes really would have worked well with some emotional music not so much silence or very quiet underscore (Imagine the climax of return of the king with no music, you just wouldn’t feel the emotion).
ok…downloaded it…
watched it on a laptop did ya? missed half of the sfx and well all music between 25 and 400Hz? 😛
Sorry, I just realized I’m a little late on the wagon lol. I’m glad a re-edit of the score was made. Still if the people who made the original release included the music like this, the soundtrack would’ve been more listenable. I loved the statue part, too ;).
May be I need to keep trying? :S
———- Post added at 03:15 PM ———- Previous post was at 03:11 PM ———-
ok…downloaded it…
watched it on a laptop did ya? missed half of the sfx and well all music between 25 and 400Hz? 😛
Nah watched it on a 50” with a good home theatre system, pretty decent copy too and there ain’t much memorable music except for the final scene but that’s Mr. Williams!
But which score? The extended version of The Deathly Hallows Part 2 is not from me…
PLEASE! PLEASE!
Every website asks to buy the whole album in order to get the Digital Booklet but clearly I don’t need to BUY the album! Ur awesomenesses already took care of that.
PLEASE! PLEASE!
Every website asks to buy the whole album in order to get the Digital Booklet but clearly I don’t need to BUY the album! Ur awesomenesses already took care of that.
What he said
Mainly because of the Liner notes. I Like the ones you seen in the Lord of the Rings Complete Recordings and Star Wars Trilogy soundtracks
In the case of Harry Potter every other soundtrack has a (trivial) note by the director and both with the composer for the two Nicholas Hooper entries, along with some photos for the most hardcore fans.
But i agree that in general the booklets leave much to be desired, unless when it’s the case of the special editions from the likes of LalaLand and FSM, with the usual in-depth analysis of the movie and the score and with track by track commentaries.
Yes, there is a 5.1 download available with the CD.
For your second question, unlike Deathly Hallows Part 1, Part 2 has no bonus tracks no matter how you get it. No deluxe box, no itunes bonus tracks.
Sure can. I make all my stuff in FLAC first and then convert it over to mp3. Once i found out about FLAC it was my LIFE haha. Lol wow. but yeah ill have the edited tracks up in flac soon
So please someone hopefully buys the actual CD and uploads the informational pages for all of us.
So please someone hopefully buys the actual CD and uploads the informational pages for all of us.
Can’t be checked on line? Wiki, or something..?
Allmusic is the best site about credits info.
Here is the page of Deathly Hallows Part 2 album credits: Harry Potter and the Deathly Hallows, Part 2 – Alexandre Desplat | AllMusic (http://www.allmusic.com/album/harry-potter-and-the-deathly-hallows-part-2-r2210433/credits/credits-asc)
Oh, wait, it looks like bullshit – I mean, bullpoor – oops, I mean bulldick – has been banned. Nice to never meet you!
You missed it. There was someone named bullrich who was spamming every single thread on the board a couple of days ago (including this one) by telling everybody to shut the fuck up (or some variation). He/she was banned, so their comment above mine was deleted. That’s what I was referring to.
I agree, and I also really, REALLY hope someone here is able to obtain some kind of complete or expanded release of this great score, because in the film there are a good handful of unreleased cues, including these re-recordings of the Williams material.
EDIT: it’s not actually from the sessions. It’s from the expanded tracked cues that zeeky uploaded. In other words, it’s the John Williams recordings made from the HPSS sessions.
I’m going to see the film myself this Friday, so I shall stick behind and see if the music is indeed a reprisal reconducted by Desplat or tracked material from HPSS.
Thanks
"At last, my arm is complete!"
THANX TERIWEIGEL!
2M6 Harry Returns – I’m certain this one’s not tracked. It sounds like a new version of the same theme, it’s got a slightly different lead-in and orchestration.
3M15-16 Students’ March, Snape and Harry, McGonagall vs Snape – tricky to tell off the top of my head. Could be either way.
5M31 Snape and Lily – Again, tricky to tell, but then again I was not a fan of the Half-Blood Prince soundtrack, and so I do not have it to compare to.
9M2 19 years Later – This is most certainly tracked material from HPPS, from both "A Mark of Love" and "Leaving Hogwarts". The orchestration is dead-on the same as the HPPS cues, and I doubt that could happen twice, under different conductors.
2M6 Harry Returns – I’m certain this one’s not tracked. It sounds like a new version of the same theme, it’s got a slightly different lead-in and orchestration.
3M15-16 Students’ March, Snape and Harry, McGonagall vs Snape – tricky to tell off the top of my head. Could be either way.
5M31 Snape and Lily – Again, tricky to tell, but then again I was not a fan of the Half-Blood Prince soundtrack, and so I do not have it to compare to.
9M2 19 years Later – This is most certainly tracked material from HPPS, from both "A Mark of Love" and "Leaving Hogwarts". The orchestration is dead-on the same as the HPPS cues, and I doubt that could happen twice, under different conductors.
Judging from the cue listings Dumbledore’s Farewell tacked onto 5M31 Snape and Lily is most certainly TRACKED as Dumbledore’s Farwell is listed nowhere on the cue list, and if it was redone, it would’ve been on the cue list. Definitely tracked i’m 100% positive.
2M6 Harry Returns and 3M15-16 are new reorchestrations of John Williams Material. 100% Sure, it is obviously different. I only used the TRACKED material in the expanded release so we have a resemblance of the same track.
9M2 19 Years Later. This I would like to believe is tracked. It IS listed on the cue listing, which means it was set to be re-recorded. If it’s ON the cue list then it’s going to be recorded. Now the question is. Did they decide to use the re recording or the ORIGINAL, because it could’ve gone either way. I do agree that the likeness is uncanny and i do think it’s simply impossible for it to sound so close. But who knows it could even be a combination of the original TRACKED stuff and a new recording. We don’t know haha I can guarantee however that the end credits are DEFINITELY tracked material. That’s williams without a doubt.
No. "The Tunnel" plays ONCE throughout the credits.
So it’s Hedwig’s Theme followed by Lily’s Theme and then the Tunnel?
Nope.
Well guys, I saw it again and managed to stay through the credits 😀 To prove it i know that at the end it says "DUMBLEDORE’S FAREWELL CUE COMPOSED BY NICHOLAS HOOPER" So that solved that problem…as for the actual music playing during the credits….
*COUGH* *COUGH*
Download End Credits.mp3 from Sendspace.com – send big files the easy way (http://www.sendspace.com/file/vq9was)
Woaw. Now where did that link to the Deathly Hallows Part 2 END CREDITS come from? 😉
…and yes they’re accurate, Both in ORDER and in EDITING. If you are skeptical, then go see it again 😀
Can anybody identify what cues play in the end credits? I didn’t stick around to listen to that bit, but I know Lily’s Theme was in there (I went in as the credits from the last showing were still rolling).
Hmmm are you sure, because i stayed through the whole thing and didn’t hear Lily’s Theme…do you know what portion of the credits were being shown? (Visual Effects, Music, ETC)
looking for the chronological tracklisting Part 1 + part 2 + bonus cues (voldemor, bellatrix,…)
Sure! Not A Problem!
If you have ONLY the OST’s and BONUS TRACKS, This is how they should go, (This list does not include any custom cues):
Part 1:
Obliviate!
Snape To Malfoy Manor
Voldemort
Polyjuice Potion
Sky Battle
At The Burrow
Harry and Ginny
The Will
The Dumbledores
Grimmuald Place
Death Eaters
Dobby
Ministry Of Magic
Detonators
The Locket
Fireplaces Escape
The Exodus
Ron Leaves
My Love Is Always Here
Godric’s Hollow Graveyard
Bathilda Bagshot
Hermione’s Parents
Destroying The Locket
Ron’s Speech
Lovegood
The Tale Of The Three Brothers
The Deathly Hallows
Captured and Tortured
Bellatrix
Rescuing Hermione
Farewell To Dobby
The Elder Wand
Part 2:
Lily’s Theme
Gringotts
The Tunnel
Underworld
Dragon Flight
Neville
A New Headmaster
Panic Inside Hogwarts
Statues
The Grey Lady
In The Chamber Of Secrets
Battlefield
The Diadem
Broomsticks and Fire
Courtyard Apocalypse
Snape’s Demise
Severus and Lily
Harry’s Sacrifice
The Resurrection Stone
Harry Surrenders
Procession
Neville The Hero
Showdown
Voldemort’s End
A New Beginning
🙂
Also, attaching "Leaving Hogwarts" for the 19 years later scene was perfect. It just goes to show it was a loss Williams couldn’t compose for the last film. The piece really moved me. Not saying Desplat’s score was bad because it’s hard to be a composer for a sequel but to want to sound Williams-esque but then not really so that they know it’s YOUR score. (Sounds a lot like the new Dumbledore actor and how he didn’t want to copy the old one.)
I can’t wait for someone to rip it from the film. I think it is a new recording by Desplat and it is nice to hear a different variation (even if it is a little.)
don’t worry, we’ve got two project by Williams this year (Tintin and War Horse)! 😀
Man, I grow tired of this longing for Williams scores, I mean don’t get me wrong, he is brilliant,but not the only one. The changes in composers deliveres to my opinion new scores, new insights, new experiences. An 8 movie franchise needs that! So frankly, I’m very glad they changed the composer, I think even Williams wouldn’t be able to escape his own melodies and type of music. 8 movies with the same sort of music…?
With te risk of me being denounced 😉 what is it with this godlike status people tend to give Mr. Williams anyway?
Album : Harry Potter And The Deathly Hallows Part 2
Arist : Alexandre Desplat
Genre: Soundtrack
Size: 316 MB
Format: FLAC
Runtime: 68:09 min.
Picture:
Download (Fileserve):
Well, he is something of a genius. That probably has something to do with it.
With te risk of me being denounced 😉 what is it with this godlike status people tend to give Mr. Williams anyway?
If you want good examples of the varying ways he’s scored a series of films, I’d look at Indiana Jones and Star Wars. Each has their own style even though they reference familiar themes (which within a series is a must, even if it’s ironically – I really looked forward to a tragedy-mode or twisted version to Hedwig’s Theme). The music of Episode IV is fanfaric. Episode V has Empirical music. Jedi is built up of newer action cues and the slower, plodding music of both Jabba the Hutt and the Ewoks. Episode I has the Droid March, Anakin’s Theme and Duel of the Fates, which was something new for the series. Attack of the Clones brings in a few minor motifs and a proper love them (Han Solo and the Princess doesn’t count, it wasn’t written for concert by Williams). Episode III brings in lamentations and tragedy pieces.
I think I could go on more and more about the different styles of music each film could have had if Williams remained composer.
The ‘godlike’ status given to Williams is because he is considered by many to be the greatest film-music composer of his time.
Well, that’s what I already agreed upon. 🙂 However, Why do some people act as if he is the only one who makes the right film music. It seems to me that the general sense is that this man could make music for every movie ever made. And that is exactly what I don’t believe…
———- Post added at 10:49 PM ———- Previous post was at 10:40 PM ———-
If you want good examples of the varying ways he’s scored a series of films, I’d look at Indiana Jones and Star Wars. Each has their own style even though they reference familiar themes (which within a series is a must, even if it’s ironically – I really looked forward to a tragedy-mode or twisted version to Hedwig’s Theme). The music of Episode IV is fanfaric. Episode V has Empirical music. Jedi is built up of newer action cues and the slower, plodding music of both Jabba the Hutt and the Ewoks. Episode I has the Droid March, Anakin’s Theme and Duel of the Fates, which was something new for the series. Attack of the Clones brings in a few minor motifs and a proper love them (Han Solo and the Princess doesn’t count, it wasn’t written for concert by Williams). Episode III brings in lamentations and tragedy pieces.
I think I could go on more and more about the different styles of music each film could have had if Williams remained composer.
The ‘godlike’ status given to Williams is because he is considered by many to be the greatest film-music composer of his time.
Thanks for your examples. Still I don’t think he could escape his style, apart from the variations (imho due to the mostly same composition of the orchestras) . I almost immediately recognize his music. That’s the main point of my argument. Another composer simply adds new sounds to a changing film series. And to me.. that’s good!
Could you please provide a different link, megaupload is long dead. i have a few digital booklets that i would like to share too.
Online Casino South Africa
Online Casino New Zealand
Online Casino India
Online Casino Australia
Online Casino UK
Online Casino Canada
