Harry Potter Suite

All things come to an end. »Harry Potter« has survived his last adventure. So now it is time to look back on the musical aspects of the eight films based on J.K. Rowling’s bestsellers. The producers were well aware of the fact that they would need to work with the best to make such a huge project successful. This starts by casting the best British acting talent and ends – last but not least – with the score.  So the »Harry Potter Suite« of the evening is not only an invitation to follow the music through the various heroics and the growing up process of the wizardry student, but also to experience the »relay race« of four outstanding composers. The suite starts with John Williams, who contributed the music to the first three films, thereby creating the benchmark for all following scores. Right at the beginning we find the arguably best known Harry Potter theme: »Hedwig’s Theme«. Playfully and softly orchestrated – like a musical box – it slowly surges into a typical Williams piece without ever losing its initial lightness. It then transforms into the second William theme, named »Harry’s Wondrous World«, where the composer emphasises the magical elements from »Hedwig’s Theme« even more and paints a tangible picture of eyes that widen in amazement. British composer Patrick Doyle supplied the score for the fourth film. Every listener can feel that the main character has evolved. Doyle’s »Harry Potter« music no longer thrives on a magical world that wants to be discovered, but on adventure – be it the struggle against dark powers or the thrill of growing up. In »Harry in Winter« Doyle unearths a wonderfully romantic side, while »The Black Lake« has a very dark sound foundation. Alexandre Desplat, currently one of the most sought after composers in Hollywood, was hired for the last two films. This suite includes one song each from the last two movies of the series, namely »Obliviate« and »Dragon Fight«. »Harry Potter and The Deathly Hallows: Part 1« focuses on the relationship between the three protagonists, which is why the score is more introvert and personal. Both the plot and the music of Part 2 is action oriented.