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5.0 out of 5 stars
Best John Williams Score since Shindler's List, Jun 8 2004
This review is from: Harry Potter and the Prisoner of Azkaban (Audio CD)
This soundtrack is Williams best work since Shindler's List, and one of the few WIlliams works that really stands well on its own. Highly recommended for anyone who is even a casual fan of Willaims's work, and much better than the recent Star Wars rehashes. "Apparition on the Train", "Double Trouble" and "Forward to Time Past" in particular stand out, but the whole album is outstanding.
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5.0 out of 5 stars
Breaking new ground, Jun 7 2004
This review is from: Harry Potter and the Prisoner of Azkaban (Audio CD)
I concur with many of the other reviewers who mention that this score is a departure from the others -- though still very much in the John Williams' genre of music. In fact, listening to some of the tracks ("Buckbeak's Flight" for example), I was reminded more of the soaring themes of "Star Wars" than of either of the two previous HP movies. I own all three scores, and have no complaints against the first two, as a matter of fact. Lovely music. The score for "Prisoner of Azkaban," however, breaks new ground from the first two, and the result is a masterful and varied collection of music -- from the familiar "Lumos" to "Double Trouble" (featured in advance advertisements) to the haunting strains of "A Window to the Past" and so on, through the rest of the score, Williams has upped the ante to create a truly remarkable musical journey. This third volume makes me eager to see what kind of music Williams could create someday for the complex and emotionally-laden "Order of the Phoenix".
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5.0 out of 5 stars
Great music for a beautiful film, Jun 5 2004
This review is from: Harry Potter and the Prisoner of Azkaban (Audio CD)
Having seen this marvelous film now, one can be even more enthusiastic about Williams' score. Like many who have written here, there was a marked feeling of letdown in Chamber of Secrets, so the waterfall of new, varied, and deeply felt music that comes with this film is welcomed. By the way, anyone wondering whether to see this film is encouraged to go: Cuaron's work is among the best there is in film today, and his evocative, dramatic direction clearly inspired Williams. As to the music, it's every bit as breathtaking as some of Cuaron's shots. The Buckbeak music (especially while watching the magnificent flight scene over the lake) is sublime, and the juxtaposition of period-instrument pre-Baroque, Cantina jazz, and that Prokofiev-style orchestration of Williams is deeply nourishing (does the snowball fight scene remind anyone else of the Classical Symphony?). For Potter fans and simply lovers of art, this music and its film are both unreservedly recommended. They are exemplary of how artistic inspiration comes from the formless realm of consciousness and penetrates through a multiplicity of people and their artistic media--starting with Mrs. Rowling's writing and working through to Cuaron, Williams, and the splendid cast of this film. It all began, about 15 years ago, on a simple train ride from Manchester to London.
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