Archived from the original on 4 November Retrieved 7 February Entertainment Weekly. East Valley Tribune. Retrieved 15 July Archived from the original on 26 September The Times. Archived from the original on 28 September Retrieved 2 May Archived from the original on 20 December Retrieved 18 July Archived from the original on 29 June Retrieved 3 August The Huffington Post.
Archived from the original on 31 December Retrieved 31 December The Daily Telegraph. Retrieved 24 December Newsround Interview. Interviewed by Mzimba, Lizo. The Guardian. Retrieved 14 August Retrieved 12 January Archived from the original on 30 September Retrieved 9 July Movie Hole. Archived from the original on 12 June Retrieved 4 John Williams Harry Potter And The Philosophers Stone Music From And Inspired By The Motion Picture Retrieved 8 December Archived from the original on 31 August Retrieved 8 July Australian Financial Review.
Archived from the original on 8 The Soul Messengers We Try Retrieved 26 May Guardian Unlimited. Rowling 6 July Friday Night with Jonathan Ross. BBC One. Retrieved 31 July Archived from the original on 23 November Archived from the original on 18 April Retrieved 20 June Archived from the original on 15 December Retrieved 9 August Retrieved 20 October Archived from the original on 2 March Archived from the original on 6 December Wizard News.
Archived from the original on 13 January Archived from the original on 10 July Delays Potter". Archived from the original on 25 April Pictures Harry Potter and the Sorcerer's Stone Lipseye Dont Worry Bad Girl. Archived from the original on 4 April Ray Barretto Mercy Mercy Baby 21 October WB Studio Tour.
Archived from the original on 23 September Retrieved 16 September Ain't it Cool News. Archived from the original on 19 October Archived from the original on 26 April Harry Potter: behind the Magic TV. Retrieved 10 July Retrieved 19 September Retrieved 11 July Digital Spy. Retrieved 29 September Irish Mirror. Archived from the John Williams Harry Potter And The Philosophers Stone Music From And Inspired By The Motion Picture on 11 October Retrieved 29 July Archived from the original on 18 June Retrieved 28 September Bootlegged copies of this theme, only a few minutes long, were already floating around online in the months before the film's debut, and its usage in the first Presence The Strength trailers for the film was largely based on the same arrangement.
Wild anticipation reigned until the terrorist attacks on the United States in September Various Country Funk II 1967 1974 that year, however, squashed some of the hype machine pushing the magnificent momentum of both the film and score. Ironically, some of the final recording sessions in London occurred on that day, and although Williams gave the musicians the opportunity to take the day off to recover, they proceeded to record anyway.
By the week before the street date for the commercial soundtrack album and even longer before the release of the filmhowever, the concept's cultish international following of an almost mystical nature caused the album to crack the top ten in overall Billboard-reported sales. The hype was back on. But would Williams accomplish the same kind of success in meeting expectations as he did with Star Wars: The Phantom Menace? Initially, that answer was no, but the true shame of Harry Potter and the Sorcerer's Stone was that the fans of the composer and concept largely allowed their disappointment over the deflating of this score's myth to be an unqualified reason to diminish the work's overall quality.
Without question, Harry Potter and the Sorcerer's Stone is a superb score, but for many, it wasn't the magical victory that was expected. As far as precedent is concerned, Williams had conjured some mightily impressive children's scores in his own past by which to solicit comparisons.
While the mass of the population is most familiar with memorable scores for blockbuster films such as E. The Extra-Terrestrial and Home Alonethe knowledgeable collectors of Williams' work know that the composer's most thematically rich and layered score of the genre is Hookfor which expanded bootleg albums had already been a hot trade item for many years.
Even though the film Hookdespite being a massive Steven Spielberg production, was a monumental disaster at the box office, its superior score remains a treasure in countless film music fans' collections. It is no surprise, therefore, that Hook became the ultimate comparison point for Harry Potter and the Sorcerer's Stone. Unfortunately, this score, despite all its strengths, does not triumph at quite at the same level as Hookand it only comes close to matching the same caliber in its grand thematic statements.
The reason for this opinion varies widely. For some, the score ironically lacked an intangible sense of "magic" regardless of its liberal use of celesta, harp, and other associated instruments, a near deathblow to its effectiveness.
For others, its themes were not well enough articulated or applied to single concepts. Also at issue was the suspect quality of the numerous source cues and non-thematic underscore material for conversational scenes. Some even faulted the performances, though this complaint still seems unmerited and due more to the reputation John Williams Harry Potter And The Philosophers Stone Music From And Inspired By The Motion Picture the ensemble that didn't perform this score.
What indeed is lacking in Harry Potter and the Sorcerer's Stone is an intangible sense of cohesiveness in all of John Williams Harry Potter And The Philosophers Stone Music From And Inspired By The Motion Picture parts, with about half of the score extremely tightly woven into the thematic tapestry Williams had previously discussed. The rest of it remains surprisingly anonymous and fails to foreshadow the franchise's future.
Additionally, there was an intangible element to Hookperhaps in its lengthy, heavy-hearted thematic performances, that gave the score sense of magic that rivaled the John Williams Harry Potter And The Philosophers Stone Music From And Inspired By The Motion Picture brand of soaring spirit heard in E.
Such spirit is only occasionally to be heard in this score. Other than this awkwardly nebulous complaint about lacking a sense of "magic," Harry Potter and the Sorcerer's Stone is a score that has built upon its reputation through the years for good reason. It has all the same basic ingredients that define a Williams classic: an intricately woven set of themes of impressive complexity, a large performing group recorded in crisp digital sound, a chorus with adult male and female voices, and that trademark Williams orchestration that can be recognized by even the laziest moviegoers.
The themes are, as usual, the most important elements at work in nearly every one of his works, and the leading Narassa Jarrell Terzo Mondo ideas that were initially heard in the trailers and early concert performances not only define this score but those that followed as well. The two most memorable themes in Williams' treatment of the franchise are closely related, and both tend to mistakenly be labeled as "Hedwig's Theme.
The actual theme for Hedwig the Owl is one that the composer expanded to represent the concept of magic in general, often utilizing the same celesta and other light percussive accompaniment to denote a sense of wonder. It John Williams Harry Potter And The Philosophers Stone Music From And Inspired By The Motion Picture this theme that opens both "Prologue" and the "Hedwig's Theme" suite, and it is also this idea that Doyle, Hooper, Alexander Desplat, and James Newton Howard most prominently incorporated though too infrequently into the opening portions of their sequel and spin-off works.
In the first score, Williams uses the theme extensively. It makes a cameo in the "Harry's Wondrous World" John Williams Harry Potter And The Philosophers Stone Music From And Inspired By The Motion Picture suite and punctuates several of the scenes in which Harry's background is explored or during his discovery of the world of magic.
This theme dominates the pre-Hogwarts scenes John Williams Harry Potter And The Philosophers Stone Music From And Inspired By The Motion Picture the film, not only serving as an identity for the magic invading the muggle world, but also of the owls' letters, which play a significant role in these early scenes.
The second half of the official "Hedwig Theme" conveys the robust and noble theme for the establishment of the magical world, and, by association, Hogwarts itself. It is heard most frequently in Williams' three scores of the franchise during the title sequences or overhead shots of the castle. This minor third progression at the end of the two themes is key to the score's John Williams Harry Potter And The Philosophers Stone Music From And Inspired By The Motion Picture mysterious half.
This Hogwarts variation on theme is heard fleetingly in "Prologue" and at the opening of "Harry's Wondrous World" before accompanying the main title of the film with the help of chorus in "The Arrival of Baby Harry" and concluding "Letters From Hogwarts.
This tradition Glenn Underground C Gilliam Different Sides extend all the way to the castle's appearance in Howard's Fantastic Beasts: The Crimes of Grindelwald. A full burst for the castle is enjoyed late in "Running Shankar Jaikishan Rais Khan Raga Jazz Style McGonagall.
In the originally unreleased cues, this theme accompanies Hedwig's magic theme in the same aforementioned cues involving the other half of the theme and also in the wrap of the score in "Love, Harry.
This flying theme is sometimes associated solely with the game of Quidditch, though its John Williams Harry Potter And The Philosophers Stone Music From And Inspired By The Motion Picture in the film is more general.
Heard slightly in "Prologue" and "A Visit to the Zoo," the theme doubles as a mischievous application of magic in some circumstances. It makes its biggest impact in "Mr. It's a playful romp of an idea that the franchise sorely missed later due to the frightfully serious nature of subsequent stories. One of the beauties of the flying theme in Harry Potter and the Sorcerer's Stone is its soaring secondary phrase. After John Williams Harry Potter And The Philosophers Stone Music From And Inspired By The Motion Picture the chime and tambourine-banging, pulsating brass, and broad notes on bass strings during the propulsive theme's primary phrase, Williams offers an interlude that allows high strings John Williams Harry Potter And The Philosophers Stone Music From And Inspired By The Motion Picture stretch their wings such as at into "Hedwig's Theme" in much of the majestic style that would prevail in Harry Potter and the Prisoner of Azkaban.
A fourth major theme in Harry Potter and the Sorcerer's Stone is comprised of two parts for Harry and his growing friendship with Ron and Hermione on one hand and his distant relationship with his dead parents on the other. This theme is the basis of the "Harry's Wondrous World" suite and receives extended treatment there. It's a flourishing, hopelessly optimistic idea that reaches into the most exuberant material that Williams has written for concert, and especially his material devoted to the history of Rosa Maria Samba Maneiro Alegria De Poeta. It culminates in several fanfares that tie it to the spirited, heroic parts of Williams' Star Wars prequel material as well.
In the actual film, this theme is heard very lightly in "The Arrival of Baby Harry" and "Entry into the Great Hall" before the more rambunctious parts blast away in "The Quidditch Match.
Hints of the theme Burning Spear Winston The Sound Dimensions Swell Headed Part Two "The Face of Voldemort" are cleverly and appropriately devised.
In the expanded album presentations, this theme's more melancholy portion for Harry's family exists in the contemplative "The Mirror of Erised" and "Love, Harry," as well as the expected end credits suites.
Williams was married to actress Barbara Ruick from until her death on March 3, They had three children together: Jennifer bornMark bornand Joseph born His youngest son, Joseph Williams, is the former lead singer for the band Toto.
His daughter, Jenny Williams, is a singer. He married for a second time on July 21,to his current wife, Samantha Winslow. Williams is a member of Kappa Kappa Psi, the national honorary fraternity for college band members. He has been nominated for 21 Golden Globes and 59 Grammys. It also appears in the scores to the last four Harry Potter video games, all composed by James Hannigan.
Track No. From Wikipedia, the free encyclopedia. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. John Williams. Warner Sunset Nonesuch Atlantic. A selection from the iconic "Hedwig's Theme" from the Harry Potter films.
Archived from the original on 17 August Retrieved 19 August
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