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There are nods (whether intentional or otherwise) to Williams\' Dementors music in "Dementors in the Underpass", and even a few times that I felt the "Window to the Past" theme from Azkaban was going to be used. They maintain a Williams "sensibility", especially in the orchestration and development, but never seem to hit that level of musical satisfaction that Williams has been able to effortlessly achieve. New themes are presented - a slightly quirky, playful theme for Professor Umbridge, a very subtle "possession theme", and a theme for Dumbledore\'s Army. While there was over two hours of score in the film, the album (which runs about 52 minutes long) contains all of the cues that stood out as worth listening to in the film. In that respect, Hooper\'s score to Harry Potter and the Order of the Phoenix is successful, but not a standout. The primary purpose of a score is, first and foremost, to work with the film that it\'s composed for. Rather, while Hooper strives to achieve thematic and stylistic congruence with the palette that Williams had created, the end result is mixed, with the effort being noteworthy, but the album ultimately leaving the listener unsatisfied. Primarily known for his work on British television, Hooper had a formidable challenge ahead of him: would a relatively unknown composer be able to pick up where a master like John Williams and an A-list composer like Patrick Doyle had left off? Would he be able to hold his own against these film music superstars? The answer is not as easy as a simple "yes" or "no. Now for the fifth outing, director David Yates brought along his long-time composer, Nicholas Hooper. Eschewing all of the themes - except for "Hedwig\'s Theme" - in lieu of his own, Doyle composed a love theme for Harry Potter ("Harry in Winter"), as well as a dark theme for Lord Voldermort. However, he was not to return, and Patrick Doyle took over the reigns for Harry Potter and the Goblet of Fire. The third film, Harry Potter and the Prisoner of Azkaban was arguably one of the best films in the series, and the score was equally just as wonderful - once again, by John Williams. The second film saw Williams\' return, along with some additional help by William Ross. John Williams\' score to the first film, Harry Potter and the Sorcerer\'s Stone established a few themes, including the primary "Hedwig\'s Theme" (though what Hedwig has to do with the main theme is still a mystery). The soundtrack also charted at five on the Top Soundtracks Chart.Nicholas Hooper\'s involvement with the Harry Potter feature film franchise makes him the fourth composer to work on the series. Billboard 200, selling about 16,000 copies in its first week and has since sold a total of 356,000 copies in U.S. The soundtrack debuted at number 43 on the U.S. Archie Watt of MovieCues said "This isn’t a bad score by any means, but there can be little argument that it is the weakest of all the Harry Potter scores to date".
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Christian Clemmensen of Filmtracks awarding the score three stars out of five, saying ".it fails to provide continuity within either its own confines or those of the franchise as a whole". ReceptionĬritical reaction to the score was fairly mixed compared to the previous scores in the series.
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Inside the box is a 20-page booklet with a foil-embossed front cover. The soundtrack was also released in a special edition, with a custom hinged box with Navy velveteen fabric. Hooper said he reviewed the previous soundtracks of the Harry Potter films by John Williams, particularly the third soundtrack, but ultimately "decided that it was best if I moved into my own way of composing rather than trying to emulate John Williams, which is impossible." Release Divine Crusade first appeared on the album K-9 Empire before being licensed to Order of the Phoenix. The trailer features a track by X-Ray Dog, entitled Divine Crusade. A Japanese Taiko drum was used for a deeper sound in the percussion. Two new main themes were made to reflect the new character Dolores Umbridge and Lord Voldemort's invasion of Harry's mind. In March and April 2007, Hooper and the London Chamber Orchestra recorded nearly two hours of music at Abbey Road Studios in London. Hooper incorporated into the new score "Hedwig's Theme", the series' theme originally written by John Williams for the first film and heard in all the subsequent films.