Harry Potter and the Prisoner of Azkaban

Review by Thomas Glorieux:

Is Harry Potter growing old? Yes, he is! Is the world getting tired of Harry Potter? I don't think so! You see, which each new movie the world is coming closer to a more adult Harry Potter in movie, character as fanbase and I guess I liked The Chamber of Secrets more then The Sorcerer's Stone, so perhaps The Prisoner of Azkaban could be the next in line to undermine that statement (something the critics are saying too). Anyway, gone is Chris Colombus and enter Alfonso Cuaron, which seems to bring new life into the proceedings, and especially more darkness around every corner. And so does John Williams' score into another light as one might guess. John Williams naturally stayed on board, as he scored the first with childlike but easily likeable themes, he used those and threw in a bunch of other great themes while being aided by William Ross in the second. The third is once more solo work for John Williams, who doesn't seem to tire from scoring one big film after another and Harry Potter and the Prisoner of Azkaban is therefore a big score, if only for it to capture new things. The sad fact is that the previous themes are somewhat forgotten on this album. Perhaps not necessary because we heard them before but this score doesn't make the link to the previous themes, something The Chamber of Secrets did remarkably well. And yet, this soundtrack is commendable for bringing new ideas we didn't hear before in Harry Potter but the truth is, people have to like them too. And that is the problem I'm having with this soundtrack. People will go berserk or enthusiastic of 'The Knight Bus' but the truth is, you get John Williams doing a Elliot Goldenthal move with its jazz resembling the crazy Titus before more noticed cantina band instruments bring us back to the John Williams we know. However, I don't like this cue and its sad then also this gets back in the final suite for one.

That is one track, we have 2 other dissonant tracks too which will effectively underscore the scenes, but on disc they don't make for the most pleasant listening experiences. 'Apparition on the Train' with its various scary techniques (eerie as Aliens and threatening as Close Encounters) and 'Monster Books and Boggarts!' covers basically noisy action music that doesn't contain the thematic gifts of one certain John Williams, and sadly it moves further with underscore that sounds boring to say the least. Truth, the non thematic action music doesn't bother me, because 'The Spiders' from The Chamber of Secrets didn't' contain this either but it covered frantic pace and a short but dazzling musical motif I'm still coming back at frequently. 'The Werewolf Scene' by then doesn't differ but brings trumpets and percussion into a more cohesive mix. However, there are then other tracks which bring new sounding moves for Harry Potter at least but they aren't that sensational to grade this score higher by. 'The Portrait Gallery' has some classical baroque with harp and flute and 'Hagrid the Professor' is more then ever a serenade, which by all means isn't that interesting. And the only redeeming fact about 'Forward to Time Past' is the ticking clock mixed in it I'm afraid. Basically tracks that bring something new but aren't remembered for their more musical attributes. Then over to the themes which are again several in quantity. The main theme of Harry Potter remains 'Lumos! (Hedwig's Theme)' but doesn't feature the concert version and so there goes another good chance. However, I like 'Aunt Marge's Waltz' because it brings us waltzes ala The Witches of Eastwick and more a classical growing move that will work very well with the scene. And then over to the main theme specifically for this film which opens first in 'Double Trouble', its a childish but very catchy song and really made the first teaser better then hoped. It appears a lot during the score, for instance playful in the aforementioned 10 and 11. The highlight however is the amazing wondrous fanfare for Buckbeak, the flying whatever and its gets its most glorious form in 'Buckbeak's Flight' and is good enough for a recommendation alone.

More strange facts then, the opening of 'A Window To The Past' with its flute solo almost exactly states the song that Billy Boyd started singing in Return of the King but moves further into a lovely orchestral outing. The cool fact is also the short theme of Hedwig appearing through it. 'The Whomping Willow and the Snowball Fight' features first some fanfares from the new Star Wars era before more playful lighthearted scherzo's are heard. But again not fully effective. Truth is, most of the tracks are too short and even the amazing track 6 could have lasted longer, especially if you compare the times during the first 2 score albums, the development at times could have been expanded because of that. 'Quidditch, Third Year' doesn't beat around the bush either and immediately moves into more frenetic dark strength and features a short choir (not strong) over again some Star Wars attacking fanfares. The long by then 'Saving Buckbeak' features the good with the normal, stating dark growing suspense followed by some playful underscore leading to the first notes of Hedwig's theme, and unfortunately not a sign of the glorious Buckbeak theme, which makes this track more then regrettable by the expectations of it. Track 19 has some choir and fanfares (getting better near the end) but it is 'Finale' that sounds more promising with its choir moving to a relieving status and the flute theme by then growing to an orchestral finale finish. The length of most of the tracks (which is considered short) at the end is compensated by 'Mischief Managed!', which is a pleasing culmination of all the themes but in the end this presents stuff we already heard (apart from the orchestral version of the song Double Trouble), and so from a certain point of view isn't that necessary. In truth, Harry Potter and the Prisoner of Azkaban isn't that necessary if it wouldn't capture for instance Buckbeak's theme and various growing statements of themes. No more the fanfares of the first, or the great new themes of the second but Harry Potter 3 brings new but not ultimately rewarding moments, if you are searching for more of the first and second and don't want changes. I appreciate the new stuff but it seems everybody is praising Buckbeak's theme, and that one is bringing what we heard in the first 2 scores. Trust me, Harry Potter and the Prisoner of Azkaban is a good to great score, but too few the orchestral ravishing themes are presented, a lack of returning themes (on album, can't speak for the film) and a not too satisfying mix of new elements make it fresh but altogether far from reaching the childish if more orchestral pleasing moves from the first 2 scores.

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Tracks

Single Disc

1. Lumos! (Hedwig's Theme) (1.38)

2. Aunt Marge's Waltz (2.15)

3. The Knight Bus (2.51)

4. Apparition On The Train (2.14)

5. Double Trouble (1.36)

6. Buckbeak's Flight (2.08) Excellent Track

7. A Window To The Past (3.54)

8. The Whomping Willow And The Snowball Fight (2.22)

9. Secrets Of The Castle (2.32)

10. The Portrait Gallery (2.05)

11. Hagrid The Professor (1.59)

12. Monster Books And Boggarts! (2.26)

13. Quidditch, Third Year (3.47)

14. Lupin's Transformation And Chasing Scabbers (3.01)

15. The Patronus Light (1.12)

16. The Werewolf Scene (4.25)

17. Saving Buckbeak (6.39)

18. Forward To Time Past (2.33)

19. The Dementors Converge (3.12) Excellent Track

20. Finale (3.24) Excellent Track

21. Mischief Managed! (12.10) Excellent Track

Total Length: 68.38

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=== Link to Composer Site: John Williams ===