Another from one of our Holiuday helpers.
This time, I asked a fairly local friend of mine, Ella to write something up on her latest witness of the Phantom of the Opera, but she said something to the effect that she'd seen it so many times that it really wasn't worth it. Personally, I suspect she didn't want to get anymore fangirl/boy germs all over our wonderful blog. (As if my obessions with Pink Floyd wasn't anything less than that.) Instead, she offered this interesting bit of insight into the latest score from the Harry Potter series of movies. In essence, she offers us a bit of a contrast between the current composer and John Williams. Besides, who, when they saw the series and had an ear for this sort of thing weren't comparing the two. Personally, I've never been much on Williams. I find most of his work pretty much the same from movie to movie (aside from Star Wars and some of his major themes such as Superman).
Moving on, here's Ella:
I've always known Patrick Doyle was a tone poet, in the tradition of the expressionistic composers Saint-Saens and Mussorgsky. Where John Williams' Harry Potter soundtracks were more interested in developing character themes and providing "the moment," Patrick Doyle is as interested in telling a story as director Mike Newell. Since I'm the sort of person who uses all her senses to seek inspiration, I can honestly say that the GOF soundtrack touched me more as a whole than the scores for the previous three films. Standouts definitely include the foreboding first track, "The Story Continues," "Dark Mark," with its terrific introduction of the Voldemort theme, and the ethereally sentimental "Harry in Winter." Can't say I thought much of the rock contributions by Jarvis Cocker--while they do sum up the general disposition of a high school prom, if you take them apart, they don't add up to especially original or interesting rock pieces. However, I've felt more deeply the arc of Harry's story with Patrick Doyle's accompaniment than ever.
(Patrick: I can't say I agree on the Wierd Sisters, their tracks were a hell of a lot of fun. Maybe my school dance experience sucked that bad, but as Kammie said, that's for another story.)
Moving on, here's Ella:
I've always known Patrick Doyle was a tone poet, in the tradition of the expressionistic composers Saint-Saens and Mussorgsky. Where John Williams' Harry Potter soundtracks were more interested in developing character themes and providing "the moment," Patrick Doyle is as interested in telling a story as director Mike Newell. Since I'm the sort of person who uses all her senses to seek inspiration, I can honestly say that the GOF soundtrack touched me more as a whole than the scores for the previous three films. Standouts definitely include the foreboding first track, "The Story Continues," "Dark Mark," with its terrific introduction of the Voldemort theme, and the ethereally sentimental "Harry in Winter." Can't say I thought much of the rock contributions by Jarvis Cocker--while they do sum up the general disposition of a high school prom, if you take them apart, they don't add up to especially original or interesting rock pieces. However, I've felt more deeply the arc of Harry's story with Patrick Doyle's accompaniment than ever.
(Patrick: I can't say I agree on the Wierd Sisters, their tracks were a hell of a lot of fun. Maybe my school dance experience sucked that bad, but as Kammie said, that's for another story.)
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10:36 AM
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