Welcome to World of Soundtracks where we explore the musical storytelling aspects in films and TV. Whether it is comparing book adaptations, observing themes or motifs over a series, or micro analyzing the choice of instruments, we look at how the story is told and moves us. I am your host, Ruth Mudge and today we begin a two part series on Pride and Prejudice.
In this episode, I will be focusing on the 1995 miniseries featuring Jennifer Ehle and Colin Firth. The following episode will be focusing on the 2005 Kiera Knightley movie. While I do recommend listening to two very different takes on the same story, I do realize that some of you are quite passionate about one and have absolutely no interest in the other. I will not be comparing which Mr. Darcy is the best or whether the coming out of the lake in the wet shirt is sexier than the hand flex or which adaptation is more accurate to the books. Leave your controversies at home and let’s explore the music.
First of all, music is essential to any Jane Austen adaptation. Part of that is due to how much music is integral to the plot. There is always at least one woman (if not the main heroine) who plays the piano or harp. Whether we hear them in practice or as entertainment for friends and family, the level of their playing can already tell us a lot about the various characters both personality and class-wise. In the mini-series of Pride and Prejudice, there are at least 10 performances on the pianoforte of classical music, not to mention the different dance tunes added on top of that. Mary Bennet performs the most as the most dedicated and unfortunately, not as gifted, as we hear her practicing, playing in the background at their Aunt Philips, or painfully singing and stumbling though Handel’s “Slumber dear Maid” in comparison to Mrs Hurst’s ridiculously fast tempo of the Turkish March by Mozart to show off and save the Netherfield Ball listeners from the appalling Bennet clan, to Georgiana’s beautiful but shy playing of “Andante Favori” by Beethoven which was briefly marred by the wrong chord when she hears Wickham’s name. Not only do they tell us about the characters in their performance as far as class and how much they practiced, but it also connects characters in the plot. One of the most romantic moments is when Elizabeth and Mr. Darcy connect eyes as Elizabeth comes to Georgiana’s rescue during her performance. Not to mention that they timed it beautifully with a harmony change in the music. Here is the original Beethoven piece and you can hear how they worked to time everything perfectly within the character’s interactions. I don’t know about you but I have seen the mini-series so many times that I am used to the mistake instead of the original. (Play Beethoven) This is a beautiful change from the book where Mr. Wickham was mentioned over tea instead of an evening performance. This change gives Elizabeth and Georgiana a moment to connect over playing music, talk over Mr. Darcy in his generous gift of the new pianoforte, and for Mr Darcy to witness Elizabeth actively assisting Georgiana but it also allows more time for heart-eyes, longing looks, and less time for speaking. This piece is also the only one that changes the orchestration, adding strings to the piano piece to aid in the soft romantic feeling near the end. That being said, Elizabeth’s Mozart aria returns in a different orchestration with flute and strings as Mr. Darcy recalls that evening in his thoughts. (Thinking about Lizzy)
The other essential music part of the Jane Austen adaptation is your ball. These are always the big plot moments for connection between the main hero and heroine or even to add angst in seeing them with the wrong person as is the case in Sense and Sensibility. In this Pride and Prejudice, they use traditional dance tunes that go as far back as the Elizabethan period. The two balls have different sizes of ensembles and instruments to show a contrast between the small town of Meryton and the more raucous, less formal setting with the sophistication, polish and grandeur of Netherfield. In fact, the trio of musicians in the Meryton ball are a trio who often play for village ball dances so they already had the style of a folk rawness to it. They also chose faster dances such as jigs or reels to lend to the momentum. In contrast, the Netherfield Ball had 8 players with the sound of being hired from London, according to the composer Carl Davis. Even the use of the brass instrument gives a certain level of weight and class. Now, of course, we can’t talk about dances without mentioning Mr Beveridge’s Maggot, a dance tune from 1728 which was also used in the Gwyneth Paltrow’s Emma in the 90s. I know there are many other scholars who can tell you that the dance tune was outdated for the Regency period or that the dance steps were cut and altered to work for screen and the dialogue but it has become one of the most iconic moments from the movie. With the use of a folk-tune, you will hear it repeat in different variations to add color and prevent it from sounding the same. Here, different melody instruments shine with flourishes between the violin and flute with one time involving a lot of harpsichord scalar action when there is less dialogue as the dancers continue to work up and down the ballroom. This version of the tune is also a bit slower to match the tempo that they want for the dialogue as well as longer times to focus on the hands touching and a graceful stateliness as they fight/dance. Most versions are usually this tempo instead: Mr Beveridge’s Magot.
Now, when it comes to the main dance between the lead couple of the story, many adaptations choose to either change the instrumentation of this crucial dance by bringing in an entire orchestra as is the case with Emma or stripping it down to a solo instrument like it does in the movie version of Pride and Prejudice. Others choose to use music from the original score instead of a traditional tune such as the mini-series of Emma or have a big change as they stare into each other’s eyes as happens in the mini-series of War and Peace. Yet, this mini-series chooses to stay faithful to the sound and era by not changing anything for the main couple. Instead, they chose a traditional piece that would work well for movement, connection, and dialogue.
It should be noted that when music is required for the actors to perform or dance, these need to be chosen at the beginning of the filming process. This also means that if it is original music, then the composer has to already think of their style and main themes. In this case, since all the dances and piano pieces are all classical or traditional tunes, meant that Carl Davis could focus on the original score at the end of the filming project which is more typical once the composers can see a rough cut of the finished project. Then they can match the timing and get the feel more accurately. However, that does cut down on the amount of time they have to get it done.
For those of you may not be familiar with Carl Davis and his work: Carl Davis is an American composer who moved over the the UK in the 1960s. In the film world, he is most known for writing new scores for 1920s silent films including several Charlie Chaplin films. He became one of the leaders in that field as most people do not have their own private piano player to provide a score in the background when watching those films. He has also written music for several ballets such as Alice in Wonderland, Cyrano, and Aladdin. For the Masterpiece/BBC audience, he most known for his work with adaptations such as Silas Marner, The Pickwick Papers, Cranford, and the newer Upstairs, Downstairs as well as the film “The French Lieutenant’s Woman” for which he won a BAFTA. As a composer who well understands the classical music heritage, he was an excellent fit for bridging the old and new for Pride and Prejudice and in fact, sought out to be the composer for this project once he heard it was happening.
One side note to remember is that this was the beginning of the Jane Austen Golden Age. For those of you may not remember, the mid-90s had a surge of Austen adaptations with 5 out of 6 novels covered in the span of 4 years between movies and TV adaptations. For myself and many of my generation, these adaptations were our introduction into reading and falling in love with Jane Austen. At the time, this Pride and Prejudice was being billed as sexy, daring, and fresh compared to the previous 80s adaptations. Of course, part of that was due to the screenwriter Andrew Davies using the words “sex and money” and the press went a bit bananas as to what that could mean. While he has pushed the boundaries much more in recent years, that was not really the case then. There was a lot of movement of cameras and characters compared to the 70s and 80s adaptations which felt much more like watching a stage. The fact that the opening of Pride and Prejudice included riding, skipping, walking with and without dialogue lent a sense of energy and liveliness that set the tone not only for the characters but the series as whole. The music in turn reflects this energy and vitality both in its movement of the keyboard but also in the choice of time signature and key.
This lead us into the opening theme and choice of instruments:
One of the most unique aspects of this soundtrack Is the use of the pianoforte (or fortepiano). Most historical records refer to it as the fortepiano but Jane uses the term pianoforte in her works. Which means, I often end up using the words interchangeably so I apologize for any confusion. This is the keyboard most commonly used during the regency period. While it was originally created around 1700, it gained popularity in the 1760s. This was the next step from the harpsichord which plucked the strings to using hammers to hit the strings which is what happens with modern pianos. However, the fortepiano did not have the metal support that amplifies sound yet so they are naturally a quieter instrument. (play example from Emma - Mozart sonata) That being said, it did range from 4 octaves to about 6/12 around the time of Beethoven. Current pianos are 88 keys or 71/3 octaves. The British company Broadwood actually was the company that sent Beethoven the larger 6 octave piano. For those of you who know the movie of Sense and Sensibility with Emma Thompson, Colonel Brandon mentions that he had a Broadwood grand, referring to this company and the larger keyboard. Pedals were still being experimented with at this time so most were still unable to have the more connected or legato sound that could be provided with a modern piano. While it could provide dynamics (hence the name of forte for loud and piano for quiet) which the harpsichord could not, it still has a brighter almost tinny sound to it that is unique. The size also varied just the way pianos do today. We can see that evident in the mini-series from the smaller keyboard that Mary practices on at home to the larger grander ones at Pemberley or Netherfield or Rosings. The size often reflects class and wealth.
While the fortepiano is more accurate to the Jane Austen world, the only adaptation that used just the fortepiano and no modern piano is this Pride and Prejudice mini-series. Part of that is the fact that this mini-series tries to stay as period accurate as possible but the other part is that the ensemble is smaller - 18 at the largest. That makes it easier to mix and mic in recording. The newest Emma soundtrack by Isobel Waller-Bridge does use fortepiano for the classical music performed by the characters but all the other ones choose to use the look of the fortepiano while hearing the modern piano. It’s easier to keep in tune, more familiar to a modern audience, and can have a greater range of legato as well as emotional connection.
The other unique aspect of the soundtrack for the mini-series is that there is a musical recap of each episode on the fortepiano performed by Melvyn Tan. While the soundtrack is sadly no longer available on Spotify or iTunes, it has been put on YouTube for those looking for it and were not able to buy the cd in the 90s.
Carl Davis wanted the size of the ensemble to reflect the small town nature of Meryton and Longbourn by using a smaller ensemble of 5-8 players and then a larger ensemble of 18 which for the scenes in London or the estates of Netherfield and Pemberley. His biggest influence was Beethoven’s Septet written for clarinet, bassoon, horn and 4 strings. This is the Scherzo from Beethoven’s septet in E-flat major (often a heroic key at the point):
It sounds so similar, doesn’t it? When an ensemble is this small, the woodwinds really stand out and blend in a unique way. Similarly, the strings have a role in being the rhythmic and melodic underpinnings throughout the soundtrack. Each instrument has to carry more responsibility and roles since there are less of them.
The opening title music sets the stage for the entire story. It involves two different themes which is appropriate in following the rules for music in the classical era for sonatas and symphonies to have theme A and theme B that are then developed, altered and then comes back in a recap at the end. In a long structure, that also happens throughout the mini-series. Your main themes are used in various shapes and forms to tell the story and then returns at the end. I also like to call these bookends which should happen in a good movie or mini-series to connect and bring the whole story together through the music. Mini-series are almost easier since you have an opening title sequence and credits at the end which often share the same musical theme but ideally this should happen within the story itself.
Theme A is the hunting theme while ironically first hear in the violins will appear later with the French Horn coming from a background of a hunting horn, giving both the sense of joyful activity as well as the Bennet family searching for husbands, particularly Mrs. Bennet. The rhythmic aspect lends itself to the physical and mental activity…the walking, the riding, the witty mental battles that occur. It first plays as the men arrive on horseback and Elizabeth sees them before skipping home, setting the mood for the entire series.
There is always a sprightliness which occurs with the time signature of 6/8 - often used for jigs or similar dances. A lot of it has to do with the emphasis of two larger beats but then lighter two smaller beats afterwards. (count out 6/8 vs 2/2). This is also in major which lends itself to being a joyful story. I’ll play a minor version later so you can compare the feel.
The same theme occurs as Elizabeth walks to Netherfield fitting in that physical nature, but also going to visit Jane who been sent to catch Mr. Bingley through Mrs. Bennet’s scheming. The most clear version of the hunting call occurs near the end as Mr. Bingley rides over to propose…Mrs Bennet’s wishes from the beginning coming true (Return of Bingley). This version has a lot of motion in major and minor as the house becomes a flurry of activity in getting ready. This theme is also used for Lydia Bennet’s unfortunate turn in finding a husband: as she leaves for Brighton, Mr. Bennet receiving the letter that she ran away, and Lydia’s own narration in the letter to Mrs. Foster. (Lydia’ elopement) Here, you can hear the actual theme remaining the same as Lydia is excited to get married but the audience and her sisters know that the outcome turned out far worse for her which is portrayed in the minor chords and rising diminished arpeggios with the main motive in minor in the keyboard. An example of the theme in minor occurs when Lizzy and Jane finds out that Mr. Bennet had received an express regarding Lydia and not knowing whether it was good or bad news. (Lydia’s elopement - 2:23)
Returning to the opening theme and main titles, the second or B theme is the love theme. It is slower and more lyrical in nature compared to the A theme but there is still a flow and movement to it in the feel of 6/8. (play opening theme 2:40) This love theme really is all-encompassing of the different kinds of love one can have, particularly for Elizabeth from her sisterly affection with Jane to love of a best friend with Charlotte to a romantic love that grows for Mr. Darcy. This theme changes the most throughout the series, often slowing down to half the speed for more introspective moments or intimate moments such as Lizzy teasing Jane about her Mr Bingley or Elizabeth arriving to visit Charlotte at the Parsonage, heard here in the clarinet. (end of Parting - 1:24) Because this theme is a little longer, it is often heard in smaller snippets that still get the point across without using the entire theme. It is warmer in the clarinet and accompanying strings than it was in the pianoforte at the beginning. Despite their differences of opinion regarding Mr. Collins, Elizabeth is truly happy to see her closest friend and that is reflected in the choice of instrument and theme.
Of course, theme B becomes more prevalent as Elizabeth’s feelings being to change regarding Mr. Darcy at Pemberley and so becomes the theme as they are unknowing walking towards each other. Using the French Horn as a more regal instrument is frequently a choice made for the heroes of Austen adaptations as it is than a trumpet and while high in status, not quite royalty status. The theme represents Mr. Darcy’s feelings as much as Elizabeth’s as we know he still loves her and is in fact trying to get past it with little success. She is not quite there yet so bringing back this love theme at the crucial crossroads in the story shows both where Mr. Darcy is coming from as well as the confused, changing emotions that is occurring within Elizabeth. (Darcy Returns -2:01) I also love that the clarinet and horn takes turns for each of them as they are getting closer and closer and then eventually join together right before the climax. The strings also a provide a little movement first having a little shimmer with tremolo (which is the bow moving very fast and unmeasured) and then later with off beats to build up the anticipation for the audience.
While that is one of the big moments in the adaptation, this theme does reappear several times from Mr. Darcy getting dressed and excited to see Elizabeth again (thinking about Lizzy - 0:50) or when he and Mr. Bingley return at the end. There is also a minor version when he is in London looking for Lydia musically telling that he is doing this for Lizzy because he loves her despite how odious the task is.
While most of the romantic moments with this theme is for Elizabeth and Mr. Darcy, it does also accompany both sisters as they see their men returning near the end. It is fitting to have this theme of love that encompasses the entire movie for the double wedding at the end, now with flute (an instrument often associated with more romantic moments) and strings. This theme returns in the horn with a little more energy and being grounded with accents in the lower instruments as everyone leaves the church happily in love with a thrilled and emotional Mrs. Bennet and finally the kiss of Elizabeth and Mr. Darcy bringing Theme B to a beautiful conclusion in the higher register of the violins that always gives a sense of souring, both for the couples and for the audience finishing the story.
This love theme is not the only theme that changes throughout to fit with the story as their another specific love theme for Elizabeth and Mr. Darcy. While the other one is used for Elizabeth and several people that she loves, this one is specific for their evolving feelings. This theme has two parts: rising arpeggios heard in the fortepiano interspersed with the strings changing chords. It is a slower melody to match their slowly changing feelings and opinions. This is not a story of love at first sight. It is stately and almost repressed. is first heard as Mr. Darcy watches Lizzy playing with the dogs after he comes out of the bath (Elizabeth observed). It returns again when they run into each other at Rosings in the wood and then again as Lizzy arrives at Pemberley with the Gardiners. Here the French Horn and clarinet set the stage for Elizabeth and Mr. Darcy in this grand home as Lizzy begins to see Mr. Darcy in a new light. (Pemberley) It is the main theme that plays as she sees his portrait, hearing glowing accounts from the housekeeper. This time is is Elizabeth (and the audience) observing two sides of Darcy. As a cellist, I am slightly biased to the cello playing leading into the theme again as she looks at his picture. The theme crescendos as it leads to Colin Firth diving into the lake so we clearly know the priorities of the writers and directors involved as to what was important. (Darcy Returns -1:08)
While the 1st love theme is used for the wedding, this second love theme is used for the 2nd proposal. The first disaster of a proposal was in silence to let the words and reactions speak for themselves. However, any good romantic movie should have romantic music in a proposal. That is an unspoken expectation. This is a shy proposal, being a second chance for both of them having grown and been humbled from their high opinion of themselves and views. The space in this theme gives room for the words of the proposal to be heard and focused on. Flute enters near the second half as they discuss how things had changed for them both but there are no harp glissandos or sudden changes of mood. It reflects who they are throughout their journey with a quiet joy for both of them matching the words from the book: “Darcy was not of a disposition in which happiness overflows in mirth; and Elizabeth rather knew that she was happy, than felt herself to be so.”
In contrast to the changing emotional journey of Elizabeth and the Bennets or even Mr. Darcy, there are other character themes that return pretty much the same each time. One of the most recognizable ones is the bassoon theme for Mr. Collins. The bassoon gets a bit of a bad rap for being used quite frequently for a buffoons and comedy both which were at display in Mr. Collins. The other comedic element is the use of rests between chords which is common In music to let the jokes or words really speak, just providing accents of color or matching the comedic beats of what is shown on-screen. (:10)
The Gardiners have a theme when they arrive from London (often when they are traveling back and forth) in the horns. This reflects coming from the big city and also a calling card of arrival. (The Gardiners) This one to me sounds the most like Beethoven or Mozart out of all the themes. It does play a bit more subdued and slower when they return after hearing the news regarding Lydia.
The other theme that stands out the most is the theme for Lady Catherine de Bourgh. This is in the style of a French Overture which is from the Baroque period in the 1700s. It was used for courts and introductions with a lot of space then a fast note to lead into it. This is an example by the French composer Jean-Baptiste Lully, the Overture from Atys:
The other part that is very Baroque in style is all the ornamentation in the trills especially in the fortepiano. Baroque music often was filled with lots of frills and trills, sometimes written and sometimes added as improvisation. Using the all the ornamentation and older grand style shows a level of aristocracy but also being stuck in older times or even stuck in her own ways for Lady Catherine. This device of using older Baroque music or instruments such as the harpsichord for characters in similar status of life and views is used in a few different Austen adaptions from the newest Emma to Sanditon. Lady Catherine’s theme does not change as she does not change. The other thing to note is that her theme is minor that makes her sound much more imposing. It is not a happy theme like the majority of the soundtrack and adaptation. (Rosings)
In a similar fashion, much of the music for London regarding Wickham or the Bingleys are often accompanied by trills and a similar over-dotted rhythm, particularly when a letter is being narrated. They accompany a level of deceit or insincerity and showiness such as Miss Bingley not really caring for Jane (1:00 - Winter into Spring, 1:50 for the trills) , or a slower version when Mr. Darcy says that he concealed Jane being in town. It is also used for Lydia’s and Wickham’s wedding (with extra horns when Mr. Darcy appears - Lydia’s wedding). The theme accompanies the Wickhams as they come and go to Longbourn after the wedding. Lots of show, Wickham being forced into this situation and not a happy prospect of marriage. This is the other theme that is in consistently in minor as Jane and Lydia’s situations are not ones to rejoice in at those junctions.
The other part that accompanies sadder or angsty moments are suspensions and anticipations frequently in minor. Suspensions have been used for a long time to hold a dissonant note before resolving down and anticipations function the same way except they resolve up. You can hear that tension in moments after the first proposal or when Mr Darcy is writing his letter, or when Mr Darcy leaves Elizabeth after learning of Wickham and Lydia and then when she remembers that moment later. It can be heard as in this example of Jane missing Mr. Bingley having returned home from London (Farewell to the Regiment -1:20). It reflects the inner turmoil of the characters while hearing that tension. One of the most dramatic examples is when Mr Darcy returns to Pemberley as he is trying to overcome his feelings. It lends to more drama and heightens the experience for the viewer who already know that Elizabeth is there and the likelihood of them meeting is high. (Darcy Returns - beginning)
On the subject of both inner tension and then bringing back the idea of bookends, one interesting thing to note is that Mr. Darcy’s letter begins and ends with the same music as he begins to write and then as he concludes. A flute plays a minor arpeggio over accompanying strings comes down with a clarinet and pianoforte responding. The minor descending arpeggio was also used for the end of Jane’s letter to Elizabeth but the instrumentation is different here. The flute is also used to represent Georgiana as a sweet, higher, younger person throughout the letter’s narration and as the first part of the letter revolves around Georgiana, it is fitting that the flute is used to musically bring together that portion of the letter.
(Telling the truth - beginning and at 3:55).
To bring this full circle, we should pay attention to the two parts when the French horn does clear hunting calls. It is not only brings a sense of rejoicing and importance but marks when two of the three ladies are getting close to getting married and getting that husband. The first is when the Bennet family receives the letter from the Gardiners (1:21 - Lydia’s elopement). Now, the audience knows that Mr. Darcy has discovered Wickham and Lydia so the music tells that the audience that it is good news before it turns into the minor version of the main melody as the family is in suspense not knowing the results. To me, this has always been one of the most dramatic cues in whole he adaptation. The even happier event is when they hear the news that Mr. Bingley has returned to Netherfield. What makes it even more fitting is that you see Mr. Bingley literally hunting birds right after this music plays.
This mini-series of Pride and Prejudice uses the idea of theme and instrumentation to uniquely tell the story. The use of the pianoforte, the size of the ensemble, and the similarity of rhythm and harmonies from the classical era sets it in the age of Beethoven. The character themes help to musically tell you what kind of people they are and the journey the main characters take to grow and fall in love. It also captures the two main points of this adaptation which is searching for husbands counterbalanced with the desire to choose love. Overall, it is a happy narrative, guiding the audience but not making it overly emotional. A beloved soundtrack for a beloved story.
Next time, I will be focusing on the other Pride and Prejudice soundtrack from 2005 by Dario Marianelli. This is perhaps even more beloved as a stand-alone soundtrack which I will delve into more. Until then, please share your favorite music moment or theme from this mini-series. Which part stands out to you the most? Which part moves you or makes you smile the most?
Until next time, happy listening!
In this episode, I will be focusing on the 1995 miniseries featuring Jennifer Ehle and Colin Firth. The following episode will be focusing on the 2005 Kiera Knightley movie. While I do recommend listening to two very different takes on the same story, I do realize that some of you are quite passionate about one and have absolutely no interest in the other. I will not be comparing which Mr. Darcy is the best or whether the coming out of the lake in the wet shirt is sexier than the hand flex or which adaptation is more accurate to the books. Leave your controversies at home and let’s explore the music.
First of all, music is essential to any Jane Austen adaptation. Part of that is due to how much music is integral to the plot. There is always at least one woman (if not the main heroine) who plays the piano or harp. Whether we hear them in practice or as entertainment for friends and family, the level of their playing can already tell us a lot about the various characters both personality and class-wise. In the mini-series of Pride and Prejudice, there are at least 10 performances on the pianoforte of classical music, not to mention the different dance tunes added on top of that. Mary Bennet performs the most as the most dedicated and unfortunately, not as gifted, as we hear her practicing, playing in the background at their Aunt Philips, or painfully singing and stumbling though Handel’s “Slumber dear Maid” in comparison to Mrs Hurst’s ridiculously fast tempo of the Turkish March by Mozart to show off and save the Netherfield Ball listeners from the appalling Bennet clan, to Georgiana’s beautiful but shy playing of “Andante Favori” by Beethoven which was briefly marred by the wrong chord when she hears Wickham’s name. Not only do they tell us about the characters in their performance as far as class and how much they practiced, but it also connects characters in the plot. One of the most romantic moments is when Elizabeth and Mr. Darcy connect eyes as Elizabeth comes to Georgiana’s rescue during her performance. Not to mention that they timed it beautifully with a harmony change in the music. Here is the original Beethoven piece and you can hear how they worked to time everything perfectly within the character’s interactions. I don’t know about you but I have seen the mini-series so many times that I am used to the mistake instead of the original. (Play Beethoven) This is a beautiful change from the book where Mr. Wickham was mentioned over tea instead of an evening performance. This change gives Elizabeth and Georgiana a moment to connect over playing music, talk over Mr. Darcy in his generous gift of the new pianoforte, and for Mr Darcy to witness Elizabeth actively assisting Georgiana but it also allows more time for heart-eyes, longing looks, and less time for speaking. This piece is also the only one that changes the orchestration, adding strings to the piano piece to aid in the soft romantic feeling near the end. That being said, Elizabeth’s Mozart aria returns in a different orchestration with flute and strings as Mr. Darcy recalls that evening in his thoughts. (Thinking about Lizzy)
The other essential music part of the Jane Austen adaptation is your ball. These are always the big plot moments for connection between the main hero and heroine or even to add angst in seeing them with the wrong person as is the case in Sense and Sensibility. In this Pride and Prejudice, they use traditional dance tunes that go as far back as the Elizabethan period. The two balls have different sizes of ensembles and instruments to show a contrast between the small town of Meryton and the more raucous, less formal setting with the sophistication, polish and grandeur of Netherfield. In fact, the trio of musicians in the Meryton ball are a trio who often play for village ball dances so they already had the style of a folk rawness to it. They also chose faster dances such as jigs or reels to lend to the momentum. In contrast, the Netherfield Ball had 8 players with the sound of being hired from London, according to the composer Carl Davis. Even the use of the brass instrument gives a certain level of weight and class. Now, of course, we can’t talk about dances without mentioning Mr Beveridge’s Maggot, a dance tune from 1728 which was also used in the Gwyneth Paltrow’s Emma in the 90s. I know there are many other scholars who can tell you that the dance tune was outdated for the Regency period or that the dance steps were cut and altered to work for screen and the dialogue but it has become one of the most iconic moments from the movie. With the use of a folk-tune, you will hear it repeat in different variations to add color and prevent it from sounding the same. Here, different melody instruments shine with flourishes between the violin and flute with one time involving a lot of harpsichord scalar action when there is less dialogue as the dancers continue to work up and down the ballroom. This version of the tune is also a bit slower to match the tempo that they want for the dialogue as well as longer times to focus on the hands touching and a graceful stateliness as they fight/dance. Most versions are usually this tempo instead: Mr Beveridge’s Magot.
Now, when it comes to the main dance between the lead couple of the story, many adaptations choose to either change the instrumentation of this crucial dance by bringing in an entire orchestra as is the case with Emma or stripping it down to a solo instrument like it does in the movie version of Pride and Prejudice. Others choose to use music from the original score instead of a traditional tune such as the mini-series of Emma or have a big change as they stare into each other’s eyes as happens in the mini-series of War and Peace. Yet, this mini-series chooses to stay faithful to the sound and era by not changing anything for the main couple. Instead, they chose a traditional piece that would work well for movement, connection, and dialogue.
It should be noted that when music is required for the actors to perform or dance, these need to be chosen at the beginning of the filming process. This also means that if it is original music, then the composer has to already think of their style and main themes. In this case, since all the dances and piano pieces are all classical or traditional tunes, meant that Carl Davis could focus on the original score at the end of the filming project which is more typical once the composers can see a rough cut of the finished project. Then they can match the timing and get the feel more accurately. However, that does cut down on the amount of time they have to get it done.
For those of you may not be familiar with Carl Davis and his work: Carl Davis is an American composer who moved over the the UK in the 1960s. In the film world, he is most known for writing new scores for 1920s silent films including several Charlie Chaplin films. He became one of the leaders in that field as most people do not have their own private piano player to provide a score in the background when watching those films. He has also written music for several ballets such as Alice in Wonderland, Cyrano, and Aladdin. For the Masterpiece/BBC audience, he most known for his work with adaptations such as Silas Marner, The Pickwick Papers, Cranford, and the newer Upstairs, Downstairs as well as the film “The French Lieutenant’s Woman” for which he won a BAFTA. As a composer who well understands the classical music heritage, he was an excellent fit for bridging the old and new for Pride and Prejudice and in fact, sought out to be the composer for this project once he heard it was happening.
One side note to remember is that this was the beginning of the Jane Austen Golden Age. For those of you may not remember, the mid-90s had a surge of Austen adaptations with 5 out of 6 novels covered in the span of 4 years between movies and TV adaptations. For myself and many of my generation, these adaptations were our introduction into reading and falling in love with Jane Austen. At the time, this Pride and Prejudice was being billed as sexy, daring, and fresh compared to the previous 80s adaptations. Of course, part of that was due to the screenwriter Andrew Davies using the words “sex and money” and the press went a bit bananas as to what that could mean. While he has pushed the boundaries much more in recent years, that was not really the case then. There was a lot of movement of cameras and characters compared to the 70s and 80s adaptations which felt much more like watching a stage. The fact that the opening of Pride and Prejudice included riding, skipping, walking with and without dialogue lent a sense of energy and liveliness that set the tone not only for the characters but the series as whole. The music in turn reflects this energy and vitality both in its movement of the keyboard but also in the choice of time signature and key.
This lead us into the opening theme and choice of instruments:
One of the most unique aspects of this soundtrack Is the use of the pianoforte (or fortepiano). Most historical records refer to it as the fortepiano but Jane uses the term pianoforte in her works. Which means, I often end up using the words interchangeably so I apologize for any confusion. This is the keyboard most commonly used during the regency period. While it was originally created around 1700, it gained popularity in the 1760s. This was the next step from the harpsichord which plucked the strings to using hammers to hit the strings which is what happens with modern pianos. However, the fortepiano did not have the metal support that amplifies sound yet so they are naturally a quieter instrument. (play example from Emma - Mozart sonata) That being said, it did range from 4 octaves to about 6/12 around the time of Beethoven. Current pianos are 88 keys or 71/3 octaves. The British company Broadwood actually was the company that sent Beethoven the larger 6 octave piano. For those of you who know the movie of Sense and Sensibility with Emma Thompson, Colonel Brandon mentions that he had a Broadwood grand, referring to this company and the larger keyboard. Pedals were still being experimented with at this time so most were still unable to have the more connected or legato sound that could be provided with a modern piano. While it could provide dynamics (hence the name of forte for loud and piano for quiet) which the harpsichord could not, it still has a brighter almost tinny sound to it that is unique. The size also varied just the way pianos do today. We can see that evident in the mini-series from the smaller keyboard that Mary practices on at home to the larger grander ones at Pemberley or Netherfield or Rosings. The size often reflects class and wealth.
While the fortepiano is more accurate to the Jane Austen world, the only adaptation that used just the fortepiano and no modern piano is this Pride and Prejudice mini-series. Part of that is the fact that this mini-series tries to stay as period accurate as possible but the other part is that the ensemble is smaller - 18 at the largest. That makes it easier to mix and mic in recording. The newest Emma soundtrack by Isobel Waller-Bridge does use fortepiano for the classical music performed by the characters but all the other ones choose to use the look of the fortepiano while hearing the modern piano. It’s easier to keep in tune, more familiar to a modern audience, and can have a greater range of legato as well as emotional connection.
The other unique aspect of the soundtrack for the mini-series is that there is a musical recap of each episode on the fortepiano performed by Melvyn Tan. While the soundtrack is sadly no longer available on Spotify or iTunes, it has been put on YouTube for those looking for it and were not able to buy the cd in the 90s.
Carl Davis wanted the size of the ensemble to reflect the small town nature of Meryton and Longbourn by using a smaller ensemble of 5-8 players and then a larger ensemble of 18 which for the scenes in London or the estates of Netherfield and Pemberley. His biggest influence was Beethoven’s Septet written for clarinet, bassoon, horn and 4 strings. This is the Scherzo from Beethoven’s septet in E-flat major (often a heroic key at the point):
It sounds so similar, doesn’t it? When an ensemble is this small, the woodwinds really stand out and blend in a unique way. Similarly, the strings have a role in being the rhythmic and melodic underpinnings throughout the soundtrack. Each instrument has to carry more responsibility and roles since there are less of them.
The opening title music sets the stage for the entire story. It involves two different themes which is appropriate in following the rules for music in the classical era for sonatas and symphonies to have theme A and theme B that are then developed, altered and then comes back in a recap at the end. In a long structure, that also happens throughout the mini-series. Your main themes are used in various shapes and forms to tell the story and then returns at the end. I also like to call these bookends which should happen in a good movie or mini-series to connect and bring the whole story together through the music. Mini-series are almost easier since you have an opening title sequence and credits at the end which often share the same musical theme but ideally this should happen within the story itself.
Theme A is the hunting theme while ironically first hear in the violins will appear later with the French Horn coming from a background of a hunting horn, giving both the sense of joyful activity as well as the Bennet family searching for husbands, particularly Mrs. Bennet. The rhythmic aspect lends itself to the physical and mental activity…the walking, the riding, the witty mental battles that occur. It first plays as the men arrive on horseback and Elizabeth sees them before skipping home, setting the mood for the entire series.
There is always a sprightliness which occurs with the time signature of 6/8 - often used for jigs or similar dances. A lot of it has to do with the emphasis of two larger beats but then lighter two smaller beats afterwards. (count out 6/8 vs 2/2). This is also in major which lends itself to being a joyful story. I’ll play a minor version later so you can compare the feel.
The same theme occurs as Elizabeth walks to Netherfield fitting in that physical nature, but also going to visit Jane who been sent to catch Mr. Bingley through Mrs. Bennet’s scheming. The most clear version of the hunting call occurs near the end as Mr. Bingley rides over to propose…Mrs Bennet’s wishes from the beginning coming true (Return of Bingley). This version has a lot of motion in major and minor as the house becomes a flurry of activity in getting ready. This theme is also used for Lydia Bennet’s unfortunate turn in finding a husband: as she leaves for Brighton, Mr. Bennet receiving the letter that she ran away, and Lydia’s own narration in the letter to Mrs. Foster. (Lydia’ elopement) Here, you can hear the actual theme remaining the same as Lydia is excited to get married but the audience and her sisters know that the outcome turned out far worse for her which is portrayed in the minor chords and rising diminished arpeggios with the main motive in minor in the keyboard. An example of the theme in minor occurs when Lizzy and Jane finds out that Mr. Bennet had received an express regarding Lydia and not knowing whether it was good or bad news. (Lydia’s elopement - 2:23)
Returning to the opening theme and main titles, the second or B theme is the love theme. It is slower and more lyrical in nature compared to the A theme but there is still a flow and movement to it in the feel of 6/8. (play opening theme 2:40) This love theme really is all-encompassing of the different kinds of love one can have, particularly for Elizabeth from her sisterly affection with Jane to love of a best friend with Charlotte to a romantic love that grows for Mr. Darcy. This theme changes the most throughout the series, often slowing down to half the speed for more introspective moments or intimate moments such as Lizzy teasing Jane about her Mr Bingley or Elizabeth arriving to visit Charlotte at the Parsonage, heard here in the clarinet. (end of Parting - 1:24) Because this theme is a little longer, it is often heard in smaller snippets that still get the point across without using the entire theme. It is warmer in the clarinet and accompanying strings than it was in the pianoforte at the beginning. Despite their differences of opinion regarding Mr. Collins, Elizabeth is truly happy to see her closest friend and that is reflected in the choice of instrument and theme.
Of course, theme B becomes more prevalent as Elizabeth’s feelings being to change regarding Mr. Darcy at Pemberley and so becomes the theme as they are unknowing walking towards each other. Using the French Horn as a more regal instrument is frequently a choice made for the heroes of Austen adaptations as it is than a trumpet and while high in status, not quite royalty status. The theme represents Mr. Darcy’s feelings as much as Elizabeth’s as we know he still loves her and is in fact trying to get past it with little success. She is not quite there yet so bringing back this love theme at the crucial crossroads in the story shows both where Mr. Darcy is coming from as well as the confused, changing emotions that is occurring within Elizabeth. (Darcy Returns -2:01) I also love that the clarinet and horn takes turns for each of them as they are getting closer and closer and then eventually join together right before the climax. The strings also a provide a little movement first having a little shimmer with tremolo (which is the bow moving very fast and unmeasured) and then later with off beats to build up the anticipation for the audience.
While that is one of the big moments in the adaptation, this theme does reappear several times from Mr. Darcy getting dressed and excited to see Elizabeth again (thinking about Lizzy - 0:50) or when he and Mr. Bingley return at the end. There is also a minor version when he is in London looking for Lydia musically telling that he is doing this for Lizzy because he loves her despite how odious the task is.
While most of the romantic moments with this theme is for Elizabeth and Mr. Darcy, it does also accompany both sisters as they see their men returning near the end. It is fitting to have this theme of love that encompasses the entire movie for the double wedding at the end, now with flute (an instrument often associated with more romantic moments) and strings. This theme returns in the horn with a little more energy and being grounded with accents in the lower instruments as everyone leaves the church happily in love with a thrilled and emotional Mrs. Bennet and finally the kiss of Elizabeth and Mr. Darcy bringing Theme B to a beautiful conclusion in the higher register of the violins that always gives a sense of souring, both for the couples and for the audience finishing the story.
This love theme is not the only theme that changes throughout to fit with the story as their another specific love theme for Elizabeth and Mr. Darcy. While the other one is used for Elizabeth and several people that she loves, this one is specific for their evolving feelings. This theme has two parts: rising arpeggios heard in the fortepiano interspersed with the strings changing chords. It is a slower melody to match their slowly changing feelings and opinions. This is not a story of love at first sight. It is stately and almost repressed. is first heard as Mr. Darcy watches Lizzy playing with the dogs after he comes out of the bath (Elizabeth observed). It returns again when they run into each other at Rosings in the wood and then again as Lizzy arrives at Pemberley with the Gardiners. Here the French Horn and clarinet set the stage for Elizabeth and Mr. Darcy in this grand home as Lizzy begins to see Mr. Darcy in a new light. (Pemberley) It is the main theme that plays as she sees his portrait, hearing glowing accounts from the housekeeper. This time is is Elizabeth (and the audience) observing two sides of Darcy. As a cellist, I am slightly biased to the cello playing leading into the theme again as she looks at his picture. The theme crescendos as it leads to Colin Firth diving into the lake so we clearly know the priorities of the writers and directors involved as to what was important. (Darcy Returns -1:08)
While the 1st love theme is used for the wedding, this second love theme is used for the 2nd proposal. The first disaster of a proposal was in silence to let the words and reactions speak for themselves. However, any good romantic movie should have romantic music in a proposal. That is an unspoken expectation. This is a shy proposal, being a second chance for both of them having grown and been humbled from their high opinion of themselves and views. The space in this theme gives room for the words of the proposal to be heard and focused on. Flute enters near the second half as they discuss how things had changed for them both but there are no harp glissandos or sudden changes of mood. It reflects who they are throughout their journey with a quiet joy for both of them matching the words from the book: “Darcy was not of a disposition in which happiness overflows in mirth; and Elizabeth rather knew that she was happy, than felt herself to be so.”
In contrast to the changing emotional journey of Elizabeth and the Bennets or even Mr. Darcy, there are other character themes that return pretty much the same each time. One of the most recognizable ones is the bassoon theme for Mr. Collins. The bassoon gets a bit of a bad rap for being used quite frequently for a buffoons and comedy both which were at display in Mr. Collins. The other comedic element is the use of rests between chords which is common In music to let the jokes or words really speak, just providing accents of color or matching the comedic beats of what is shown on-screen. (:10)
The Gardiners have a theme when they arrive from London (often when they are traveling back and forth) in the horns. This reflects coming from the big city and also a calling card of arrival. (The Gardiners) This one to me sounds the most like Beethoven or Mozart out of all the themes. It does play a bit more subdued and slower when they return after hearing the news regarding Lydia.
The other theme that stands out the most is the theme for Lady Catherine de Bourgh. This is in the style of a French Overture which is from the Baroque period in the 1700s. It was used for courts and introductions with a lot of space then a fast note to lead into it. This is an example by the French composer Jean-Baptiste Lully, the Overture from Atys:
The other part that is very Baroque in style is all the ornamentation in the trills especially in the fortepiano. Baroque music often was filled with lots of frills and trills, sometimes written and sometimes added as improvisation. Using the all the ornamentation and older grand style shows a level of aristocracy but also being stuck in older times or even stuck in her own ways for Lady Catherine. This device of using older Baroque music or instruments such as the harpsichord for characters in similar status of life and views is used in a few different Austen adaptions from the newest Emma to Sanditon. Lady Catherine’s theme does not change as she does not change. The other thing to note is that her theme is minor that makes her sound much more imposing. It is not a happy theme like the majority of the soundtrack and adaptation. (Rosings)
In a similar fashion, much of the music for London regarding Wickham or the Bingleys are often accompanied by trills and a similar over-dotted rhythm, particularly when a letter is being narrated. They accompany a level of deceit or insincerity and showiness such as Miss Bingley not really caring for Jane (1:00 - Winter into Spring, 1:50 for the trills) , or a slower version when Mr. Darcy says that he concealed Jane being in town. It is also used for Lydia’s and Wickham’s wedding (with extra horns when Mr. Darcy appears - Lydia’s wedding). The theme accompanies the Wickhams as they come and go to Longbourn after the wedding. Lots of show, Wickham being forced into this situation and not a happy prospect of marriage. This is the other theme that is in consistently in minor as Jane and Lydia’s situations are not ones to rejoice in at those junctions.
The other part that accompanies sadder or angsty moments are suspensions and anticipations frequently in minor. Suspensions have been used for a long time to hold a dissonant note before resolving down and anticipations function the same way except they resolve up. You can hear that tension in moments after the first proposal or when Mr Darcy is writing his letter, or when Mr Darcy leaves Elizabeth after learning of Wickham and Lydia and then when she remembers that moment later. It can be heard as in this example of Jane missing Mr. Bingley having returned home from London (Farewell to the Regiment -1:20). It reflects the inner turmoil of the characters while hearing that tension. One of the most dramatic examples is when Mr Darcy returns to Pemberley as he is trying to overcome his feelings. It lends to more drama and heightens the experience for the viewer who already know that Elizabeth is there and the likelihood of them meeting is high. (Darcy Returns - beginning)
On the subject of both inner tension and then bringing back the idea of bookends, one interesting thing to note is that Mr. Darcy’s letter begins and ends with the same music as he begins to write and then as he concludes. A flute plays a minor arpeggio over accompanying strings comes down with a clarinet and pianoforte responding. The minor descending arpeggio was also used for the end of Jane’s letter to Elizabeth but the instrumentation is different here. The flute is also used to represent Georgiana as a sweet, higher, younger person throughout the letter’s narration and as the first part of the letter revolves around Georgiana, it is fitting that the flute is used to musically bring together that portion of the letter.
(Telling the truth - beginning and at 3:55).
To bring this full circle, we should pay attention to the two parts when the French horn does clear hunting calls. It is not only brings a sense of rejoicing and importance but marks when two of the three ladies are getting close to getting married and getting that husband. The first is when the Bennet family receives the letter from the Gardiners (1:21 - Lydia’s elopement). Now, the audience knows that Mr. Darcy has discovered Wickham and Lydia so the music tells that the audience that it is good news before it turns into the minor version of the main melody as the family is in suspense not knowing the results. To me, this has always been one of the most dramatic cues in whole he adaptation. The even happier event is when they hear the news that Mr. Bingley has returned to Netherfield. What makes it even more fitting is that you see Mr. Bingley literally hunting birds right after this music plays.
This mini-series of Pride and Prejudice uses the idea of theme and instrumentation to uniquely tell the story. The use of the pianoforte, the size of the ensemble, and the similarity of rhythm and harmonies from the classical era sets it in the age of Beethoven. The character themes help to musically tell you what kind of people they are and the journey the main characters take to grow and fall in love. It also captures the two main points of this adaptation which is searching for husbands counterbalanced with the desire to choose love. Overall, it is a happy narrative, guiding the audience but not making it overly emotional. A beloved soundtrack for a beloved story.
Next time, I will be focusing on the other Pride and Prejudice soundtrack from 2005 by Dario Marianelli. This is perhaps even more beloved as a stand-alone soundtrack which I will delve into more. Until then, please share your favorite music moment or theme from this mini-series. Which part stands out to you the most? Which part moves you or makes you smile the most?
Until next time, happy listening!
