Fantasy and magic intertwine seamlessly in the score for Wicked (2024), a collaborative masterpiece by John Powell and Stephen Schwartz. This soundtrack, boasting impeccable orchestrations and rich musical allusions, promises an enchanting eighty-minute journey that will captivate both devoted fans and newcomers to the world of Oz.
Approaching this review as someone relatively new to the Wicked phenomenon allows for a fresh perspective, focusing on the sheer musicality and orchestral brilliance of the score. While seasoned fans will undoubtedly appreciate the intricate thematic references to the original musical, this analysis will primarily explore the dazzling orchestral tapestry woven by Powell and Schwartz, designed to immerse listeners in a world of wonder and enchantment. This exploration aims to guide those who might be hesitant to delve into such a theme-rich score, offering a welcoming entry point to appreciate its magic. Join us as we embark on a first-time adventure into the musical landscape of Wicked, guided by Schwartz and Powell, to uncover the captivating sounds that await.
The journey commences with “Arrival At Shiz University,” a cue that gently unfolds with tranquil strings, ethereal vocals, and delicate percussion. As the piece progresses, Powell’s signature orchestral grandeur gradually emerges, culminating in a joyous crescendo around the forty-second mark. This uplifting burst hints, perhaps subtly, at the iconic “Over The Rainbow” from The Wizard Of Oz, before gracefully receding into a serene conclusion led by gentle strings.
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“Our Heroes Meet” bursts onto the scene with dramatic brass fanfares, quickly softened by serene strings, creating a playful atmosphere. Here, a mischievous nod to Schwartz’s “No One Mourns The Wicked” from the Broadway production surfaces on strings, a recurring motif that adds a layer of familiarity for those acquainted with the source material. This theme playfully reappears in the subsequent “Nessarose,” again carried by buoyant strings. “Meet The Faculty” continues to build the magical ambience with twinkling percussion before introducing a new, sweeping theme on full orchestra. This warm and wondrous motif, played with grandeur, suggests a potential association with Madame Morrible, Dean of Sorcery, solidifying her presence within the score’s thematic framework. “Elphaba’s Power” opens with tense, brassy chords, soon giving way to a gentle reprise of the “Faculty” motif, reinforcing its connection to Madame Morrible, before transitioning to the lighthearted “How To Loathe Your Roommate.” This track features cheerful strings and playful woodwinds, underpinned by lively percussion, painting a scene of youthful interactions and burgeoning relationships within Shiz University.
“History Lesson” initially adopts a moody tone before wistful woodwinds introduce a thoughtful atmosphere. Strings then weave several pensive renditions of the “No One Mourns The Wicked” motif, adding a layer of underlying seriousness. The Madame Morrible theme returns in “Levitate The Coin” on serene strings, maintaining a stylistic and tonal cautiousness that carries into “All Around Something Bad,” underscored by uneasy piano notes. Hints of “No One Mourns The Wicked” resurface in the more upbeat “Prince Fiyero Of Winkie Country,” where grand brass surges lead a powerful orchestral charge, enhanced by chanting vocals, creating a sense of heroic arrival. “The Book Place” establishes a happily magical ambience within its brief runtime, while “Elphaba At Ozdust” presents a solemn hint of “No One Mourns The Wicked,” followed by pensive vocals and a gentle, downtrodden string conclusion. A hopeful and uplifting motif emerges towards the end of “Sharing Secrets,” reminiscent of the backing instrumentation of “What is This Feeling?” from the original Wicked, suggesting shared emotions and growing connections.
The brief “Look At You” radiates warmth and optimism through gentle strings, leading into “Replacement Teacher,” which reintroduces the Madame Morrible motif alongside rapidly ascending strings, heightening tension. This orchestral urgency continues into “Cub Rescue,” a dynamic two-minute cue filled with flurries of strings, wondrous brass bursts, and dramatic percussion, culminating in a powerful vocal crescendo. The tempo then slows for the serene “Forest Feelings,” emphasizing twinkling percussion and thoughtful strings, creating a moment of reflection and tranquility. “Ozian Invitation” reignites hope and wonder with sweeping vocal and string flourishes, and reprises of both “No One Mourns The Wicked” and the Madame Morrible themes, the latter receiving a particularly grand iteration towards the track’s conclusion.
John Powell’s signature upbeat orchestral style bursts forth in “Galinda Becomes Glinda,” with a hopeful and wondrous motif, perhaps representing Glinda herself, reaching a joyful crescendo within the first thirty seconds. The standout cue, “Train To Emerald City,” amplifies this wonder, delivering a fast-paced, brass-heavy Powell extravaganza infused with impeccable Schwartz musical references. Prominent themes like “What Is This Feeling?” and “No One Mourns The Wicked” are interwoven, creating pure musical magic throughout this exhilarating track. “No One Mourns The Wicked” reappears at the beginning of “Hall Of Grandiosity” in a more cautious, strings-based rendition with ominous vocals, before a fleeting, wistful woodwind quote of “Somewhere Over The Rainbow” adds a touch of poignant familiarity.
Noble brass heralds “A Wizard’s Plan,” transitioning into serene strings and gentle vocals for a significant portion of its runtime, creating a sense of grand design and underlying mystery. As the album nears its end, “The Grimmerie” presents a wondrous rendition of the Madame Morrible motif before eerie vocals take over, hinting at darker turns. The expansive “Transformations” initially maintains a wary tone with strings and gentle woodwinds, before vocals return around ninety seconds in, building towards a worrisome crescendo. A two-minute burst of intense action ensues, followed by pensive reprises of “No One Mourns The Wicked” and the Madame Morrible theme, circling each other with increasing tension for the remainder of the track. “Monkey Mayhem” unleashes frenetic action with imposing string loops and escalating brass and shrill vocals, driving the adrenaline-fueled sequence until “No One Mourns The Wicked” thunders heroically just as the track reaches a percussive climax. The final cue, “All Around Defying Gravity,” incorporates notational elements from the iconic Wicked song of the same name, alongside triumphant reprises of “No One Mourns The Wicked,” reaching a powerful crescendo before noble brass and wondrous strings bring the score to a magnificent close.
Overall, the Wicked score by John Powell and Stephen Schwartz is a remarkable achievement, seamlessly blending Powell’s orchestral expertise with Schwartz’s iconic musical sensibilities. The orchestrations evoke a constant sense of wonder, a testament to Powell’s skill in crafting immersive soundscapes. While moments of ambient passages exist, likely to accommodate the film’s songs, the score shines in its brassy and percussive highlights, such as “Arrival At Shiz University,” the sweeping strings of “Train To Emerald City,” and the heroic power of “All Around Defying Gravity.” These cues exemplify the composers’ fantastic synergy. Schwartz’s abundant references to the original musical enrich the score, particularly the emotionally resonant motifs of “No One Mourns The Wicked” and “What Is This Feeling?”, the latter elevating “Train To Emerald City” to soaring heights. For those unfamiliar with the Wicked musical, this soundtrack stands as a compelling fantasy score with strong recurring themes, requiring no prior knowledge for enjoyment. However, engaging with the musical itself, sparked by the score’s allure, reveals an even deeper appreciation for this richly layered work.
Score: 8/10
Standout Cues: Train To Emerald City / All Around Defying Gravity
