One of the unexpected yields of the Harry Potter phenomenon (besides the estimated $1 billion generated by the film and its associated merchandise) is this exceptionally fine film score by John Williams. I say unexpected because I could detect no music credit in the movie posters that adorned many theaters, so it was indeed a pleasant surprise to find myself captivated by the soundtrack while viewing the film’s many fantastical images. It was not long before I suspected the author of these fetching melodies, and by the time the first action sequence began, the identity of the composer was indisputable. As with the film, the soundtrack album opens with Harry’s theme, a spooky yet lyrical tune reminiscent of the Ark music from Raiders of the Lost Ark (although faint echoes of Saint-Saëns and Dukas can be heard in the distance). In fact, much of this score recalls Williams’ earlier projects (much to the irritation, I’m certain, of his detractors). If you can imagine the music of ET combined with the aforementioned Raiders, Dracula, and the Witches of Eastwick, you’ll have a good idea of the sounds of Harry Potter.
Movies dealing with children (or the inner child) draw from Williams his most high-spirited and romantic musical ideas, and the Potter score brims with soaring, ET-like melodies associated with boyhood adventure. While this movie represents a fine example of music and images working well together, there’s one point where the score actually redeems the film. The Chess Game sequence, which has characters fighting living chess pieces, would come across as impossibly silly if not for Williams’ thrill-inducing battle music providing a much-needed edge. Another exciting track, Quidditch Match, brings to mind the wild Asteroid Field sequence from The Empire Strikes Back.
No, it’s not all rehash, it’s just Williams relying on his tried-and-true adventure movie techniques, and there’s nothing wrong with that, especially when the results are as enjoyable as this. The studio orchestra is unnamed, but it’s a crack band, spinning off Williams’ quicksilver string runs and machine-gun staccato brass passages like nobody’s business. The sound is very good, markedly superior to the soundtrack norm.
