1. The Story Continues (1:31)
2. Frank Dies (2:12)
3. The Quidditch World Cup (1:52)
4. The Dark Mark (3:27)
5. Foreign Visitors Arrive (1:30)
6. The Goblet of Fire (3:23)
7. Rita Skeeter (1:42)
8. Sirius Fire (2:00)
9. Harry Sees Dragons (1:54)
10. Golden Egg (6:11)
11. Neville's Waltz (2:11)
12. Harry in Winter (2:56)
13. Potter Waltz (2:19)
14. Underwater Secrets (2:28)
15. The Black Lake (4:37)
16. Hogwarts' March (2:46)
17. The Maze (4:44)
18. Voldemort (9:39)
19. Death of Cedric (1:59)
20. Another Year Ends (2:21)
21. Hogwarts' Hymn (2:59)
22. Do the Hippogriff, Jarvis Cocker, Steve Mackey, Jonny Greenwood, Phil Selway, Steve Claydon, and Jason Buckle (3:39)
23. This is the Night, Jarvis Cocker, Steve Mackey, Jonny Greenwood, Phil Selway, Steve Claydon, and Jason Buckle (3:24)
24. Magic Works, Jarvis Cocker, Steve Mackey, Jonny Greenwood, Phil Selway, Steve Claydon, and Jason Buckle (4:01)
Another year, another Potter and, to date, the last of the books I actually finished. After the fine precedent of Alfonso Cuaron's Prisoner of Azkaban, Goblet of Fire continues down the darker path and Mike Newell (the Four Weddings and a Funeral guy - not an obvious pick by any means) takes on the directorial reigns. It's interesting to note that, according to the fount of all movie 'knowledge,' the Internet Movie Database, claims Newell was paid ten times less than Christopher Columbus was for his crummy directing skills. It just goes to show that name, rather than talent, is everything in Hollywood. Curiously, I rather think the increasingly epic length of the books has helped, rather than hindered, the films. It's now essential to shape the narrative into a structure that suits film, rather than slavishly reproduce the books onscreen. Despite being from a book three times as long, Goblet of Fire is of similar length to the previous films and, continues the sharp upswing in quality that started with Azkaban and actually makes me look forward to the next one, rather than merely hoping for the best. Given his staggering workload for 2005, John Williams had to pass on this episode and amazingly, the producers actually picked a worthy successor; Patrick Doyle. Further, it is pleasing to note that they have allowed Doyle to largely go his own way and not simply rehash what Williams wrote for the preceding episodes, indeed Hedwig's Theme features twice, all the other material is Doyle's own. Two new themes dominate, a dazzling one for the Triwizard Tournament and any heroics associated with it, plus a darker melody for Voldemort which features more at the beginning and end. Secondary melodies abound; an Irish jig and a percussive, grunt topped motif for the two Quidditch World Cup teams, two lovely waltzes, a love theme, (which partially suggests the Triwizard theme) for Harry in Winter, the sprightly Hogwarts' March (even if it does seem a little out of place where it's located on the album, plus threatens to become Julian Nott's delightful Wallace & Gromit main theme) and a nicely playful, Williams style interlude for Rita Skeeter.
The film's emphasis is more heavily weighted to action sequences this time around and Doyle doesn't disappoint. The first big outing is The Golden Egg which is truly thrilling stuff and surprisingly intense, with a hint of Elliot Goldenthal in its cascading strings and horn trills, bookended by the heroic theme, which is most certainly pure Doyle. The Black Lake is more suitably eerie, but with plenty of muscular writing as it progresses and, again, a nicely upbeat finale. The Maze and Voldemort take the score's darkest turns, Doyle turning to the kind of gothic horror that served him so well for Frankenstein, although one could never mistake the scores. The three finale score cues make a sombre triptych, particularly the elegiac Death of Cedric and gently stirring Hogwarts' Hymn.
The album concludes with three songs written and performed by Jarvis Cocker, he of Pulp fame, and chums. Despite an awful opening (and title) to Do the Hippogriff, they are not a bad slice of light indie pop, particularly the surprisingly lovely Magic Works. One commentator felt they put Hogwarts too much in contact with the real world and I'm inclined to agree, there is a certain detachment from reality in the series and pop music immerses the world back into real world culture. While the songs aren't in the least bit suitable to follow Doyle's score, they are fine enough on their own terms. Goblet of Fire is not by any means an easy listen and those expecting the magical tunefulness of John Williams are likely to be disappointed and, in truth it is a whisker below the peak of Prisoner of Azkaban which managed to mix the magic and darkness more effectively, with plenty of stand out moments. However, Goblet of Fire is a more than worthy successor and, whether Doyle returns to Rowlingland or not, his entry stands as a fine entry into an increasingly impressive series.
Harry Potter and the Goblet of Fire is perhaps the most important score in Patrick Doyle's career, with the Harry Potter films being so incredibly popular and so much money spent on marketing. It's not an easy task to take over the reins from a composer like John Williams, who composed some of his best music ever for the three first Potter films, but Doyle has written a terrific score. Without walking in the footsteps of Williams, musical wise, Doyle has composed a score that seems fitting for the world of Harry Potter. Most of the time, at least.
A lot darker than Williams's scores - not especially surprising considering the plot and style of the film - Doyle's music has a large portion of suspense and action, with lots of brass, percussion and dissonance. "The Quidditch World Cup" opens with some upbeat Irish folk music, but turns darker and more dramatic towards the middle of the cue, with thundering percussion, powerful brass chords and an aggressive male choir. "The Dark Mark" is a brassy, percussive and very dramatic cue, as is "Golden Egg", which includes some incredibly grand fanfares and thriumphant moments, with some darker elements thrown in. "The Black Lake" is an exceptional action piece - perhaps the best one this score has to offer - with tons of driving brass and percussion. Excellent stuff. And mostly very dark.
But there is light, too. "Harry in Winter" is a beautiful piece, which centers around one of the scores' central themes, performed by lush strings, with subtle hints of harp and woodwinds. "Neville's Waltz" and "Potter Waltz" are two nice cues, as well, with charming themes and lovely orchestrations and together, these three tracks - as well as the scherzo sounding "Rita Skeeter" - form the backbone of the scores' more thematic, lighthearted and optimistic elements.
"Hogwarth's March" is an oddity. Written for a brass ensemble this is an upbeat, lively march, that sounds like German beer hall music with hints of Herb Alpert-like trumpet solos. Although technically well executed and with quite a lot of charm, I have to wonder whether this piece really is appropriate for a Harry Potter film. While the source music Williams created for the world of Harry Potter and Hogwarths in The Prisoner of Azkaban had a very appropriate ancient, renaissance sound, Doyle's march comes off as a little cheesy and perhaps a little too rooted in our own, non-magical, world.
Surprisingly, Doyle's score doesn't seem to include that many references to, and quotes of, the Harry Potter themes established by Williams in the three first scores. These themes are really an essential part of the Harry Potter films and their scores, and while it certainly is possible that Doyle just decided not to include that many references to these themes in the music included on the soundtrack CD, I can't help but miss them - a lot. And that, together with a certain lack of magic, awe and adventure, make parts of this score a tiny, tiny disappointment. But over all, The Goblet of Fire is an excellent, powerful score, which Harry Potter fans - and film music fans - hopefully will embrace.
So, it has become apparent to me that some people (AKA the 'it's not John' people) are twits when it comes to listening to and reviewing good soundtrack music. People, just because a man doesn't write every movie score in the franchise doesn't mean it's not good.
Now it may be the fact that I have a soft spot for classical music, but Patrick Doyle makes a very good score his own. He comes up with numerous cues that are just astounding, such as the Hogwarts March, Neville's Waltz, And Potter's Waltz. The movie deals with a the tri-wizard cup, which is almost like a medieval tournament, which makes the cue wholly appropiate.
Voldemorts cue is simply astounding in it's ....the word is hard to describe, but let's say that the film and music match up perfectly in a type of harmony that only comes along once in a while (Jerry Goldsmith and Star Trek and John Williams and Stars Wars are the first that come to mind.)
My one reason that this score doesn't get more than 4 stars is simple: there is no continuity between this and Williams scores. Doyle only uses the 'A' portion of hedwigs theme and completely ditches the 'B' theme for Hogwarts (the other themes aren't really missed considering Williams ditched a lot of his own stuff for 3.)
I do think that Doyle would have been the perfect choice to score the rest of the films (at least 5 and 6...7 does benefit greatly from Alexander Desplat) and for those of you who say that Williams is god....let me explain something to you.
john Williams may be one of the most intelligent composers of films to ever have lived. He can come up with themes that perfectly suit a character (cough...imperial march) but that does not mean that he is perfect for every film. The later tracks don't suffer from the lack of wonderment that made williams scores so wonderful. Why? because they aren't that magical....the films get darker and more real, just like the books and if people can't accept that, well, good luck to you in life.
Doyle's take on the Potter series is one that is often the one that is looked down upon, seeing as he shifted focus away from the themes that Williams wrote. Now given that the movie, much like the book started to shift towards darker elements Doyle's score is perfectly matched for this movie. Now he references Hedwigs theme vary sparingly, only making itself known in cues such as The Story Continues and Foreign Visitors Arrive, and this disconnect has most fans upset but I actually enjoyed this little reprieve from it. Doyle writes a theme for Voldemort which makes itself known in the cues The Story Continues and Frank Dies. Now I like this in the sense that Doyle manages to convey the theme in the same way as the narrative from the book. He plays this theme and all variants on scenes to indicate that something is going on and something is not quite right. With the theme going full throttle in Voldemort, Doyle gives us what may be the most over long battle cue of the Potter series and very beautifully done. Other highlights of the score are Potter Waltz, Underwater Secrets, and Another Year Ends which has one of the best fleeting cadences I have ever heard in a film score. The last one is not one I heard withing the film but the Hogwarts Hymn is a triumphant finish to the score. Though I did not critique this score based on the songs because they aren't worth discussion. Though I think at the end this is another powerhouse score from Doyle and one worth any Doyle fan's collection. I just think that a series this popular, Most fans were not ready for the musical romantic lyricism of Doyle and that's why this one is most often overlooked.
Mr. Doyle has greatly succeded in his goal to create a colosal accompaignment to this movie. Pat, as he is called by his closest, had defenitiley created a master pice. Hogwarts' Macrh can be called "the" magnificent closure to this incredible CD. It has enough sutile touch of music, just to hear all instruments play wit joy in each string and note. Although it's short duration, this march must be define as one of the most sensitive and memorable tracks of this soundtrack. Trumpets high with sonorous bassoons joining them in a sweet harmony, are just incredible memories that this march can give you... With no extraordianry touches, as we have become used to with John Williams, Pat deserves a 10 in his attempt to creat no fanfare but outstanding march out of this track that give us a deepest and closest encounter with our memories of the movie.