Before the score's release, Hedwig's Theme has been almost ubiquitous in the advertising, be it trailers or other merchandising plugs. The concert arrangement is featured at the end of the album, although it features in almost every track during the rest of the score so could be regarded as a fraction redundant at that stage. It's somewhere between a slightly malevolent lullaby and a burlesque waltz (although strictly speaking it's not in waltz time). It starts with twinkling celeste, but whipping up the orchestra into a vibrant danse macabre towards the finale. It is not an especially memorable theme by Williams standards, which given its heavy use throughout the score is probably a blessing since if it was utterly indelible, it would probably become a fraction more wearing than it does.
Unlike The Phantom Menace which contained numerous outstanding set pieces, Harry Potter is a smoother listen with fewer obviously outstanding tracks. There are some of course; Harry's Wondrous World introduces what seems to be a fanfare for Harry (and possibly Hogwarts School) and is a definite spine tingling moment. The Quidditch Match features some broad action music, which while not as beautifully constructed as Williams action music of old, does set the excitement level quite impressively. The final few cues starting In the Devil's Snare depart slightly from the rest of the score with The Chess Game featuring some off kilter brass and percussion and The Face of Voldemort being considerably more sinister than even the darkest moments previously.
Of course, being something of a children's fantasy, there are some comedic moments, but they are tempered from the slightly overdone Jar Jar music of The Phantom Menace and refuse to undermine the fairly serious tone of the score as a whole. Williams seems to have fun with little fanfares such as for Entry into the Great Hall, even if they do recall earlier works. In fact, lots of moments remind the listener of previous Williams scores, Hook and Home Alone particularly, although the atmosphere of Witches of Eastwick seeps through from time to time. I think it's the lack of a really strong identity that makes the score more disappointing rather than there actually being anything wrong with. Harry Potter is the kind of score that you can listen to without sitting up to notice something specific very often. Most scenes don't seem to have a distinct feel or the obvious themes of Hook or the Star Wars scores. Those often had a theme just for one scene, but that is not the case here, it's seemingly much more through composed. The choir is used prominently and bolsters the very broad feel to the writing. It does just about support the generous running time of the album and the slightly less in your face thematic material means there is perhaps more to discover on repeat listens than an equivalent Williams score from the 80's. Given the quality of his more serious works of late, I wonder if Williams is just a little burned out on fantasy. However, whatever one says, I doubt there are many composers around today who would have written such a rich and interesting score - even less than perfect John Williams is still ten times better than most contemporary film composer's works.
Rating ~ 
Total Time ~ 73:34