Harry Potter and the Goblet of Fire [Original Motion Picture Soundtrack]
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CD Details
Brand: VARIOUSComposer: Patrick Doyle
Edition: Music CD
Audio: English (Unknown); English (Original Language)
Format: Soundtrack
CD Release Date: 2005-11-15
Music Label: Warner Bros / Wea
Product features:
- SOUNDTRACK HARRY POTTER Y EL CALIZ DE FUEGO
- The Story Continues
- Frank Dies
- The Quidditch World Cup
- The Dark Mark
- Foreign Visitor Arrive
- The Goblet Of Fire
- Rita Skeeter
- Sirius Fire
- Harry Sees Dragons
- Golden Egg
- Neville's Waltz
- Harry In Winter
- Potter Waltz
- Under Water Secrets
- The Black Lake
- Hogwart's Mach
- The Maze
- Voldemort
- Death Of Cedric
- Another Year Ends
- Hogwarts' Hymn - Patrick Doyle
- Do the Hippogriff
- This Is The Night
- Magic Works
Music reviews of Harry Potter and the Goblet of Fire [Original Motion Picture Soundtrack]
Music Review: An endless series of wrong turns and missed opportunities ...
Rating: 2 Stars
In 2005, fans of Harry Potter feared for the quality of the musical interpretation of their beloved series when it was announced that John Williams, who scored the first three magical adventures, passed the baton on to another composer, Patrick Doyle, due to a bursting scoring schedule.
The big question was: would Doyle continue the style of Williams or would he do something completely new? He chose the latter, and the result is a below average score. And the worst thing is, it's not only average within the Potter universe, it doesn't even hold up when you compare it to this year's scores in general.
Writing about the music itself would be redundant, since already the entire concept behind the score is as wrong as it can possibly get.
As absurd as it may sound, I dislike Goblet Of Fire because Doyle made the score his own. When a composer enters a movie series with that kind of legacy, he has to have the personal greatness to compromise some of his personal style in order to continue the series properly. What Goblet Of Fire needed was a Harry Potter score with a touch of Doyle, not a Doyle score with a touch of Harry Potter. As a composer, when you enter a franchise, you have to honour the past and build a bridge to the future, not write something completely different in tone. Doyle inherited the best possible fundament from Williams to build upon. And completely neglecting Williams' themes, except for two or three statements of Hedwig's Theme, is in my opinion a pretty poor way to pay tribute to this glorious past. And I can't spot anything in Goblet Of Fire that future composers could work on either; Doyle went all the way. Instead of getting just a little darker and more balanced, he tried his best to become as sinister as possible. There's no room for any more developments when film 5 or 6 show us some of the darkest moments in the series.
I constantly read reviews and comments that praise Doyle for not paying too much attention to the magical aspects of the story. Why should that be good in a film about a Triwizard Tournament? Williams also wrote a much darker and emotional score without losing the Potter sound: "Prisoner Of Azkaban" had magic with style, combined with emotion and bombast. Leave any of these out and you end up with a dull, dull score, that's Goblet Of Fire; no magic, but ridiculously loud bombast.
Then I hear people defending the lack of old themes by saying that "Prisoner Of Azkaban" omitted several main themes as well. Yes, that's true, but people, please consider the circumstances!
Voldemort isn't there, so consequently his themes aren't there. We don't get to Diagon Alley, so this one's missing as well, Plus, the Quidditch match is about the Dementors, so the Quidditch/ Flying music wouldn't make sense there. The film doesn't feature the traditional "End of the year feast in the Great Hall", so there can't be something like "Reunion Of Friends" as well. Williams knew he had to compensate this thematic void. You see, for "Azkaban", Williams HAD to leave out several main themes, so he wrote some new POTTERish themes. Doyle on the contrary CHOSE to leave out 90 % of established material and replaced it with GENERIC stuff.
I must appear like a little Williams geek, but that's just what I think. Nobody can, and should, reinvent the wheel, but, most unfortunately for other composers, that's exactly what Williams is doing. He just continues to invent wheels, writing perfect scores, and there's absolutely nothing that could be improved. Williams nailed Harry Potter in film 3, so every composer after that has only two choices: either he follows Williams' rules or he fails. Doyle can come in and shove Harry Potter full of conservative, not to say bland, orchestrations, Elfman could say "I want to go this way", even Goldsmith could resurrect and write his best ever, it would not work; Williams nailed it, he IS the direction!
Look at other movie series he's worked on (Jurassic Park, Jaws); the composers that followed him either picked up his work (Jurassic Park 3) or failed (Jaws 3).
Then I always hear that Harry Potter 4 shows us a new world and this justifies Doyle's detour. New world? Where? What's new? We're in Hogwarts, all the characters are there. It's dark, but so is "Azkaban". It's emotionally powerful, but so is "Azkaban" (even more so in my opinion).
Williams summed up the entire atmosphere of film 3 in the first two minutes of "Secrets Of The Castle"; Doyle fills an entire album and never nails it.
The most horrid thing about this score is that even if Doyle's approach was right, the execution is so bland and amateurish that it hurts.
Sometimes I hear Batman, sometimes Star Wars, Lord of te Rings and even Die Another Day, but I don't hear Harry Potter. Patrick Doyle's music, especially the orchestrations are so bland! Someone needs to tell him that there are other ways to highlight a beat than hammering bass drums and cymbal crashes. These become sometimes so overbearing that it irritates you. And the dynamics! I haven't heard a single score that has less sense for dynamics and tension; there's no dynamic range to speak of whatsoever. Listen to "Golden Egg" and yawn!
This score seriously lacks, in a word, skill. Not one dissonance even trying to be unsafe even when it's appropriate, not one resolution not utterly predictable.
The themes are equally bleak; Hogwarts Hymn is nice, but doesn't go anywhere and the "Harry In Winter" theme sounds like it was looped over and over. Doyle's Voldemort theme is actually a version of Williams' motif, but Doyle managed to make even that theme sound dull.
I hate to say this, but this score sometimes even sounds pathetic, in "Rita Skeeter" for example, where Doyle sounds like he desperately tried to mimic Williams' comedy scoring.
The music is even worse when you watch the actual movie with it because tha makes you realise what opportunities Doyle missed. I do like the sound of "Death Of Cedric" and "Hogwarts Hymn", but "Hogwarts' March" is the most despicable piece of film music I've ever heard. Even if it's source music in the film, what has a Bierfest Polka to do with the Scottish flavour of the film? This is a perfect example for what I'm talking about: Williams wrote the majestic "Hogwarts Forever!" for these occasions, what's the point in throwing it right out of the window just because of one's selfishness?
I'm just praying that the producer comes to his senses and hires Williams on time for "Order Of The Phoenix".
There are also many people out there, mainly die-hard Potter fans, who think that John Williams couldn't come up with a fresh approach for another Potter film. You seriously underestimate him. Coming up with new sounds for a series was always one of his easiest exercises, look at Indiana Jones, Jurassic Park or Star Wars. There is no indication anywhere in his three Potter scores that he might fail at future films. The two scores he wrote full time, Philosopher's Stone and Prisoner Of Azkaban, are vastly different.
The crowning achievement that makes this Potter film a musical failure all around is the inclusion of three pop songs performed by some singing epileptic called Jarvis Cocker. The Harry Potter series, once a prime example for a blockbuster franchise that maintains musical integrity and artistry, has now also given in to the disgusting trend of hiring some noisy singers for a couple of bad songs that have neither connections to the film, nor any purpose at all, except for pushing the sales numbers.
My opinion is that even a John Williams ripoff would have been far more satisfying than this tripe.
Like I said, this should have been a Potter score with a touch of Doyle, not a Doyle score with a touch of Potter, but unfortunately, Patrick Doyle failed on all fronts imaginable, except one: he gave Hedwig's Theme a nice new spin, but that's hardly a saving grace.
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Description of Harry Potter and the Goblet of Fire [Original Motion Picture Soundtrack]
Harry Potter and the Goblet of Fire, the fourth film (and soundtrack album) in the massively successful Harry Potter franchise-nearly $1 billion in U.S. box office alone-features a score by Academy Award-nominated composer Patrick Doyle and three songs written by modern rocker Jarvis Cocker, and performed by Cocker, Jonny Greenwood, Phil Selway, Steve Claydon and Jason Buckle-with all these musicians also appearing in the movie.Big news on the Harry Potter musical front: After scoring the first three installments in the series, John Williams has been replaced by Patrick Doyle. Still, Williams never feels far away. His main theme pops up here and there, and a track like "Voldemort," which eloquently illustrates the soul of a blacker-than-black wizard with thunderous cymbal crashes, shrieking horns, tumultuous strings, and a stately finish, firmly belongs in the Williams mode. Overall, Doyle acquits himself well. He can do light when needed ("The Quidditch World Cup," which starts out like some kind of jig), but mostly he's required to be ominous ("The Quidditch World Cup," which ends in martial war chants). Among the highlights are the aforementioned "Voldemort," but also the frantic, overpowering "The Dark Mark." Note that the CD concludes on a jarringly different note with three songs by the Weird Sisters, the group that performs at Hogwarts' Yule Ball. Led by Pulp frontman Jarvis Cocker, the ad hoc band also includes members of Radiohead and Cocker's side project Relaxed Muscle. "Do the Hippogriff" is a fast-paced rocker that somehow comes across like a grungy hybrid of Billy Idol's "White Wedding" and "Dancing with Myself." The other two songs--"This Is the Night" and "Magic Works"--are less obvious, and much better. Still, the contrast between these tracks and the instrumental score that precedes them may not be to everybody's taste. --Elisabeth Vincentelli
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