In keeping with the overall trend of the series, 2007’s film adaptation of Harry Potter and the Order of the Phoenix saw a still-darker tone, yet another person in the director’s chair, and another composer providing the music. New director David Yates made the right decision in trimming much of the overstuffed fifth Potter tome for the screen, yet in bringing he old collaborator Nicholas Hooper along to score he sharply divided fans, with many claiming that it was far weaker than John Williams’ or Patrick Doyle’s efforts for previous films in the series.
Interestingly, this situation carried over into the inevitable video game adaptation of the film, which saw a composer other than Jeremy Soule take up the baton for the first time. Soule had scored all four previous games with an inventive and magical sound that eschewed John Williams’ iconic themes. Despite being very poorly represented on album, they had been quite popular with fans. Taking over from Soule for Phoenix was veteran composer James Hannigan, who had a diverse career in game scoring but for whom the Potterverse assignment represented a real breakthrough.
For the first time in the game series, Hannigan was given leave to use John Williams’ iconic themes for the movie series in the game’s score for the first time. The game would ultimately feature Hannigan’s arrangements of Williams’ themes, his own original music and motifs, and tracked-in leftovers from Soule’s four scores. With such a mishmash, it was easy to expect Hannigan to underperform — especially as compared with Soule, one of the most popular VGM composers in the business.
Fortunately, Hannigan was able to strut his stuff in an impressive fashion, creating a work that paid homage to both Williams and Soule while retaining his own voice. Indeed, one could argue that Hannigan’s compositions and extended use of Williams themes outshone those Nicholas Hooper, who only used fragments of the Harry Potter themes and was criticized for underplaying the film’s more dramatic moments by fans.
The score unveils its primary themes in the first few tracks, beginning with “Welcome to Hogwarts.” A sweeping “friendship theme” of sorts debuts there, and is malleable enough to be reworked into a love theme (“Cho and Harry”) or action cue (“To Catch an Owl,” easily the highlight of the album). A darker theme, with shades of Williams’ troubled Prisoner of Azkaban, is heard alongside it, reappearing whenever the action turns serious as in “Dumbledore and Voldemort.” “Dolores Umbridge” introduces a third main theme, an insistent, swaggering four-note theme similar to a tag often used by James Horner.
Such thematic richness is well-matched by the very clear sound of the music; performed by a live ensemble, the depth in the recording is excellent. This is especially notable when the score turns to serious action; Hannigan’s music sounds suitably enormous in this context even when it’s not quoting a theme as in the savage “Inquisitorial Squad.” Given the weakness of Hooper’s action music for the film version of Phoenix, one could very well make the case that Hannigan drastically outperformed the film music itself.
That’s not to say that lighter music is neglected; there’s a delightful sense of magic and mischief in cues like “Courtyard Frolics,” often scored with a waltzlike swagger that may have been inspired by Patrick Doyle’s music. With the possible exception of the troubled, ambient “Encounter with Malfoy,” there really are no weak songs to be found. The sound quality is uniformly excellent; Hannigan worked with the same Philharmonia Orchestra Soule used alongside the Slovak National Symphony Orchestra and the Pinewood Singers. But while the budget had forced Soule to rely on his usual crystal-clear synths for much of his score, Hannigan’s work was almost completely acoustic.
Hannigan’s score for Harry Potter and the Order of the Phoenix was released as a digital download a few months after the game hit store shelves in 2007. None of the adaptations of Williams’ music from the game were present on the album for contractual reasons, and this was a mixed blessing: while it put Hannigan’s original music front and center, it also meant that, as with the Soule albums, the music was frustratingly incomplete. At least the clipping problems from the earlier releases was solved — Hannigan’s music was well-mastered and attractively presented with a generous 50 minutes of music. It was a well-produced album, offering stunningly clear sound, so it was a terrible shame that EA yanked the album from circulation in 2009 alongside its Potterverse holocaust. Aside from promotional snippets on Hannigan’s website, the score is totally unavailable legally.
It’s a shame, because Order of the Phoenix is a revelation. Hannigan proved his abilities in the genre and outpaced both Nicholas Hooper and Jeremy Soule to provide not only the finest Potterverse game score to date but one that tops the music present in the movie. The lack of Hannigan’s adaptations of John Williams’ themes is regrettable, but this album is still one that should be in every fan’s collection if it were still available. Until then, play the game, rip the music yourself, or listen to samples on Hannigan’s site and mourn for the unjustly obscure fate for such a terrific piece of fantasy adventure scoring.