Despite some moviegoers’ qualms, Chris Columbus’s film version of Harry Potter and the Sorcerer’s Stone was a massive $300 million earner. And, as surely as summer follows autumn, it was inevitable that there would be a movie adaptation of Harry Potter and the Chamber of Secrets to follow the success of its blockbuster predecessor. And just as surely, there would be a video game adaptation to follow. Many noted that the film was an improvement over the first, and similar feelings accompanied the game, which opened to generally warm reviews. Returning from the first game was composer Jeremy Soule, whose music for the original had had its share of highlights despite a frustrating lack of availability on album.
John Williams had already begun to tire of the Harry Potter franchise by 2002, and delegated large portions of the music to William Ross. Quite the opposite was true for the Chamber of Secrets video game, as Soule powered up the ideas he had established for the first title, incorporating his original sound alongside some startlingly good new pieces. The Grieg-inspired theme from the first game wass discarded in favor of a fantastic new “Harry Potter and the Chamber of Secrets Title Theme,” which owes less of a debt to other composers while still conjuring the requisite magic. Soule introduced a powerful choral component as well, establishing a thread that extends throughout the official album (and in many tracks omitted from it). Soule reprises the theme in an equally elegant form at the end of the album; listed as an alternate theme, it was actually used for the game’s credits. Like the composer’s theme for the previous game, though, it barely appears in the rest of the music.
The most notable improvement of Chamber of Secrets over its predecessor is the action music. Soule successfully imparts the magical atmosphere and dark choral harmonics of the other music into whimsical tracks like “DADA Action” “Willow Boss” and “Aragog Boss.” “Flying” represents some of Soule’s finest-ever action writing, with a soaring full-bodied orchestral theme that’s equal parts action and wonder, though it’s sadly unlooped on the official album. Soule’s work combines the strength of the previous score (its whimsical character) while addressing its weaknesses, rendering it a better listening experience whether complete or on the mangled album.
Like Sorcerer’s Stone before it, Chamber of Secrets didn’t get an album when it was released. This was rectified to an extent when, in late 2006, EA released digital albums of all Soule’s Potter scores to iTunes. Chamber of Secrets fared much better than the previous album as a listening experience; the transitions aren’t as jagged (though there are still no loops) and the tracks are generally longer, with a several being self-contained. A much more generous 43 minutes of music is provided as well, though some essential music is still missing (notably the thunderous final battle cue with full choir) and a few awkward edits or songs that had 5-10 seconds of silence at the end remain distractions.
Again, this amateurish and incomplete album experience may have been the reason that Soule’s Harry Potter and the Chamber of Secrets was withdrawn from circulation by EA in 2009. While the official album had problems and is frustratingly incomplete, it was the best presentation of Soule’s Potter music out of the four iTunes Potter albums, and the complete score as heard in-game remains Soule’s finest for the series. Therefore, fans are in a tough position: an incomplete and unavailable official release or the bother of finding a copy of the game and manually extracting and looping its audio files for listening. Even so, the effort is worthwhile: if you must acquire one of Soule’s Potter scores, get this one.