Review by Jessica Coote 18 August 2015 SOUNDTRACK REVIEW Hedwig’s Theme Quidditch, three-headed dogs, giants and witches; the story of boy wizard Harry Potter dominated move screens from 2001 until 2011. Adapted from the book series by JK Rowling, the storyline follows Harry Potter and his two friends Ron and Hermione as they learn magic at British wizard’s school, Hogwarts. The fantasy novels were a great success, lending themselves perfectly to a film adaptation, and hence, the Harry Potter brand is now worth in excess of $15 billion . 1 Throughout the 8 films, four composers were gifted the opportunity to write the score for the franchise. John Williams, Patrick Doyle,Nicholas Hooper and Alexandre Desplat all brought a unique style to their respective films. However when analysing the success of the film soundtracks as a whole, it is clearly evident that the music composed by John Williams in the first three films have endured and been the most successful. Film Score Junkie agrees, stating on an online blog that ‘In retrospect, the first score for the series has been increased in status through the years as subsequent composers have failed to uphold, despite considerable quality in parts of their own endeavours, the integrity established by Williams.’ Music Review- Empire Magazine 1 Did you know? As of 2008, Harry Potter books have sold over 400 million copies and have been translated into 67 languages.
Transcript
Review by Jessica Coote 18 August 2015
SOUNDTRACK REVIEW
Hedwig’s Theme Quidditch, three-headed dogs, giants and witches; the story of boy wizard Harry Potter dominated move screens from 2001 until 2011. Adapted from the book series by JK Rowling, the storyline follows Harry Potter and his two friends Ron and Hermione as they learn magic at British wizard’s school, Hogwarts. The fantasy novels were a great success, lending themselves perfectly to a film adaptation, and hence, the Harry Potter brand is now worth in excess of $15 billion .1
Throughout the 8 films, four composers were gifted the opportunity to write the score for the franchise. John Williams, Patrick Doyle,Nicholas Hooper and Alexandre Desplat all brought a unique style to their respective films. However when analysing the success of the film soundtracks as a whole, it is clearly evident that the music composed by John Williams in the first three films have endured and been the most successful. Film Score Junkie agrees, stating on an online blog that ‘In retrospect, the first score for the series has been increased in status through the years as subsequent composers have failed to uphold, despite considerable quality in parts of their own endeavours, the integrity established by Williams.’
Music Review- Empire Magazine �1
Did you know? As of 2008, Harry Potter books have sold over 400 million copies and have been translated into 67 languages.
Review by Jessica Coote 18 August 2015
Born in 1932 New York, John Williams is a well known pianist, composer and conductor, having produced themes for the likes of Spielberg’s Jaws and Indiana Jones, Lucas’ Star Wars, and of course, Columbus’ Harry Potter. It is perhaps this last mention that is the milestone of his legacy as a film composer. The soundtrack to the first film, Harry Potter and the Philosopher’s Stone, was nominated for Best Original Score at the 74th Academy Awards, and introduces the audience to several key leitmotifs, including ‘Hedwig’s Theme’.
The most well-known and prominent song of the series is Hedwig’s Theme. The piece, named after Harry’s snowy-white pet owl Hedwig, lends itself magnificently to the world of Harry Potter. Featuring interesting intervals such as augmented 4ths, and chromaticism, the theme portrays a magical, mysterious quality which is associated heavily with the style and mood of the film. The song is also incorporated as both diegetic and non-diegetic; this enhances the effectiveness of the music in the film by creating a mood.
Harmonically, Hedwig’s Theme is essentially in the key of E minor, but the chord progressions are anything but typical of a minor key. The diminished intervals add an ‘other-worldy’ sense to the theme, because of the frequent shifts away from diatonic tonality.
Hedwig’s theme was written for a symphonic orchestra, including:• Flute• Piccolo• 2 Oboes• English Horn• 2 Bb Clarinets• Bb Bass Clarinet• 2 Bassons
• Contra Basson• 4 F Horns• 3 Bb Trumpets• 2 Trombones• Tuba• Timpani• 2 Percussion
At some stage almost every instrument plays the melody throughout the piece. Beginning with a simple celesta solo melody, Hedwig’s theme introduces it’s main motif. Strings join this melodic line, echoing the passage. Generally, the Celesta is the most important instrument in the theme, often carrying the melody and introducing new sections. The instrument is famously featured in Tchaikovsky’s “Dance of the Sugar Plum Fairy” and in “Pure Imagination” the 1971 movie adaptation of Roald Dahl’s Willy Wonka & the Chocolate Factory. The celesta is also commonly used in film scores, for the exact purpose of adding a somewhat magical and mystical element to the respective score. Its metallic yet soft and thin tone colour creates an effective opening to the theme. Williams use of the celesta throughout the theme effectively enhances the mood.
The piece also features the tempo-marking of Misterioso (dotted crotchet =58) Misterioso, meaning ‘mysterious’, is therefore a suitable tempo marking throughout. The rhythm throughout this piece is quite complex with the composer using syncopation paring well with the triple meter time signature. The
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“Ah, music, a magic beyond all we do here”
ALBUS DUMBLEDORE
Review by Jessica Coote 18 August 2015
rhythmically vibrant score enhances the forward momentum of the piece, and the overall mood of the film.
The form of the piece is based loosely around Theme and Variation, because the main motifs return frequently. Williams has used the variations to change the timbre of the theme, and to build tension before the climax at the end of the piece.
The main theme is introduced by the celesta and strings (see Musical Example 1, of the melody as would be played on a piano). The melody is memorable, similar to Classical melodies. Generally this theme mezzoforte, however a wide range of dynamics spanning ppp to f is used. This is a characteristic of the Romantic Era.
A new motif (colloquially known as the Nimbus 2000 Theme), is introduced, and successfully builds on the intensity from the previous section. More woodwind and brass instruments are implemented, however the Celesta and string solo are still featured. At Bar 125 where we see the full orchestra
playing(for the first time together), all instruments begin at mp, however quickly grow to mf and then ff by the use of small crescendos; this effectively leads up to the next section and theme, (see Musical Example 2 for the string sections).
However it is interesting to see that after the instruments reach ff on the first semi-quaver beat of the final bar of the section, they are then drop back to mf, in order to grow quickly again toward forte in the first bar of the new section (Bar 128). This effectively creates a huge dynamic shift in the music, making it more dramatic and spectacular. The accented articulation and staccato also adds to the effectiveness.
During the following five sections, the orchestra builds on the intensity of the previous sections,
introducing counter melodies mainly on string instruments. From Bars 184 to 207 a new and very different theme is introduced( see Musical Example 3 for the new melody in the string section).
Featuring two new motifs, including Voldemort’s Theme, we hear this near the end to give a change of timbre and build excitement. With all instruments playing at some point in this section, the musical journey is leading towards the climax of the piece. Swelling crescendos, louder dynamics and new rhythmic patterns allow this theme is expand greatly from previous sections, and give an appropriate lead up to the end of
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The story’s imaginative attar of wizards flying on broomsticks and mail-delivering owls, all occupying a wondrous world of magic, offered a unique canvas for music.
JOHN WILLIAMS
(Musical Example 2)
(Musical Example 3)
(Musical Example 1)
Review by Jessica Coote 18 August 2015
the piece.
The piece concludes with the inevitable culmination of the full orchestra. The final moments of the piece are inclusive of a ‘fake ending’ preceding a large finale in which dynamics play a large role. The unusual but effective ending on the tonic chord suitably conveys a feeling of finality, whilst still convincing the audience to remain listening for more magic.
Williams’ Theme clearly has influenced the success of the film series, with serval different versions of the adapted to suit the style of the later, more mature and darker films. Hedwig’s Theme is the quintessential piece of Harry Potter music. Williams certainly does not hold back, and has produced one of the best fantasy movie themes to date.
Despite the music being so successful the placement of the theme in the film is questionable. During ‘Harry Potter and the Philosophers Stone’, the theme is sparingly used, and only once during the entirety of the first film do we see the owl Hedwig when her theme is playing. The only time we hear the piece in its entirety is during the second half of the credits; the film implicitly disguises the theme and uses it minimally. It is clear that Hedwigs theme was ineffectively implemented in this film series,and it can be considered unusual that such a rejected theme receives such cultural recognition.
It is clear that the Harry Potter series is a true cinematic masterpiece. The lack of implementation of Williams’ theme however undermines the effectiveness of the soundtrack as a whole. Despite this, Hedwig’s Theme is one of the more flexible themes in Williams’ oeuvre as it does not represent a single specific character or thing the way, say, the Imperial March represents Darth Vader. Instead, Hedwig’s Theme seems to represent the world of wizards and magic, and convincingly conveys the emotions and mood of the entire book and film series.
See the following three pages for a detailed analysis of each section of the piece.
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Section Bars Instruments Texture Articulation
A 0-90 Solo Celesta Bar 0-17. 1st Violins join softly at Bar 17 until 27 (barely audible). Violas join with sustained noted at Bar 31. Cellos join with pizzicato crochets at Bar 33. Harp, Celesta, 1st and 2nd Violins united in scalic /harmonic passage at Bar 35.- Bar 43-small deviation in Bar 51, then changes dramatically in
bar 59 to triplets with 1/2 trills, finally a small chromatic passage from the 1st Violins and Celesta leads to a change in bar 75.
This sequence continues underneath the Harp, Vibraphone, Bassoon, English Horn and Alto Flute who now carry the melody originally proclaimed by the Celesta from Bar 43 -75. Muted Trumpet, Horns and C Bassoon join at Bar 59. Violas handle the accompaniment whilst the melody is controlled by the English Horn and 2 sets of Horns. 1st and 2nd Violins join on the upbeat to Bar 83. Cellos join upbeat to Bar 89.
Mainly homophonic,with some polyphonic sections.
Ringing Celesta/Theme, pizzicato adds to colour
B 91-127 English Horn, 3 Clarinets and 2 Bassoons play new theme in unison in bars 91-98. This theme is taken over by 2 Oboes and 3 Trumpets (now open), with the English Horn remaining at bar 99 to 107. 1st and 2nd Violins, Violas, Cellos and occasionally Double Basses accompany with a small counter-melody. Celesta solo from the upbeat to 107 to 113, with 4 minims leading to a new section. Accompanied by sustained notes on the Horn, and occasional pizzicato on the cellos. Upbeat to Bar 115 introduces the 1st and 2nd Violins replacing the Celesta, finishing at Bar 122, with again 4 minims leading to a new change. 1st and 2nd Violins, Violas, Cellos and Double Bases with converge together at bar 125, leading to the introduction of the Piccolo( for the first time in the piece), Flute, 3 Oboes, 3 Clarinets (for the first time in this piece) with the quick demi-semi quaver ascending scalic passage leading into the next theme. This is held together with the remaining instruments ( Bassoon, C. Bassoon, 4 Horns, 3 trumpets, 3 trombones, tuba, harp, timpani, triangle, tambourine, sleigh bells, sustained Cymbal and full string section ) with a minim chord at Bar 127, finishing the section.
Homophonic Short and articulate.
B1 128-136 3 Trumpets, Glockenspiel, Celesta and Violas play the main melody in Bars 128 to 136. Piccolo, Flute, 3 Oboes, 3 Clarinets play a counter melody throughout this. 2 Bassoon, C. Bassoon, 4 Horns, 3 Trombones, Tuba, Timpani, Cellos and Double Basses play underlying sustained and simple notes.1st and 2nd Violins play another counter melody, which strategically lines up frequently, however otherwise completes a scalic pattern. Almost all instruments (apart from the Timpani and the Harp(which is gliss. ad lib)) come together on the 3rd and 4th beats of Bar 131 for a minim chord. Another gliss ad lib on the Harp and a chromatic ascending melody in Bars 135 and 136 leads to the new section.
Thick, very polyphonic.
Generally articulated.
C 137-153 An counter melody beginning at Bar 137 with 3 Clarinets, 2 Bassoon and Viola, playing a melody of triplets. Main melody with the Flute, Glockenspiel, Celesta and 1st and 2nd Violins in Bars 139, English Horn joins at Bar 142, Oboes join upbeat to Bar 144 and this melody ends at Bar 146. 4 Horns, Trombone, Tuba, Timpani, Harp, Cellos and Double Basses all play the accompaniment. The English Horn, Bassoon, 4 Horns and Cellos begin a new melody at upbeat to bar 147. This is then echoed by the Bass Clarinet, Bassoon, 4 Horns and Violas at upbeat to bar148.This is then echoed again by the Bassoon, C Bassoon, Tuba, Cellos and Double Basses at upbeat to Bar 149. Upbeat to Bar 150 introduces a new theme of Triplets, played on the Clarinet, 1st and 2nd Violins and Violas. The Bassoon, Bs Bassoon and Cellos enter this melody at beat 2 of Bar 150. Oboes enter at Bar 152. English Horn and Double Basses enters at Bar 153. A small counter melody of demi-semi quavers in the last bar of the section (Bar 153) in played on the Piccolo, Flute, Oboes, Bs Clarinet and Harp; this effectively leading into the next section.
Polyphonic, with several counter melodies.
Legato
Section
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B2 154-163 3 Trumpets and Celesta play the melody in Bars 154-157. Accompanied by Piccolo, 2 Flutes, 2 Oboes, English Horn, 2 Clarinets, Bs Clarinet, 2 Bassoon, Glock, Vibes and Chimes playing a simple melody underneath in Bars 154-157. Piccolo, 2 Flutes, 2 Oboes, English Horn, 2 Clarinets, Bs Clarinet, Glock and Celesta now play the main melody in Bars 158-161.1st and 2nd Violins and Violas play a counter melody underneath this.1st and 2nd Violins and Violas play a small triplet pattern to bridge the gap to the next section in Bars 162-163.This is accompanied by a gliss on the Harp.
Homophonic, sometimes polyphonic
Articulated and accented.
C1 164-175 1st and 2nd Violins, Violas and Trumpets play the melody in Bars 164- 170. The Celesta and 2 Clarinets play a complex counter melody underneath this. During Bars 166 and 170, the Piccolo, 2 Flutes, 2 Oboes, English Horn, 2 Clarinets and the Bs Clarinet join the melody. Bars 171-175 encompasses a small interlude:Upbeat to Bar 172- 4 Horns and the GlockUpbeat to Bar 173- 2 Trombones and ViolasUpbeat to Bar 174- English Horn, 4 Horns and 2nd ViolinsUpbeat to Bar 175- 2 Bassoon and 2 Trombone
Homophonic. Legato
B3 176-183 4 Horns carry the melody, spanning upbeat to Bar 176- 183. Accompanied by the 1st and 2nd Violins and Violas on pizza staring bar 176, and with the Cellos and Contra-bass joining in bar 180.
Homophonic Accented.
D 184-207 New melody begins on the 4 Horns in Bar 187. Changes to 3 Trumpets at Bar 188 (overlaps with the end note of the Horns).Changes to Flute, Oboe, English Horn, 2 Clarinet and Eb Clarinet in Bar 189 ( overlaps again with previous Trumpet melody). Circle finishes back with the 4 Horns in Bar 190 ( however this time does not over lap with previous instruments). All of the above is accompanied by the Celesta, 1st and 2nd Violins playing a chromatic triplet pattern, beginning on the 3rd beat of Bar 184 and continuing until 193. All Instruments,( apart from the Timpani and Harp) line up for the first beat of Bar191. 3 Trombones, Tuba have the melody ( Upbeat to Bars 197- 200). 2 Oboes, 4 Horns, Bassoon, C Bassoon and Glock then take over the melody (Upbeat to Bars 201-203).Harp and 1st and 2nd Violins accompany with gliss. in Bars 197-201 Piccolo, Flute, Clarinet and Celesta also accompany in Bar 197-201. Bar 202 represents a shift, the music becomes much more dramatic and erratic. The Piccolo, Flute, Oboes,Clarinet, Eb Clarinet, Horns, Glock, Celesta, 1st and 2nd Violins and Violas play a new melody of (crotchet(trill)-, quaver, crotchet(trill)-, quaver). All other instruments play a similar rhythm. This is from Bars 202-203.The Trumpets play a triplet melody in Bars 204-205, with a counter melody by the 1st and 2nd Violins and Violas.This is accompanied by the Flute, Oboes, Clarinets, Eb Clarinet, Celesta whom all have a similar rhythm. This is also joined by the Piccolo, Bassoon, C Bassoon, Trombones, Tuba, Timpani, Cellos and Cb, all playing a simple melody.Bar 206 is basically empty of melody, with most instruments having a sustained note (Bassoon, C Bassoon, Horn, Trumpet, Trombone, Tuba, Timpani and Strings). The Woodwinds ( Piccolo, Flute, Oboe, Clarinet and Eb Clarinet) meanwhile, continue the triplet rhythm just previous played by the Upper Strings. This simplicity is to make way for a large dynamic shift. The final bar of the section (Bar 207) unifies the piece, almost like a fake ending, with all the instruments coming together and a pause on the last note of the bar. The Piccolo, flute, Oboes, Clarinets, Eb Clarinets, Horns, Trumpets, Timpani, Celesta, 1st and 2nd Violins, Violas and Cellos are all until with a ascending triplet and hold note, making a very surreal but pleasing chord.
Polyphonic Legato but accented.
Bars Instruments Texture ArticulationSection
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Coda 208-212 As part of the ‘fake ending in Bar 207, the first beat of Bar 208 consists of the finishing chord. However, the Clarinet, Eb Clarinet, Celesta, 1st and 2nd Violins quickly start a triplet pattern previous played during the piece- this is in Bars 208-209( the strings continue to 210)- signalling that that was not the end of the piece. The instruments playing are playing the same notes, creating unison.The Flute joins this pattern at Bar 209.Instruments such as the 1 Trombones, the Tuba and the Timpani carry sustained notes underneath this triplet pattern as an accompaniment in Bar 208-211.4 Horns and the Violas interrupt this pattern in Bar 210.The Cellos now also hold a sustained note in Bar 210.In Bar 211 the Piccolo, Flutes, Oboes, Clarinets, Eb Clarinet, Celesta, 1st and 2nd Violins play the same rhythmic pattern, quite like what happened in the fake ending in Bar 207. The Bassoons, C Bassoon, Horns, Trumpets, Trombones, Tuba, Timpani, Harp, Violas, Cellos and Cb play a sustained note. There is a great swell of dynamics in this bar, leading up to the end of the piece. The final bar (Bar 212) consists of a single chord, played on all instruments. The dynamics in this bar are sffz, making the final note short and punctual, however it does ring (evident in recordings).
Think, polyphonic texture
Articulated at start, however quickly becomes legato, then a short last note.
Bars Instruments Texture ArticulationSection
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Images:Film Poster- Internet Movie Data Base, 2001Williams, John- Conducting the London Symphony Orchestra, 2006Ron, Harry and Hermione, red background- Gallery shot, n.d.Ron, Harry and Hermione, grey background- Gallery Shot, 2002
Text References:(https://login.thetimes.co.uk/?gotoUrl=http%3A%2F%2Fwww.thetimes.co.uk%2Ftto%2Fbusiness1
%2Fmoversshakers%2F) Thompson, Susan (2 April 2008). "Business big shot: Harry Potter author JK Rowling". The Times (London). Retrieved 14 July 2009.
