Even less attentive observers it is in the last year, but have noticed even before that, that Williams also increasingly the 70s, 80s and mid 90s detaches with increasing age of its sound conventions. With the minimalist passages in "AI", the harsh, unpleasing, herrmannesquen in parts action and suspense score for "Minority Report" and the progressive jazz elements in "Catch Me If You Can" knows the master, almost as a matter of course, a clever deal, so you may assume a new potential highlight in every one of its still coming musics Even the very strong floating in conventional musical worlds "Star Wars." - Saga missed the New York with idiosyncratic percussion and string passages in "Attack of the Clones" credit score an unexpected makeover. Thus Williams alongside Danny Elfman is currently also the most impressive run at the Richard Rodgers, both in quantity as well as quality is concerned, even if some of the old fans, vormerklich the American, this new development, away from clear stipulations on conventional music, with mixed see feelings. It speaks for Williams that he at all initiative, which he recently stronger grips with his music, still is able to compose in the best sense traditional musics such as "Harry Potter and the Chamber of Secrets", under pressure of time and with clear quality requirements , One notices the score although some, in parts also film-founded, slightly darker mood than its predecessor on, but this occurs only intensified especially in the second half of the CD into the light. The first half is pure Williams Entertainment. After the Prologue: Book II and The Escape from the Dursleys, a variation of themes from part one (here you have the name of Ross Williams because even write bold behind, is almost exemplary by his task significantly) meet the listener two excellent new topics, which, as always' one might say, to be perfectly crafted set in concert character in scene: Fawkes the Phoenix & The Chamber of Secrets. The former is a beautiful, solemn melody, ideal for the bulky strings of the London Symphony Orchestra, whose slight melancholy perfectly corresponds to the bittersweet, everlasting life-death cycle of magical phoenix bird. It is immediately catchy, but despite its conciseness, whether their poignant effect only well-measured use in further course score, but it has only, boast unique variations particularly in Action Final. The Chamber of Secrets carries the darker character of the film exquisitely bill is similar catchy as the phoenix theme, albeit in a more sinister way. The mysterious melody occurs because even always noticeable when the titular chamber receives an important role in the film , Williams exemplifies what you can make in only 4 minutes amendments. Structurally similar to both pieces of course, the familiar Williams concert arrangements of other key issues, including that of Across the Stars from "Attack of the Clones". The ominous-lookahead nature of melody, combined with the many modifications that it experiences, despite their importance still attached to the chamber in the film create a motif character close parallel to the gloomy Voldemort motif from part one of the still following parts, while the Phoenix theme will probably remain a narrow (therefore it is sure glad that the latest volume in the series "Harry Potter and the Order of the Phoenix" is). In addition to the Voldemort-motif in Meeting Tom Riddle has an effervescent appearance, many other topics from the previous find of course also on this CD again. The Hedwig's Theme, which characterizes both the omnipresent magic and the magic school Hogwarts, befall again many performances in many different forms, as evocative as fully exploited. Likewise, the issue of "Harry's Wondrous World" on the first CD, which some like to designate as a weakness for the first score, is represented again Fortunately, it also has got a signature on the second CD, which was true in the first film, but not to listen to the soundtrack, namely a somber strings character for lying near Hogwarts dark forest (-> Meeting Aragog). Other new thematic ideas are a motive for the incarnated by Kenneth Branagh, really nice imaginary magic teacher Gilderoy Lockhart, the faintly reminiscent of No ticket from "Indiana Jones and the Last Crusade" (1989), as well as a warm simple theme for Dobby, the faithful house-elves (Track 9). A pre transmitted from flutes spider motif heralds the beginning of The Spiders, who are the (only one again wonderfully lyrical statement of the Phoenix theme interrupted in Fawkes is Reborn) second CD half a darker direction. Previously - The Flying Car off the merry Action Tracks - presented basically only the new topics or established in parts and the old pitted again, so Williams is now coming to its by strings certain voltage and of brass and percussion-dominated action-packed pieces make clear that the action will be more serious. And the same with the play The Spiders gets you a nice eerie mixture of two elements whose furious as fast-paced finale, meanwhile, also the most critical Williamsfan, even if he can usually Gloomy reclaims not much, put off; probably noticed also because it was here, still composes relatively catchy as any other of those tracks, we still find ourselves so in Hogwarts. But the angle zwielichtigste Magic School, the Chamber of Secrets is, musically not hidden. Heard in the action highlight of the CD, the Dueling Basilisk that to Potter for ratios "brutal" Schlagwerk- and brass phrases umschwingt after initiation by the far the most beautiful and triumphalste elaboration of the Phoenix theme. The claim of the film, also creepy to be, the music in this final is especially justice. The CD sounds with altbekanntem thematic material in little variation, which may be little imaginative, the homogeneity of both compositions (despite respective autonomy) but comes to good, although here the accusation of wasted space can arise especially in track 20. Conclusion: Williams latest magic trick, "Harry Potter and the Chamber of Secrets", comes a lot of fresh, therefore, than its predecessor, which both is due to numerous new and a touch better thematic ideas, as well as on their excellent integration with known material and a splash herberer as dark passages. Although here still is absent, the hoped-for masterpiece, Williams shows in this home game in ancient realms again extremely garment and unerringly and brings once again really nice, rousing passages about.
