Cue No. 27

Celesta enters with mysterious chordal outlines as Harry and Mr. Weasley discuss the Vanishing Cabinet. Malfoy’s theme does not make an appearance since he is not present, and the two characters are speculating, but the mood and timbre matches those of the scenes with Draco. The Death Eater theme makes a small appearance in the strings, then fades into the distance as the conversation ends.

A note holds as another point-of-view shot from in the bushes hints to the viewer that someone is watching the house. A solo horn plays Bellatrix’s theme. The mood quickly shifts again as Harry and Ginny have a moment on one of the stairway landings. Celesta and harp in unison hint at a sort of love theme between the two of them as they tiptoe around the subject. Delicate strings accompany this moment before a true interruption cuts into the texture.

The Death Eaters have arrived at the Burrow; a flurry of strings erupts as fire surrounds the house. Bellatrix makes herself known, and the horns play her theme loudly and proudly. A triplet motor figure begins, propelling Harry into action as he chases after Sirius’ murderer. The frantic movement continues as Ginny also chases after them, and jumps over the ring of fire.

Drums, percussion, and choir singing dissonant “ee” vowels give the chase through the bushes a distinct tribal feel, emphasizing both the action as well as Harry’s raw emotions. It is also an orchestral call back to action sequences from Williams’ early 2000s work, specifically Star Wars: Attack of the Clones (2002) and Minority Report (2002), as well as the percussive chase moments from Prisoner of Azkaban that were quoted in Order of the Phoenix. The movement abruptly stops and stings wander around, unsure of people’s whereabouts. Timpani gets louder and louder, then a low C fades out, and everything becomes silent.