In 2004, EA released another entry in its series of Harry Potter video games, tying in with the theatrical release of Harry Potter and the Prisoner of Azkaban. The game offered what was expected of it — an interactive take on events in the book and movie — and was as successful as any tie-in could hope to be. In theaters, the third movie saw the first real shake-up in the film franchise, with Alfonso Cuaron taking over for Chris Columbus and bringing with him a distinctly dark aesthetic and a willingness to trim or alter the source material that Columbus had never had. This led to Azkaban becoming the most acclaimed film in the film series.
The game developers, however, remained largely the same and Jeremy Soule returned for a third year as Hogwarts-composer-in residence. As he had with Chamber of Secrets, Soule ditched the title theme he had created for the previous game. This is less of a problem than it could be, since the other two themes he conjured weren’t integrated into the game scores much; they were never as thematic as John Williams’ movie compositions anyway. Soule’s choice here interestingly mirrors the choices Williams made for his final Potter movie score, which largely avoided the maestro’s established themes in favor of new ones. It goes without saying that Soule was not permitted to use any of Williams’s new themes from the film. Still, given the blisteringly strong theme Soule had composed for the previous game, a reprisal would have been welcome.
Soule’s new theme does retain a choral element but returns to the more florid classically-inspired sound from the first game, albeit in a darker form. The album as a whole has a tone closer to that of the film, especially in its presentation of soaring themes for Buckbeak in “Flying Buckbeak” and “Buckbeak Night Flight,” both of which mirror the grandiose “Buckbeak’s Flight” conjured by Williams. The music has a deeper sound to it — possibly the result of better synths — and passages of dark music offset by some incredible vocal work. It’s as if Soule was consciously driving his music in the same darker direction as the film, with less magic but more drama; when the sound works, it’s spectacular.
Sadly, the action music is once again a mixed bag. There are some utterly explosive sequences of choral action in “Dementor Patronus” and “Extreme Patronus” which easily equal or exceed the finest action writing from Soule’s career. But “Glacius Boss” and “Carpe Knight Boss,” among others, return to the ramblingly percussive music that characterized the first game. The cues in general are also very short, with only two of the 26 songs on the commercial album exceeding two minutes.
Soule’s Prisoner of Azkaban, like the others in the series, had no official release to satisfy the cravings of fans for several years. But in late 2006, portions of the score were released to iTunes as a digital download alongside Soule’s other work for the Potterverse. All four albums suffered from a seemingly rushed and muddled presentation of the music, seemingly pulled willy-nilly from Soule’s original files. As with the previous two games, there were enough hard stops and tracks with trailing (or even internal) stretches of silence to make for a frustrating listen. And although 30 minutes of music was on tap, the soundtrack was once again frustratingly incomplete. This might explain why, in late 2009, EA pulled all of Soule’s Potterverse scores from circulation.
Despite all the album problems, Prisoner of Azkaban is another strong Potter effort from Soule. It may not have as many highlights as his previous work for Chamber of Secrets, but when the music is firing on all cylinders, listeners may not even notice. It’s a shame that fans of the composer and the original Williams music have no way to legitimately purchase even the wonky commercial album; as with the other scores, the only route to enjoying Soule’s efforts is to buy the game and crank up an audio editor. Fans can only hope for a proper release someday to allow the music to truly breathe.