Soundtrack Information

Harry Potter and the Prisoner of Azkaban

Harry Potter and the Prisoner of Azkaban

Video Game Score

Electronic Arts

Release Date: 2006

Format: Digital

Music By

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Track Listing

1. Harry Potter And The Prisoner Of Azkaban Main Title 2:40
2. Buckbeak Night Flight 1:34
3. Carpe Knight Boss 0:53
4. Charms Tension 1:10
5. Dementor Patronus 1:08
6. Follow Rain 1:10
7. Duelling Two 1:13
8. Light Action H And H 1:00
9. Werewolf Fight 1:06
10. Extreme Patronus 1:32
11. Flying Buckbeak 1:02
12. Glacius Boss 1:17
13. Follow Snow 1:08
14. Hogwarts Express 2:26
15. Light Action 1:17
16. Marauders Orb 0:54
17. Wander Rain 1:16
18. Carpe Prison 1:20
19. Muggle Robot Boss 1:11
20. Patronus Bogart 1:22
21. Wander Snow 1:09
22. Flying Hedwig 1:20
23. Shrieking Shack 1:59
24. Stealth 2 1:08
25. Choral Ending 1:29
26. End Cut Scene 0:54
  Total Album Time: 34:38

Review: Harry Potter and the Prisoner of Azkaban (Video Game)

by Mike Brennan September 30, 2006
3.5 / 5 Stars

Jeremy Soule\'s score for this third installment of the Harry Potter franchise is a major improvement on the first and is, in a word, excellent. The main title begins with three quick chime strikes, then moves into a new theme from the first, which captures the increasing darkness of Harry\'s world in the third film. Additionally, the main title introduces a massive choir, which is even a step up from the choral work that Williams began to introduce into the Potter films, mostly in the Patronus cues. Soule\'s sample library has improved drastically since 2001 and the quality of this score shows it. The main theme is used sparsely, but in interesting action motifs, as in "Dueling Two" and "Werewolf Fight." It is a simple theme, but works well and is easily varied to fit the style of the cue.

"Buckbeak Night Flight" and "Flying Buckbeak" do not reach the majesty of Williams\' Buckbeak cues, but are still highly enjoyable pieces. The cues in this score, which is a longer score than Sorcerer\'s Stone, actually end rather than loop and the orchestration is better, still working a nice parallel to Williams film scores. Again, the chorus cues are the highlight of the score, reprising from the main title in "Dementor Patronus", "Extreme Patronus", and "Patronus Bogart". Unlike the ethereal sound Williams went for, Soule goes toward a more epic sound as heard in parts of the Lord of the Rings Trilogy. Choral ending, however, does move toward the ethereal tone of Williams\' score and "End Cut Scene" closes the album with the full orchestra and a brief reprise of the choir. While a number of the cues are general game play sound, the standout tracks, especially those that feature the main theme or the chorus, make this score one of Soule\'s best and one to definitely look into.

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