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▌────── Release Info ───────────────── ▐▌ ──────────────── ▌ ──────── ▐
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Originally released : 05-25-2004
Release date : 09-11-2006
Album name : Harry Potter And The Prisoner Of Azkaban
Artist : John Williams
Ripped by : itachi
Genre : Soundtrack
Label : Warner Bros
Encoding Software : Lame EOS
Quality : -V 2
Tracks : 21
Size of Files : 93,3 MB
─ Track list ───────────────────────────────────────── ─── ─ ─
01 01:38 Lumos! (Hedwig's Theme)
02 02:15 Aunt Marge's Waltz
03 02:52 The Knight Bus
04 02:15 Apparition On The Train
05 01:37 Double Trouble
06 02:09 Buckbeak's Flight
07 03:54 A Window To The Past
08 02:22 The Whomping Willow And The Snowball Fight
09 02:32 Secrets Of The Castle
10 02:06 The Portrait Gallery
11 02:00 Hagrid The Professor
12 02:27 Monster Books And Boggarts!
13 03:47 Quiddith, Third Year
14 03:02 Lupin's Transformation And Chasing Scabbers
15 01:13 The Patronus Light
16 04:25 The Werewolf Scene
17 06:40 Saving Buckbeak
18 02:34 Forward To Time Past
19 03:13 The Dementors Converge
20 03:25 Finale
21 12:11 Mischief Managed!
Total time: 68:37 min
─ Release notes ─────────────────────────────────────── ─── ─ ─
John Williams, when working within the realms of
science fiction or fantasy, somehow manages to convey
the same level of magic and whimsy inherent in
Tchaikovsky's Dance of the Sugar Plum Fairy. For the
first two Harry Potter films he employed an instantly
memorable theme augmented by a series of elegant yet
uninspired action motifs that while effortless were,
like the films themselves, merely adequate. Harry
Potter and the Prisoner of Azkaban finds the
Oscar-winning composer swelled with a creative
giddiness that hasn't been present for some time,
resulting in a piece of work that's both fully realized
and endlessly unpredictable. Beginning with the
familiar celesta cue that launches each installment,
Williams seems poised to deliver a solid reworking of
the previous scores, but that sentiment is abruptly
quelled by the jazzy, big-band one-two punch of "Aunt
Margie's Waltz" and "The Knight Bus" -- the latter
borrows liberally from his outstanding Mancini-esque
work on Catch Me If You Can. What follows is an
intoxicating fusion of
medieval-meets-Rossini-meets-Arvo PΣrt mayhem that
recalls his Close Encounters of the Third Kind heyday.
Director Alfonso Cuaron's youthful enthusiasm has had
an effect on Williams, and nowhere is that more
apparent than on "Double Trouble," a devious choral
piece cleverly built around the prose of Shakespeare's
Macbeth and devilishly sung by the London Oratory
School Schola Children's Choir. It's this melody,
culled from bits and pieces of "Hedwig's Theme" from
The Sorcerer's Stone, that permeates the entire score.
Williams has a deep understanding of the orchestra, and
his love of woodwinds is on glorious display throughout
the work's entirety, but they never overplay -- as was
often the case in the previous two films -- even the
thunderous Kodo-style tympanis that introduce the
Hypogriff "Buckbeak" are merely exclamation points
announcing the arrival of one of the composer's most
beautiful melodies. The Prisoner of Azkaban is thought
by many to be the finest book in the series, and it
would seem that both the director and the composer
agree. Like Cuaron and Rowling, Williams meets his
characters -- children especially -- on common ground,
allowing them to laugh, suffer, fail, and succeed on
their own terms. He may be the author and director's
emotional conduit, but he's a master storyteller as
well.
-James Christopher Monger (AMG)
─ Contact ───────────────────────────────────────────── ─── ─ ─
Contact us @ : #eos (efnet)
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