Cue No. 37

The string section enters quietly and delicately underneath Slughorn’s mention of Lily. A solo oboe enters with the Family Theme. This is a quote of the distressed version that appeared in the graveyard scene of Goblet of Fire (2019). The 3-Note motif begins, played first by the harp at the moment Harry mentions his scar. Strings playing harmonics rising in pitch overtop the motif, joined by rising chords in the higher registers.

The horn takes over the 3-Note, and the upper strings shiver underneath with the lower strings descending in the opposite direction. When Harry says “I am the chosen one,” Hedwig’s Theme plays in a pure, unedited version in the celesta, calling back to the earliest statements from Sorcerer’s Stone (2001). This is one of the later-movie conversations that must reach back emotionally across the entire series in order to prepare for the finale.

Strings emote with the Family Theme again when the conversation circles back around to Lily. More suspensions are used, tugging at the desperation of the situation. When Slughorn finally decides to give up the memory, the Pensieve motif enters in the harp. A quick scene change cuts from Hagrid’s hut to Dumbledore’s office where he and Harry prepare to view the memory. The key changes, and choir and orchestra enter to support the motif.

Low strings hold on at the bottom of the orchestra, and the 3-Note enters once again. Chamber of Secrets-style celesta accompaniment supports it this time. At the first mention of the word “Horcrux,” the Chamber two-chord motif enters, first in the woodwinds and then in the brass. A solo harp plays the Chamber of Secrets 2 theme. The movement in the orchestra signals to the audience that this is the moment the whole series has led to - the pinnacle of Voldemort’s history as Tom Riddle. The 3-note, holding all of the other dark motifs in this scene together, has another appearance in the woodwinds. The harp continues the Chamber triplets underneath.

Low strings and horn answer, then, at last, Voldemort 1 enters. Muted horns provide a sinister tone. This theme was reserved for a specific moment, when Tom is truly confirmed to be Voldemort with the heavy implication that he has already created at least one Horcrux. The Chamber two-chord motif comes in again, followed by a 3-note motif statement in the celesta. A quiet transition moves into the "Transfiguration Class" cue from Chamber of Secrets, tying the climax of this scene to all previous discussions in the series of Voldemort, Tom Riddle, and the history of his quest for immortality.

Back in Dumbledore’s office, the choir slowly sings the two-chord motif a capella. Chords alternate in the strings as he comes to an understanding of what has transpired. Choir re-joins, and the 3-note plays on the shot of the ring and the diary, both evidently former Horcruxes. The scene gains more urgency, and chamber-style strings flow back and forth with triplets. There is a short pause in the musical motion before timpani and short, edgy strings begin an even more insistent motion forward until being abruptly interrupted by an aleatoric outburst when the ring reacts to Harry's touch.

A 3-note statement is sung by a very distant choir. Dumbledore watches Harry’s reaction, and seems to realize something, though it is not clear to the viewer what that is. The celesta plays Hedwig’s Theme again, much like at the beginning of the cue, then Fawkes B theme takes over. A mysterious quest for another Horcrux is on their doorstep, and this perilous theme has now taken its place as the representation of Dumbledore heading into danger. Harry, still just a teenager, is represented musically with a small coda consisting of celesta and vibes.