On
multiple occasions, I've written about the special movie screenings at
the Colorado Symphony Orchestra, where a film is presented with the
score played live by the orchestra. John Williams is the composer most
often highlighted in these screenings (as most recently, with Raiders of the Lost Ark). That continued this past weekend with Harry
Potter and the Sorcerer's Stone.
The
first Harry Potter film is now 15 years old, and plays quite
differently today. This isn't to say it aged badly, though. On the
contrary, most of the visuals outside of the troll attack hold up
remarkably well. I think this is in part because such a distinct look
and feel was established right from the beginning, and then faithfully
maintained throughout the seven subsequent films. Having recently
visited Universal Studios Orlando, for example, I can attest that things
like Diagon Alley, Gringotts Bank, and the Hogwarts Express look in
this movie exactly like what you can go see for yourself at the theme
park.
No,
the movie just plays differently in retrospect. We now know just how
much the filmmakers caught lightning in a bottle casting all these young
children for these roles. There was no telling how perfect Daniel
Radcliffe, Emma Watson, and Rupert Grint would prove to be for the main
characters (along with all the other young performers filling out the
rest of the parts). There was no knowing how moving the character of
Snape would be, as we didn't know the end of his story back in 2001.
(Plus now there's extra poignancy, in the death of Alan Rickman.) What
seems like an inevitable success today could hardly have been guaranteed
at the time. (Compare to Fantastic Beasts and Where to Find Them, which still paved the way financially for a series, but was a far
less creatively effective movie than The Sorcerer's Stone.)
One
element that almost certainly was a guaranteed success at the time,
though, was the score by John Williams. He may have hit a creative peak
in the late 70s and early 80s, but was still producing iconic work long
after. Harry Potter came just a couple years before he scaled back his
workload; after Sorcerer's Stone and the next two Harry Potter films, he
stopped working for anyone not making a Star Wars movie or named Steven
Spielberg.
The
Harry Potter theme (officially, "Hedwig's Theme") is as memorable and
perfectly suited to its film as anything Williams ever wrote. A
wondrous, child-like melody for celeste, it instantly evokes the sense
of magic the movies demands. Watching a huge orchestra give way to a
solo performer for this theme added a compelling visual component to the
moving audio. And the theme proves emotionally flexible when it's
transferred to other instruments throughout the score. The Harry Potter
music is a bit more reliant on two or three major melodies than some of
Williams' work, but he gets maximum mileage out of these themes by
exploring how different sections of the orchestra alter the emotional
perception of the music.
The
Sorcerer's Stone score is at once so quintessentially John Williams
that you'd never mistake it, and a bit of a departure for the composer.
For anyone who ever paid attention to the music of Harry Potter, Star
Wars, Superman, or Indiana Jones, I surely don't need to describe the
similarities. The differences, though, are more subtle. Trumpets and
trombones are far less active in this score than in most of Williams'
work; French horns carry a great deal of the score. Traditional brass is
instead used in an apparent strategy to make things seem "extra
magical" in a world where everything is magical to some extent. Whenever
an extra sense of wonder (or jeopardy) is required, there come the
louder, brighter horns.
The
violins are also working at a much more frenetic pace than Williams
typically employs. While strings always play a major role in any of his
scores, the violins of Harry Potter are often whirling up and down the
scales like a dervish. When listening to the score, it sounds effortless
and fluid. But when actually watching the performers, you see fingers
furiously dancing along the fingerboards.
The
score for The Sorcerer's Stone also makes extensive enough (and
prominent enough) use of choir to justify having one for this Colorado
Symphony Orchestra performance. Where choir has sometimes been
pre-recorded (or absent) from some of the film score performances I've
previously attended, this performance included an all-female choir of
some 40 voices. More than once throughout the movie, their presence was
that last element that really boosted the emotion in performances from
young actors who had not yet mastered their craft.
Ordinarily,
I conclude these reviews of CSO film concerts by urging readers to look
for more of them in the future. In this case, if you're a Harry Potter
fan, I can be more specific in my recommendation. It appears the
Colorado Symphony Orchestra intends to work their way through the entire
series in the years to come -- or at least, through the John Williams
scored movies. The Chamber of Secrets and The Prisoner of Azkaban are
already on the schedule for mid-2017 and early 2018, respectively. (The
latter movie in particular contains some fantastic music.)
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